Sit down with a loved one and read aloud two poems: the miraculous "The Sleepers" (1855), in which Whitman eavesdrops on the slumber of multitudes, alive and dead, and interweaves dreams of his own—at one point joining a merry company of spirits, of whom he says, "I reckon I am their boss, and they make me a pet besides"—and "When Lilacs Last in the Dooryard Bloom'd" (1865), his epic elegy for Abraham Lincoln, in which the President isn't named, even as his loss interpenetrates nature, symbolized by the unearthly song of "the gray-brown bird," a hermit thrush.
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During Link TV's Lunch With Bokara 2005 episode "The Monk and the Rabbi", he stated: In that same episode, he expressed his belief in panentheism, where divinity interpenetrates every part of existence and timelessly extends beyond it (as distinct from pantheism).
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The omnipresence of a supreme being is conceived differently by different religious systems. In monotheistic beliefs like Christianity, Judaism, and Islam the divine and the universe are separate, but the divine is present everywhere. In pantheistic beliefs the divine and the universe are identical. In panentheistic beliefs the divine interpenetrates the universe, but extends beyond it in time and space.
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Panentheism (from Greek (pân) "all"; (en) "in"; and (theós) "God"; "all-in-God") is a belief system that posits that the divine (be it a monotheistic God, polytheistic gods, or an eternal cosmic animating force) interpenetrates every part of nature, but is not one with nature. Panentheism differentiates itself from pantheism, which holds that the divine is synonymous with the universe. In panentheism, there are two types of substance, "pan" the universe and God. The universe and the divine are not ontologically equivalent.
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Deep fascia (or investing fascia) is a fascia, a layer of dense connective tissue that can surround individual muscles and groups of muscles to separate into fascial compartments. This fibrous connective tissue interpenetrates and surrounds the muscles, bones, nerves, and blood vessels of the body. It provides connection and communication in the form of aponeuroses, ligaments, tendons, retinacula, joint capsules, and septa. The deep fasciae envelop all bone (periosteum and endosteum); cartilage (perichondrium), and blood vessels (tunica externa) and become specialized in muscles (epimysium, perimysium, and endomysium) and nerves (epineurium, perineurium, and endoneurium).
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In contrast, Sri Vaishnavism sampradaya associated with Ramanuja has monotheistic elements, but differs in several ways, such as goddess Lakshmi and god Vishnu are considered as inseparable equal divinities.William Wainwright (2013), Monotheism, Stanford Encyclopedia of Philosophy, Stanford University Press According to some scholars, Sri Vaishnavism emphasizes panentheism, and not monotheism, with its theology of "transcendence and immanence",Ankur Barua (2010), God's body at work: Ramanuja and Panentheism, International Journal of Hindu Studies, Volume 14, Number 1, pages 1-30 where God interpenetrates everything in the universe, and all of empirical reality is God's body.Anne Hunt Overzee (1992).
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In this portrait, Gleizes was interested in 'equivalences, echoes, interpenetrations [emboîtements], rhythmic correspondences with the surrounding elements—terrain, trees, houses'. He was delighted to paint a portrait of Nayral because his face corresponded well to the solid, faceted, architectural qualities he had sought. In a departure from the static nature of single-point perspective, in his Nayral portrait, as in Le Chemin, Paysage à Meudon (1911), Gleizes simplifies, interpenetrates volumes, fuses the landscape with the model, to form a homogeneous picture. While volumes point is different directions and the subject is seen from several different angles ('multiple perspective') the observer still sees the entire surface of the canvas, preserving unity.
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The chief novelty in At the Sign of the Lyre was the series of "Fables of Literature and Art," founded in manner upon John Gay. It is in these perhaps, more than in any other of his poems, that we see how Dobson interpenetrates the literature of fancy with the literature of judgment. After 1885 Dobson was engaged mainly in critical and biographical prose, by which he added considerably to the general knowledge of his favourite 18th century. His biographies of Henry Fielding (1883), Thomas Bewick (1884), Richard Steele (1886), Oliver Goldsmith (1888), Horace Walpole (1890) and William Hogarth (1879-1891-1897-1902-1907) are studies marked alike by assiduous research, sympathetic presentation and sound criticism.
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Proclus said that "Pherecydes used to say that Zeus changed into Eros when about to create, for the reason that, having created the world from opposites, he led it into agreement and peace and sowed sameness in all things, and unity that interpenetrates the universe". The act of creation itself (perhaps it is more accurate to say that Chronos creates and that Zas orders and distributes) is described mytho-poetically as Zas making a cloth on which he decorates earth and sea, and which he then presents as a wedding gift to Chthonie, and wraps around her. Yet, in another fragment it is not Chthonie, but "a winged oak" that he wraps the cloth around. The "winged oak" in this cosmology has no precedent in Greek tradition.
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