Complementary Mother Quotes

Men can do certain things well and women other things. Men and women are complementary to each other. One need not prove one’s strength.

The house had a small galley kitchen where my mother performed daily miracles, stretching a handful into a potful, making the most of what we raised. Cooking mostly from memory and instinct, she took a packet of meat, a bunch of greens or a bag of peas, a couple of potatoes, a bowl of flour, a cup of cornmeal, a few tablespoons of sugar, added a smattering of this and a smidgeon of that, and produced meals of rich and complementary flavors and textures. Delicious fried chicken, pork chops, and steak, sometimes smothered with hearty gravy, the meat so tender that it fell from the bone. Cob-scraped corn pan-fried in bacon drippings, served with black-eyed peas and garnished with thick slices of fresh tomato, a handful of diced onion, and a tablespoon of sweet pickle relish. A mess of overcooked turnips simmering in neck-bone-seasoned pot liquor, nearly black—tender and delectable. The greens were minced on the plate, doused with hot pepper sauce, and served with a couple sticks of green onions and palm-sized pieces of hot-water cornbread, fried golden brown, covered with ridges from the hand that formed them, crispy shell, crumbly soft beneath.

[Scarlett] knew how to smile so that her dimples leaped, how to walk pigeon-toed so that her wide hoop skirts swayed entrancingly, how to look up into a man's face and then drop her eyes and bat the lids rapidly so that she seemed a-tremble with gentle emotion. Most of all she learned how to conceal from men a sharp intelligence beneath a face as sweet and bland as a baby's. Ellen, by soft admonition, . . . labored to inculcate in her the qualities that would make her truly desirable as a wife. "You must be more gentle, dear, more sedate," Ellen told her daughter. "You must not interrupt gentlemen when they are speaking, even if you do think you know more about matters than they do. Gentlemen do not like forward girls." [Ellen] taught her all that a gentlewoman should know, but she learned only the outward signs of gentility. The inner grace from which these signs should spring, she never learned nor did she see any reason for learning it. Appearances were enough, for the appearances of ladyhood won her popularity and that was all she wanted. . . . At sixteen, thanks to Mammy and Ellen, she looked sweet, charming and giddy, but she was, in reality, self-silled, vain and obstinate. She had the easily stirred passions of her Irish father and nothing except the thinnest veneer of her mother's unselfish and forbearing nature. . . It was not that these two loving mentors deplored Scarlett's high spirits, vivacity and charm. These were traits of which Southern women were proud. It was Gerald's headstrong and impetuous nature in her that gave them concern, and they sometimes feared they would not be able to conceal her damaging qualities until she had made a good match. But Scarlett intended to marry-and marry Ashley-and she was willing to appear demure, pliable and scatterbrained, if those were the qualities that attracted men. Just why men should be this way, she did not know. She only knew that such methods worked. It never interested her enough to try to think out the reason for it, for she knew nothing of the inner workings of any human being's mind, not even her own. She knew only that if she did or said thus-and-so, men would unerringly respond with the complementary thus-and-so. It was like a mathematical formula and no more difficult . . . If she knew little about men's minds, she knew even less about the minds of women, for they interested her less. She had never had a girl friend, and she never felt any lack on that account. To her, all women, including her two sisters, were natural enemies in pursuit of the same prey-man.

What is complementarity? “Complementarity” refers to the unique - and fruitful - relationship between men and women. Both men and women are created in the image of God. Both have great dignity and worth. But equality does not mean “sameness”: a man is not a woman, and a woman is not a man. Instead, “male and female are distinct bodily ways of being human, of being open to God and to one another” (LL, p. 10). Because men and women are “complementary,” they bring different gifts to a relationship. In marriage, the complementarity of husband and wife is expressed very clearly in the act of conjugal love, having children, and fathering and mothering –actions that call for the collaboration – and unique gifts – of husband and wife.

a child is being beaten, children are beaten"—a typical group fantasy where desire invests the social field and its repressive forms. If there is a mise en scene, it is directed by a social desiring-machine whose product should not be considered abstractly, separating the girl's and the boy's cases, as if each were a little ego taking up its own business with daddy and mommy. On the contrary, we should consider the complementary ensemble made up of boy-girl and parents-agents of production and antiproduction, this ensemble being present at the same time in each individual and in the socius that presides over the organization of the group fantasy. Simultaneously the boys are beaten-initiated by the teacher on the little girl's erotic stage (seeing-machine), and obtain satisfaction in a masochistic fantasy involving the mother (anal machine). The result is that the boys are able to see only by becoming little girls, and the girls cannot experience the pleasure of punishment except by becoming boys. It is a whole chorus, a montage: back in the village after a raid in Vietnam, in the presence of their weeping sisters, the filthy Marines are beaten by their instructor, on whose knees the mommy is seated, and they have orgasms for having been so evil, for having tortured so well. It's so bad, but also so good!

The second dominant topic in Fifty Shades is not BDSM either. It is something complementary to human closeness. This topic is about intimate conversation, which makes up another 13 percent of the novel, and reflects Ana’s emotional discussions not just with Christian but with her best friend, Kate, her mother, her friend José, and her stepfather. A third important topic in James’s novel, accounting for roughly 10 percent of the topical DNA, is one that centers on nonverbal communication such as smiles, glances, and other facial expressions. We learned that actually, when the novel is machine-read word for word, not one of the three most dominant topics in the novel is about kinky sex. To be sure, sex is there in the topical profile: the fourth, fifth, and sixth most prevalent topics taken together add another 13 percent of the overall ingredients and all of these relate to seduction, sex, and the female body. But clearly there was something else going on, something more subtle and more interesting than the BDSM hype that became the center of so much of the reviews.

In the beginning there was only the Great Mother Goddess but as her power was eroded by increasingly patriarchal religions she became fragmented into an array of deities. Is the strong feminine duality present in Egyptian philosophy and religion an echo of this? The duality of the Great Mother first split into the Double Goddess then into Goddesses who work together, such as Isis and Nephthys. These will always create a complementary pair as they are really part of the same whole. The Double Goddess is collaborative female power integrating all components of female energy and this collaboration is seen perfectly in the work of Isis and Nephthys.

World Health Organization recommends exclusive breastfeeding for infants up to six months of age, with continued breastfeeding along with appropriate complementary foods up to two years of age or beyond.[11] Montessori wrote about the benefits of breastfeeding (up to two years or more), not only because of its beneficial influence on the health of the child, but also because it allows babies to always be close to their mother, to watch what she does throughout her day and to learn by observing her as she goes about her daily chores.[12]

Separation and individuation are conceived of as two complementary developments: separation consists of the child’s emergence from a symbiotic fusion with the mother (Mahler, 1952), and individuation consists of those achievements marking the child’s assumption of his own individual characteristics.

is adored even by the Lord of Gods himself (5.81), illuminates the spatial directions (5.92), owns all the treasures of the deities, gandharvas, and nāgas (5.111),6 and abides as higher understanding (buddhi) in the hearts of all beings (11.8). But, as is clear from the core story of this hymn, the goddess also has her destructive side. She not only conquers all demonic forces but also annihilates the universe at the appropriate time. To her devotees, however, she shows her most benign maternal aspect, protecting and ultimately liberating them. After having been propitiated with praise, the goddess responds: Whosoever with concentration worships Me constantly with these [hymns], his every difficulty I will remove without a doubt. (12.2) Kālī, Shiva, and the Cosmic Dance Even a short précis of the Tantric view of time, as attempted here, would be incomplete without introducing the Divine Female, or Shakti, in her most startling manifestation as the goddess Kālī. The name is the feminine form of kāla, meaning “time,” “death,” and “black.” These three connotations are all fused in the symbolism of the goddess Kālī. Black results from the absorption of all colors, whereas white is their copresence. The saintly Ramakrishna, guru of Swami Vivekananda, offered a devotee’s complementary explanation of the name Kālī when he remarked, “You see her as black because you are far away from her. Go near and you will find her devoid of all color.”7 In The Gospel of Sri Ramakrishna, which chronicles the life and teachings of this great nineteenth-century master, we find the following hymn: In dense darkness, O Mother, Thy formless beauty sparkles; Therefore the yogis meditate in a dark mountain cave. In the lap of boundless dark, on Mahanirvana’s waves upborne, Peace flows serene and inexhaustible.8 Taking the form of the Void, in the robe of darkness wrapped, Who art Thou, Mother, seated alone in the shrine of samadhi?9 From the Lotus of Thy fear-scattering Feet flash Thy love’s lightnings; Thy Spirit-Face shines forth with laughter terrible and loud!10 To absorb, devour, or destroy the universe is one of the terrifying functions of the black goddess. She brings death not just to the individual but to the cosmic egg itself in which individuals, high and low, live out their respective separative lives over and over again. In the Mahānirvāna-Tantra (4.29–31) the goddess is addressed as the supreme yogini because at the end of time she devours the devourer of time himself, Shiva in his form as Mahākāla. In many temples in Bengal and Nepal, Kālī is depicted as a black or dark blue block of stone. In her humanoid form, Hindu iconography pictures Kālī as a fierce-looking female whose naked, full-breasted body stands astride or straddles the prostrate nude body of her divine partner Shiva, with ashen skin and erect penis.