With a change in the final sentences, the first proem in " Eichah Rabbah " is used as a proem in the " Pesi3 ta " pericope xi . ( 110a ), and with a change of the proem text and of its close, proem 10 ( 9 ) of " Eichah Rabbah " is found as a proem in the Pesi3 ta pericope xix . ( 137b ).
32.
:The Historical Thesaurus of the Oxford English Dictionary lists the following words under the category " prologue or introduction " : forespeech, prologue, preface, proemy, preamble, proem, exordy, prolocutory, forespeaking, prooemium, preparation, introduction, induction, introducement, prelude, proposition, foretalk, exordium, prolegomenon, epistle, inducement, isagoge, propylaeum, motto, programma, foreword, foretalking, programme.
33.
Also, at the time, Bishop Guy himself was out of favour with the pope, and perhaps wanted to garner some Norman influence by giving William the gift of the " Carmen " in his honor and inviting Lanfranc of Pavia, abbot of Abbey of Saint-�tienne, Caen and later archbishop of Canterbury ( to whom the Proem of the poem is dedicated ) to use his influence with king and pope.
34.
The proem is a narrative sequence in which the narrator travels " beyond the beaten paths of mortal men " to receive a revelation from an unnamed goddess ( generally thought to be Persephone or Dik ) on the nature of reality . " Aletheia ", an estimated 90 % of which has survived, and " doxa ", most of which no longer exists, are then presented as the spoken revelation of the goddess without any accompanying narrative.
35.
One such writer was Celsus who wrote in " On Medicine I Proem 23 ", " Herophilus and Erasistratus proceeded in by far the best way : they cut open living men-criminals they obtained out of prison from the kings and they observed, while their subjects still breathed, parts that nature had previously hidden, their position, color, shape, size, arrangement, hardness, softness, smoothness, points of contact, and finally the processes and recesses of each and whether any part is inserted into another or receives the part of another into itself ."
36.
The organization writes, " Physically removed from the city [ since he began the piece while living in the Caribbean ], Crane relied on his memory and imagination to render the numerous awesome and grotesque nuances of New York, evident in poems such as'The Tunnel'and'Cutty Sark .'The book s opening,'Proem : To Brooklyn Bridge,'is indicative of Crane s ecstatic, symbolic vision of the modern city . . . However, [ because of his suicide in April 1932, ] Crane would never again complete anything as complex or compelling as " The Bridge " ."
37.
He opens the book, in the proem, stating his belief that the man who succeed in " kindling a light in nature ", would be " " the benefactor indeed of the human race, the propagator of man's empire over the universe, the champion of liberty, the conqueror and subduer of necessities " ", and at the same time identifying himself as that man, saying he believed he " had been born for the service of mankind ", and that in considering in what way mankind might best be served, he had found none so great as the discovery of new arts, endowments, and commodities for the bettering of man's life.
38.
Telesio writes in the beginning of the Proem of the first book of the third edition of " De Rerum Natura Iuxta Propria Principia Libri Ix " . . . " That the construction of the world and the magnitude of the bodies contained within it, and the nature of the world, is to be searched for not by reason as was done by the ancients, but is to be understood by means of observation . " ( " Mundi constructionem, corporumque in eo contentorum magnitudinem, naturamque non ratione, quod antiquioribus factum est, inquirendam, sed sensu percipiendam . " ) This statement, found on the very first page, summarizes what many modern scholars have generally considered to be Telesian philosophy, and it often seems that many did not read any further for on the very next page he sets up his hot / cold theory of informed matter, a theory that is clearly not informed by our modern idea of observation.
