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The Advent Lyrics, a group of Old English religious antiphons (formerly called Christ I) dating from about the 9th century, are presented in this edition as an independent group of poems disengaged, for the first time, from Cynewulf's Christ. Professor Campbell’s study focuses on the significance of the antiphons as lyrics rather than as philological documents. The book includes a full critical introduction, a new text and modern English translation (on facing pages), critical notes, and a glossary.Originally published in 1959.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Christ and Satan is the title of the last of four poems in the eleventh-century Junius XI manuscript of Anglo-Saxon poetry. This critical edition contains text, glossary, textual and explanatory notes, and an essay surveying former criticisms and setting forth the author's ideas on the poem's principle of unity. Of particular value to students and scholars of Old English, Christ and Satan makes an important contribution to the understanding of this fine and interesting poem.

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Simon Magus is a key figure in the earliest apocryphal Acts of Peter. He is a sorcerer and confidant of the emperor who clashes with Peter and, in later apocryphal texts, with both Peter and Paul. However, this is not simply the villain of the Acts of the Apostles. In this article I will argue that the apocryphal Simon is a composite figure drawn substantially, but not necessarily wholly, from the Simon of Acts 8 and the Elymas/Bar-Jesus figure who opposes Paul in Acts 13.

This essay considers Gregory of Nazianzus’ allusion to ‘divine deceit’, a motif related to the so-called ‘Christus Victor’ theory of atonement. This allusion is curious when we recall that for Gregory, the devil, not God, is the master of deception. When we treat On the Lights (Or. 39) as a literary unit – which commentators have yet to do – we see that Gregory makes several doctrinal affirmations before alluding to what is known as ‘divine deceit’. In this doctrinal discussion, Gregory draws upon the Platonic distinction between the orders of being and becoming as described in the Timaeus. He then alludes to ‘divine deceit’ with respect to the order of ‘becoming’, which bears the possibility of being misapprehended because it is ‘grasped by opinion’. The devil's ‘opinion’ of himself and of Christ, therefore, is suspect. Death – or rather, Christ's vanquishment of it – is the moment of reckoning. Since God alone can defeat death, Christ's putting death to death is the only certain way for the devil to recognise that the ‘Son of Man’ is, after all, the ‘Son of God’. The ‘devil's delusion’, then – not ‘divine deceit’ – best summarises Gregory's understanding of this moment in the history of salvation.

Charismatic authority has been alternatively depicted as extraordinarily powerful and fragile and transitory. The argument developed here is that organizations generally, and newly emerging religious movements in particular, are sites of both coordination and contestation. If new movements are established with a charismatic authority structure, one important question is from what sources can challenges to that authority emanate. Three movement sectors are identified as potential sources of challenge: inner circle leadership, administrative functionaries, and grassroots membership. Using illustrative cases from contemporary emerging religious movements, instances of authority challenges are presented in support of the argument that both coordination and contestation are normal features of movement development.

Paradise Lost has been treated as a controversial epic in misrepresenting characters among some religious writers. In this wonderful epic or out of that, the Satan’s story is a world of ambiguity and bewilderment for human beings, it still continues being obscure. The interpretation of holy scripts causes some misconceptions, overstating and exaggeration especially about Satan. Satan was expelled from the God’s mercy and from His forbearance. He continued to justify his disobedience, he was considered to be very arrogant. This research is going to survey or investigate the comparative and contrastive points of the Holy Quran and the Paradise Lost about Satan. Christian religion is issuing from Heaven and so is Islam. As well as the Paradise Lost was inspired from biblical verses. Hence some matters in case of Satan can be traced and surveyed looking to Quranic text and Miltonic text in this paper. Muslims believe and respect Jesus Christ’s Prophecy. Islam and Christianity both can be celestial religions with the same roots but some differences. In Paradise Lost Satan is presented as magnitude leading character, but from the other side Holy Quran presented Satan is a very wicked and outcast character. Milton attempted to draw God as a passive character and from the other side he also drew Satan as a so active character in his epic poem. Therefore, the similarities and some differences in favor of Satan would be discussed in this scholarly research paper.

The article suggests that the relationship between Christ’s death and the defeat of the devil (Heb 2:14), as well as the metaphor of the devil as an adversary prowling like a roaring lion (1 Pt 5:8) possibly share the same background – i.e., the ancient Roman judicial phenomenon of crimen calumniae. This legal practice was established to stop prosecutors from bringing forward false charges. Convicted calumniators were removed from office and suffered additional punishments. This background might help explain the fact that the devil was defeated according to Hebrews by way of false accusation, and that the devil in 1 Peter does not attack the believers, but is only on the prowl for justified accusations.

Straipsnyje aptariamas Lietuvos XIX a. dailininko Napoleono Ylakavičiaus (1811–1861) paveikslas Kristaus gundymas, iki šiol žinotas tik iš paminėjimų literatūroje. Surinkti šios drobės istorijos faktai ir aprašymas 1862 m. paskelbtame dailininko nekrologe leido konstatuoti, kad tai tas pats paveikslas, kuris užfiksuotas 1968 m. Mečislovo Sakalausko nuotraukoje. Šiuo metu paveikslo buvimo vieta nežinoma, tad išlikusi jo nuotrauka yra vienintelis ikonografinis šaltinis, suteikiantis galimybę plačiau aptarti šį Ylakavičiaus kūrybos kontekste išskirtinį kūrinį. Paveiksle įkūnytos idėjos aptariamos išryškinant jų ryšį su dailininko pasaulėžiūra. Daugelis jo visuomeninio ir asmeninio gyvenimo faktų straipsnyje skelbiama pirmą kartą.