Tuesday, 15 November 2016

The Greek Definite Article, John 1:1, and the Word was a God by James Stark 1861


The Greek Definite Article, John 1:1, and the Word was a God by James Stark M.D., F.R.S.E. 1861


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During the Winter 1860–61, I was prostrated on a bed of sickness, and for several weeks sleep nearly forsook me. Many thoughts coursed through my mind during the tedious watches of the night, and more frequently than others the subject of this Treatise. Turning the arguments in my mind in every possible way, I often fervently prayed that some revelation might be vouchsafed to me, which would distinctly leave the impression on my mind that it came from God, and be of such a nature as to shew me whether I had arrived at a right or wrong interpretation of the Scriptures. At that time I was not even thinking of the Greek text, which, to speak the truth, I had rarely consulted for years. One night, after much intense thought on the subject, as by a flash of lightning there was depicted on the tablet of my mind's eye, the words, “If you are right in your conclusions you will find that the original Greek text of the first verse of John's Gospel reads not as translated in the English version, but, 'In the beginning was the Word, and the Word was with The God, and a God was the Word.’ You will also find that the passage in Romans ix. 5 will read not as in the English translation, but, “Whose are the Fathers, and of whom came Christ after the flesh. May the Supreme God be blessed for ever. Amen.’” I cannot conceive how these words or these passages occurred to me, for though I certainly might have imagined the first, I never could have conceived it possible that our English translators would so far allow their Trinitarian prejudices to sway them as to make the second passage read so different from the translation—I must call it—revealed to me. No one can conceive what a night of longing I had for the coming of the morning, which would enable me to procure a Greek Testament and enable me to decide whether I was right, or whether, by directing me to these passages, God in his mercy intended to shew me that I was wrong. Daylight came at last, and when my son brought me my Greek Testament, and I then found that the translation revealed to me was indeed the correct one, and not that in the English Bible, need I say how my heart overflowed with gratitude to The God who had thus answered my prayer, and had at the same time directed me to a source which, till then, I had quite neglected. It was only since that night that I compared every passage quoted in this Treatise with the original Greek, and added the definite article where our English Translators had omitted it.

Greek scholars more familiar with the writings of the Ancient Poets than with the peculiarities of the New Testament Greek, which they much neglect, are apt to imagine that I lay too great stress on the presence or absence of the definite article. But it is not so; and it would be very easy to prove that the writers of the New Testament break every classical Greek rule in their use of the definite article, in order that their writings may have a clearness and definiteness of language which they could not have were they to follow the examples of the classical authors. For instance, the classical Greek writer rarely or never repeats the definite article where there is a predicate of the same gender and case before it, so that in their writings the absence of the definite article does not imply that the noun has not a definite signification. In many instances, also, the classical Greek author omits the definite article altogether, though he still intends the noun to be used in its definite sense. The Holy Spirit, however, in selecting the Greek as the language through which the Christian Revelation should be communicated to man, appears to me to have acted otherwise, and wisely judged that it was better to give definite ideas, whether the use or the omission to use the definite article was consonant with the classical Greek rule or not. Why, even at the present day, excepting perhaps the English, there is not a language with which I am acquainted that can convey ideas in that definite form which metaphysical reasonings require to prevent us mistaking their meaning. It was the same in the days of our Saviour. The Greek was the only extant language capable of giving distinct definition to its expressions—not, however, by following the classical rules, but by taking advantage, as has been done in the Holy Scriptures, of the capabilities of the language. Contrast it with the Latin, for instance, the language of the Romans, the conquerors of the world. A language more incapable of distinct definition than the Latin does not exist. When a Roman said, “Deus creavit mundum,” he might mean any of three different ideas:—First, “God created the world;” Second, “A God created the world; ” Third, “The God created the world;” and his language was incapable of telling which of all these ideas he meant to convey to me. The classical Greek, in like manner, frequently omitted the article in similar sentences, but in the Holy Scriptures no such omissions seem to have been made. The Holy Spirit seems to have directed the Evangelists and Apostles to make a free use of the capabilities of the Greek, so as to express in language which could not be misunderstood, what the Holy Spirit meant to teach. Hence, we find these writers violating every classical rule in the use of the definite article; all these violations leading to much clearer conceptions of the ideas they meant to convey, and preventing obscurities which must have arisen had they followed the classical Greek rule. Thus we have again and again the repetition of the article where no classical author would have used it, as O CRISTOS O UIOS--O SWTHR O UIOS--O QEOS O PATER--TO PNEUMA THS ALHQEIAS KAI TO PNEUMA THS PLANHS--TO PNEUMA ESTI TO MARTUROUN--BAPTIZONTES AUTOUS EIS TO ONOMA TOU PATROS KAI TOU UIOU KAI TOU AGIOU PNEUMATOS-—and hundreds of similar instances might be given. There are, it is true, undoubted instances where the classical Greek rule is followed, as, O QEOS KAI PATER, but in every such instance it will be found that the sentence bears that the two nouns undoubtedly refer to one and the same person, so that there was no call for a repetition of the article. In every case, however, where the nouns refer to things, or to persons who might be different, the article is either distinctly repeated if it is intended that the noun should have a distinct definite signification, or it is purposely omitted where the noun is intended to be used in its indefinite SenSe.

A marked instance of this last is to be found in the Gospel by John iv. 25:--PNEUMA O QEOS. Here it is clear as daylight that John means to use the noun PNEUMA in its indefinite sense, and it is rightly translated in our English Bible “a Spirit,” though our translators have omitted the essential definite article before the word God, for the Greek says, “The God is a spirit.” More definite language could not be used. Exactly in the same manner, John says in his first chapter, QEOS HN O LOGOS, which must be translated, “a God was the Word,” or, “divine was the Word,” seeing the word QEOS/theos has no definite article before it; and the whole context clearly shews that the word QEOS was here used in its indefinite sense, by the circumstance that both before and after telling us that “the Word was a God” (or that “the word was divine”). John most carefully and pointedly informs us that “the Word was with The God.” This very circumstance clearly proves that John never meant to say that the word was the God, or he would not both immediately before and immediately following that statement, have pointedly said that “the Word was WITH The God.” Besides, as John is one of the writers who violates all the classical Greek rules in the use of the article, it cannot for a moment be doubted that had he intended to teach us that “the Word was the God” he would have said so, in which case he would have been saved twice repeating the fact that “the Word was with The God;” for, of course, if the Word was The God, it would have been words of supererrogation to add that he was also with The God. The very fact, however, that John carefully omits the article before QEOS proves to every reasoning mind that he meant to convey to us, what, indeed, the whole Scriptures prove, that Jesus was a divine Being present WITH The God, but was not “The God” himself.

Just see how all the conclusions of this Treatise are supported by that very passage on which unthinking theologians frequently rest as the foundation of the Trinitarian Doctrine,—“Go ye therefore and teach all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Ghost.” Now, bring to bear on this passage all possible grammatical criticism, and the sole conclusion which can be arrived at is, that Three Distinct Persons are named, while not the slightest hint is given that these three are one. Had either Jesus Christ himself, or the Evangelist Matthew, intended us to receive as doctrine that these Three distinct Divine Beings were one God, sure am I they would have used words which would have conveyed that meaning to us. An additional word or two would have done it; nay, dropping out the articles would have almost implied it; and yet neither was done. For instance, Jesus might have said, “Baptizing them in the name of God the Father, Son, and Holy Ghost,” which would have taught the Trinity in unity by implication. Or he might have said, “Baptizing them in the name of Father, Son, and Holy Ghost, one God,” which would have been a direct teaching of the Trinity in Unity Doctrine. But Jesus did neither of these; and as the Holy Spirit does nothing carelessly, as man would do it, there must be a reason for the three names being mentioned in such a distinct manner, repeating the definite article before each, in opposition to every Greek classical rule; and a comparison of the passage with the whole of the rest of the Scriptures proves clearly that the reason of the repetition of the definite article before each of the names was, to render it apparent to every one that these were the names of Three distinct Divine Beings interested in the work of man's redemption, but that they neither constituted One God, nor were parts or persons of One God. Hear, then, the conclusion of the whole matter—the only conclusion at which the Scriptures allow us to arrive, the only Doctrine which they teach on this subject. There is “One only true God”—“God The Father,” who is above all, who is Father of all, who is God of all; not only The Father and The God of angels and of men, but The Father and “The God of our Lord Jesus Christ” himself. This Supreme God, in the work of man's redemption, employs the agency of two Divine Beings—Jesus Christ and the Holy Ghost; and when the purposes for which they were specially set apart shall have been accomplished, and Jesus shall have resigned into the hands of the Supreme God that power and dominion which had been entrusted to him, and shall have laid down his Office as Mediator, he will resume his place as a subject, that “The God may be all in all.”

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Monday, 14 November 2016

Vampires, Animated Corpses & Ghosts in Romantic Fiction


Vampires, Animated Corpses & Ghosts in Romantic Fiction by Edward Yardley 1880

WHEN a vampire dies, he rises from his grave at night, and supports a fresh existence by sucking the blood of other persons whilst they are asleep. These other persons soon die, and themselves become vampires. A body suspected of Vampirism is disinterred, and is generally recognised by the freshness of the face. A stake is driven through the heart of the vampire, who then utters a loud scream. The body is burnt to ashes. This is supposed to be the only way of finally getting rid of the nuisance. Lord Byron's lines in the 'Giaour' will be remembered. A story is to be found in Phlegon's treatise on wonderful things concerning a girl of the name of Philinnium, a native of Tralles, in Asia Minor, who not only after her death visited her lover, but ate, drank, and even cohabited with him. This event, which happened in the time of the Emperor Hadrian, is the subject of Goethe's poem, 'The Bride of Corinth.' Similar stories have been told by Alexandre Dumas, Washington Irving, and perhaps by others. Hauff has a story concerning a vessel, which a couple of shipwrecked sailors boarded. They found only corpses in the vessel, but at nighttime these corpses were animated, and worked the ship, In Coleridge's 'Ancient Mariner' dead seamen are reanimated. In a story by Marryat, half the crew of a vessel murdered the other half, including the boatswain, and threw their bodies overboard. At night the guilty survivors hear the boatswain's whistle, accompanied by the summons for all hands to go on deck. They go, and find the corpses, of which they thought they had rid themselves, still on deck. They try to throw them into the sea again, but the corpses cling to the murderers, and roll with them overboard.


Apparitions are generally ghosts, but there may be apparitions, raised by magic or witchcraft, which are not ghosts. Such are the apparitions of the armed head, bloody child, and eight kings in 'Macbeth.' The apparitions of the dead have always been an important element in the supernatural. Amongst others, the spirit of Caligula is said to have walked very much in the manner of a modern ghost. It will be quite impossible to deal completely with the ghosts that belong to romantic fiction. Some, like the spirits of Hamlet and Guido Cavalcanti, are too celebrated to require mention; others are too numerous and too insignificant. A few, however, will be specified. The Wild Huntsman, if not himself a ghost, is always in ghostly company. He is supposed by some to be Odin, by others to be one of the classic gods. He issues from the Venusberg, the refuge of the classic gods of antiquity, who fled thither on the prevalence of Christianity. He rides on stormy nights, followed by a train both of the living and the dead. The ghost of the Trusty Eckart, who died contending with the demons of the Venusberg, and who in vain warned Tannenhauser not to enter it, precedes the hellish crew, and warns men of their approach. For it is dangerous to meet them; and if any person is so unfortunate as to come across them, he is generally smitten with paralysis or insanity. Those who have met nymphs, peris, and fairies seem to have been liable to a similar mischief. Heme the Hunter, described by Shakspeare, is a ghost who bears some resemblance to the Wild Huntsman. The Willis, or Wilis (for the name seems to be spelt either way), exist chiefly in Hungary. They are the spirits of brides, who die on their wedding-day before consummation of marriage. They are to be seen by moonlight, where cross-roads meet; and they dance to death any unlucky man who encounters them. The story of Burger's 'Lenore' is this: Lenore's lover, William, had fought on King Frederick's side at the battle of Prague. The army returns, but no news is heard of William; and Lenore, in spite of her mother's supplications, curses God. At midnight she hears the tramp of a horse's hoofs beneath the window, and the voice of her lover calling her to ride with him to their wedding-bed. She descends and mounts behind him, learning too late that she is carried off by the spectre of her lover, who is bearing her to the grave, to punish her for her blasphemy. This, however, may perhaps be more properly considered a devil in the form of a lover than a ghost.

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Another German ghost is the Bleeding Nun. This was a nun who, after committing many crimes and debaucheries, was assassinated by one of her paramours, and denied the rites of burial. After this she used to haunt the castle, where she was murdered, in her nun's dress, with her bleeding wounds. On one occasion, a young lady of the castle, wishing to elope with her lover, in order to make her flight easier, personated the bleeding nun. Unfortunately the lover, whilst expecting his lady under this disguise, eloped with the spectre herself, who presented herself to him and haunted him afterwards. This story is told by Lewis in his 'Monk,' and also by Musaeus. The Belludo is a Spanish ghost, mentioned by Washington Irving in his 'Tales of the Alhambra.' It issues forth in the dead of night, and scours the avenues of the Alhambra and the streets of Granada, in the shape of a headless horse, pursued by six hounds, with terrible yells and howlings. It is said to be the spirit of a Moorish king, who killed his six sons. And these sons hunt him in the shape of hounds at night-time in revenge. Besides the apparitions of the dead, there are apparitions of the living. It is mentioned, in one of the notes to 'Monsieur Oufle,' by the Abbe Bordelon, that monks and nuns, a short time before their death, have seen the images of themselves seated in their chairs or stalls. Another example may be given. Catherine of Russia, after retiring to her bedroom, was told that she had been seen just before to enter the state chamber. On hearing this she went thither, and saw the exact similitude of herself seated upon the throne. She ordered her guards to fire upon it. Another sort of ghost of the living is mentioned in an Eastern story. A soldier of the guard of a certain king met a spirit in the form of a beautiful woman, who was wailing bitterly; and she told him that she was the soul of the king, his master, who was fated to die within three days. Ghosts sometimes leave behind them substantial marks of their visits. In Scott's well-known ballad the phantom knight impresses an indelible mark on the lady who has been his paramour. In the Tartar stories, written by a Frenchman, a series of stories neither original nor well constructed, a ghost appears to Prince Faruk in a dream, and touches him on the arm. The prince finds the mark of the burn when he awakes.


1896 Criticism of Edgar Allan Poe


1896 Criticism of Edgar Allan Poe (Publishers Circular) St. Dunstan's House

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Among the old authors who have now a new vogue Edgar Allan Poe occupies a conspicuous place. Poe's ‘Tales of Mystery' have had an immense sale on both sides of the Atlantic, and rival collected editions of his prose and poetry were merely matters of time. At present, when reprints are so much the order of the day, the inevitable has happened, and even his fugitive pieces are resuscitated. Not every writer whose memory has been honoured with ‘a definitive edition’ comes so well out of this ordeal of resuscitation, "Mr. Poe," wrote James Russell Lowell fifty years ago, ‘has two of the prime qualities of genius, a faculty of vigorous yet minute analysis, and a wonderful fecundity of imagination. These gifts are not common; in combination they are very rare indeed, so that whatever Poe wrote, either in verse or in prose, has a peculiar interest, if not to the general reader, at least to the student and critic.

The practice of reprinting every available scrap of a popular author's work is not one that can be unhesitatingly commended. Two not very large volumes, one of poetry, the other of prose, would probably hold all of Poe that is really worth preserving. Many of his tales could be spared, most of his essays, and nearly all his criticisms. As an essayist he ranks far below Lamb and Lamb's predecessors of the eighteenth century; and beside the criticisms of Carlyle, Macaulay, or Arnold, his are mere cobwebs. And not only are they thin and meagre, they have the fatal defects of spleen and prejudice. Poe's savage injustice to Longfellow and Lowell is notorious, while his remarks upon Dickens and other English writers are often deplorably incompetent. Mr. Stoddard, indeed, thinks he could never have been reckoned a critic ‘in any country where the principles of criticism had been studied and the practice of criticism cultivated.’ The two volumes of his criticisms now printed afford ample confirmation of the truth of these words. But if Poe was no critic he was something better-a poet of singular charm, and, at his best, a storyteller of almost unequalled fascination. His poetry is not the criticism of life which Matthew Arnold declared we should get from the singer. As Mr. Stoddard well says in his interesting introduction: ‘The poetry of Poe is characterised by certain qualities which are not easily separable, and are rather to be felt than described; they are remote, elusive, pertaining to another world than this, and another existence than our daily humdrum lives. He transports us to a visionary region inhabited by shadows, and haunted by a sense of danger. This is not the sort of poetry we get from, let us say, Shakespeare and Burns, yet it is safe to predict that such pieces as ‘The Bells,' ‘The Raven, and ‘To Helen’ will be read when lustier verse shall have been forgotten.

It is by his prose tales, however, that Poe is best known, and in them he touches his high-water mark, both in the imagination and the power of analysis of which Mr. Lowell spoke. During the last five and thirty years tales of mystery and horror have abounded, but Poe's effects are unique, and are likely to remain so. He was a great master of the eerie and the horrible, and an
unrivalled artist in the manipulation of detail. ‘The Murders in the Rue Morgue,’ ‘The Pit and the Pendulum,’ ‘The Fall of the House of Usher,’ ‘The Black Cat, and ‘The Gold Bug, are perhaps unmatched in their several ways; and their author has given suggestions to many successors. Mr. Stevenson, it is interesting to note, owed not a little to Poe, and, we fancy, Mr. A. Conan Doyle would also acknowledge a modest debt to the same quarter. Where Poe fails is in his lack of reality, his remoteness from life. His characters are mere puppets and he was totally void of humour. This defect, which marks all his work, explains many exaggerations and shortcomings that have sometimes puzzled his admirers. He could not conceive a Falstaff, and such a mixture of the dramatic and humorous as ‘The Jolly Beggars’ was equally beyond him. But if he had not the command of laughter and tears, he could make his reader's flesh creep, and in the realm of the gruesome and the grisly he will probably continue a reigning prince.

Sunday, 13 November 2016

Nikola Tesla and other audiobooks you won't believe are online for free



Books you won't believe are online for free...but you may have to hurry before they are taken down. I did not post any of these books, these are simply books I found in my online travels.

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See also Religion, Politics, Dictionaries & Other Books You Won't Believe are Online For Free and David Icke & other books you won't believe are online for freeand Malachi Martin & other books you won't believe are online for free and Audiobooks you Won't Believe are Online for Free and 
Libertarian audiobooks you won't believe are online for free and 
Books, magazines and comics you won't believe are online for free and 
More Audiobooks You Won't Believe are Online for Free and 
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Miss Peregrine's Children & other Audiobooks You Won't Believe are Online for Free and JFK, Jack the Ripper & other books you won't believe are online for free

Not A Penny More, Not A Penny Less by Jeffrey Archer

Finders Keepers by Stephen King 

Voltaire on the Vampire (Vroucolacas) Superstition 1764

Stephen King's Nightmares and Dreamscapes

The Long Dark Tea Time of the Soul Audiobook by Douglas Adams

Dirk Gently's Holistic Detective Agency Audiobook by Douglas Adams

Waking Up: A Guide to Spirituality Without Religion by Sam Harris

An Appetite for Wonder by Richard Dawkins

Mortality by Christopher Hitchens

New Rules: Polite Musings from a Timid Observer by Bill Maher

The Art Of Being by Erich Fromm


The One Minute Manager by Spencer Johnson

Jack Welch and the GE Way

The Economist Magazine

The Road to Serfdom

Capital in the 21st Century by Thomas Piketty

Touching Evil by Kay Hooper 

Flowers in the Attic

Donald Trump - The Art of the Deal

Manly P. Hall - Secret Powers and Why We Should Not Use Them

Neuropsychology of Self Discipline

Games People Play by Eric Berne

Philosophy The Analysis of Mind, the Dynamics between Psychology and Physics by Bertrand Russell

Practical Astrology By Samael Aun Weor

"The Lottery" by Shirley Jackson

Going Clear (Scientology)


Letter to a Christian Nation: A Challenge to Faith by Sam Harris 

God is Not Great: How Religion Poisons Everything by Christopher Hitchens

Carl Sagan - The Demon Haunted World

The Autobiography of Jack the Ripper James Carnac

Adios America by Ann Coulter

American Psycho by Bret Easton Ellis

The Alchemy of Finance by George Soros 

Lord of the Flies by William Golding

Wizard: Life & Times of Nikola Tesla

The Sicilian (Godfather Book 2) Mario Puzo

The Family Corleone by Mario Puzo

The Godfather (Godfather Book 1) Mario Puzo

The Eleventh Commandment - Jeffrey Archer

The Gulag Archipelago by Aleksandr Solzhenitsyn

A Universe From Nothing by Lawrence Krauss

Mans Search for Meaning by Viktor E Frankl 

Daniel Goleman - Emotional Intelligence 

The life of Elizabeth I by Alison Weir

Benedict Cumberbatch Reading Artists in Crime Book

Star Trek - Vulcan's Soul Trilogy - Book 1

What the Dog Saw by Malcolm Gladwell

Five Little Pigs by Agatha Christie

The Young Hitler I Knew by August Kubizek

A Palm for Mrs Pollifax by Dorothy Gilman

America: Imagine a World Without Her by Dinesh D'Souza 

Catch 22 by Joseph Heller

Saturday, 12 November 2016

Death in Romantic Fiction by Edward Yardley 1880


Death in Romantic Fiction by Edward Yardley 1880

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DEATH is generally personified as a skeleton. Milton's conception of it is more imposing. He describes it as shapeless, unsubstantial, shaking a dreadful dart, and having the likeness of a kingly crown on what seemed its head. Death is a personage in Fouque's 'Sintram,' which is rather a weak romance, having been written for the purpose of illustrating a picture. In the 'Castle of Otranto' a skeleton appears in the garb of a monk; but this is rather the apparition of a dead man than the image of Death itself. In a drama by Calderon on the 'Purgatory of Patrick,' a figure uncloaks itself, and reveals to Lodovico Enio the form of a skeleton. In Slavonic folk-tales the plague is personified as a woman of hideous aspect. That the wounds of a murdered man should bleed afresh, whenever the murderer approaches the corpse, is a common superstition. In the 'Nibelungen Lied' the body of Siegfried thus proves the guilt of Gunther. Southey has a ballad, founded on one of the lays of Marie de France, on the subject of Sir Owen's descent into Purgatory. Sir Owen himself is alive, but he sees the place where the dead are. He gets very much frozen and very much burnt; and finally awakes to life at the entrance of the cavern into which he had descended. The aborigines of Mexico believed that the souls of the good became clouds or beautiful birds, or precious stones, and that the souls of the bad become beetles, rats, and other vile animals. The souls of defunct Mussulmans (Muslims) are supposed to inhabit green birds. Lord Byron, in the 'Bride of Abydos,' passes the soul of Selim into a bulbul, and that of Zuleika into a rose. The following story may perhaps here find its right place. A Spanish cavalier was in the habit of visiting a nun, with whom he had an intrigue. One night, on his way to her, he passed a church, where burial service was being performed for the dead. He asked the priest for the name of the dead person. To his horror and dismay, they mentioned his own name. He mounted his horse, and returned home, but was accompanied by two strange dogs. Immediately when he dismounted at his house, the dogs strangled him. As the circumstances could only be divulged by himself, it is not apparent how they were made known. The story is told by Alexandre Dumas, and is also mentioned by the Abbe Bordelon, in the 'Adventures of Monsieur Oufle,' as coming from the 'Hexameron.'

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Friday, 11 November 2016

The Companion Guide to Death: Grave Thoughts from Great Thinkers


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This book has over 30 chapters, it is over 300 pages, which translates to actually thousands of pages on my Kindle reader, and you can pay securely through Amazon.

Product Details

File Size: 6324 KB
Simultaneous Device Usage: Unlimited
Publication Date: November 10, 2016
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B01N3YOV88
Text-to-Speech: Enabled
Word Wise: Enabled
Lending: Enabled
Enhanced Typesetting: Enabled


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Table of contents:



Introduction by Heinz Schmitz

 1. The Necessity of Death by August Weismann 1889

 2. The Fear of Death by Arthur MacDonald 1921

 3. Writers in Defence of Suicide by Forbes Winslow M.D., D.C.L. Oxon, 1840

 4. The Human Soul is Indestructible by Camille Flammarion 1906

 5. The History of Death by William R Alger 1880

 6. The Sensation of Dying By Edward Mercer D.D. 1919

 7. Warnings Of Peril And Death by William Thomas Stead 1921

 8. Plato's Idea of an Immortal Soul in a Nutshell by Wm A Hammond 1904

 9. Death and his brother Sleep, by Woods Hutchinson 1908

 10. Death is a GOOD not an EVIL by Socrates  

 11. Thanatology - the Study of Death by Roswell Park 1912

 12. Suicide Among the Early Jews, Christians, Romans, etc. by S.A.K. Strahan 1893

 13. Vibrations, Death and Immortality By Henry Fleetwood 1908

 14. How Death Began, by Allen Walton Gould 1893

 15. Facing Death By G. L. Apperson 1898

 16. The Unburied Dead by Thomas Dyer 1898

 17. Genius and Suicide By Charles W. Pilgrim, M.D. 1893

 18. Scottish Death Superstitions by James Napier 1879

 19. Spontaneous Human Combustion in History by J. G. Millingen M.D., M.A. 1839

 20. Plato and Immortality by Edmund Hamilton Sears 1879

 21. The Angel of Death in Jewish Tradition by Joseph H. Marcus 1918

 22. The Emptiness of Existence by Arthur Schopenhauer 1881

 23. The Specter of Death By Bolton Hall, M.A. 1917

 24. ON SUICIDE by Arthur Schopenhauer 1911

 25. The Book of Death by Isaac Disraeli 1893

 26. The Origin of the Belief in Life After Death by W.O.E. Oesterley D.D. 1921

 27. Weird Burials, article in Chamber's Journal 1877

 28. The Mythical Origin of Death By John Reynolds Francis 1900

 29. Immortality, by Professor Nathaniel Schmidt & Professor Evander Bradley McGilvary 1917

 30. Plants that Portent Death by Richard Folkard 1884

 31. The Undisturbed Sleep of the Tranquil Grave by Marshall J. Gauvin 1922

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