Emblem Love Quotes

Love is its own rescue; for we, at our supremest, are but its trembling emblems.

Love is the emblem of eternity: it confounds all notion of time: effaces all memory of a beginning, all fear of an end.

For me . . .” the words seemed difficult for Alex to find, “getting to stay with you, to spend more time with you . . . to love you the way you should be loved, it’s all I live for.

In Tereza’s eyes, books were the emblems of a secret brotherhood. For she had but a single weapon against the world of crudity surrounding her: the novels. She had read any number of them, from Fielding to Thomas Mann. They not only offered the possibility of an imaginary escape from a life she found unsatisfying; they also had a meaning for her as physical objects: she loved to walk down the street with a book under her arm. It had the same significance for her as an elegant cane from the dandy a century ago. It differentiated her from others.

His eyes were warm as he gazed at me. “I would do anything for you, don’t ever forget that.” Emil moved closer, gently tucking the rose behind my ear. The floral scent perfumed every breath I took as Emil brushed his thumb lightly over my lips. “Evie, I lost you once, I won’t lose you again. Even if it takes a thousand years to earn your trust and win you back, I’ll do it. You’re the only person in my life who matters. You’re the only person who ever has. I love you. Emil

You said I told you I was in love with someone else, but I’m not. That’s not what I meant. Cassandra was a part of my past, but our time together ended. The only person I want, the only person I love, is you.

The rose I gave you was an emblem of my heart,' said she; 'would you take it away and leave me here alone?' 'Would you give me your hand too, if I asked it?' 'Have I not said enough?

It was the dream itself enchanted me: Character isolated by a deed To engross the present and dominate memory. Players and painted stage took all my love, And not those things that they were emblems of. [from "The Circus Animals' Desertion"]

You shall suffer for ever the influence of my kiss. You shall be beautiful in my fashion. You shall love that which I love and that which loves me: water, clouds, silence and the night; the immense green sea; the formless and multiform streams; the place where you shall not be; the lover whom you shall not know; flowers of monstrous shape; perfumes that cause delirium; cats that shudder, swoon and curl up on pianos and groan like women, with a voice that is hoarse and gentle! And you shall be loved by my lovers, courted by my courtiers. You shall be the queen of all men that have green eyes, whose necks also I have clasped in my nocturnal caresses; of those who love the sea, the sea that is immense, tumultuous and green, the formless and multiform streams, the place where they are not, the woman whom they do not know, sinister flowers that resemble the censers of a strange religion, perfumes that confound the will; and the savage and voluptuous animals which are the emblems of their dementia.

Lips are the outward sign, the emblem of desire, and lipstick is the ink in which we graffiti that message on our smile, our pout and pucker. When a girl blows a man a kiss she is sending him a piece of her soul.

Moss is selected to be the emblem of maternal love, because, like that love, it glads the heart when the winter of adversity overtakes us, and when summer friends have deserted us.

Therefore bread was created for the glory of Christ. Hunger and thirst were created for the glory of Christ. And fasting was created for the glory of Christ. Which means that bread magnifies Christ in two ways: by being eaten with gratitude for his goodness, and by being forfeited out of hunger for God himself. When we eat, we taste the emblem of our heavenly food—the Bread of Life. And when we fast we say, “I love the Reality above the emblem.” In the heart of the saint both eating and fasting are worship. Both magnify Christ.

When I was a schoolboy in England, the old bound volumes of Kipling in the library had gilt swastikas embossed on their covers. The symbol's 'hooks' were left-handed, as opposed to the right-handed ones of the Nazi hakenkreuz, but for a boy growing up after 1945 the shock of encountering the emblem at all was a memorable one. I later learned that in the mid-1930s Kipling had caused this 'signature' to be removed from all his future editions. Having initially sympathized with some of the early European fascist movements, he wanted to express his repudiation of Hitlerism (or 'the Hun,' as he would perhaps have preferred to say), and wanted no part in tainting the ancient Indian rune by association. In its origin it is a Hindu and Jainas symbol for light, and well worth rescuing.

Love can neither be bought nor sold - it's only price is love

I began to wonder if writers don’t choose to love long-distance, a sure way of blending passion and prose. The love letter seems perfectly suited to the contradiction of a writer’s life... the love letter may be the emblem of a vocation that demands solitude but desires communication.

Moss is selected to be the emblem of maternal love, because, like that love, it glads the heart when the winter of adversity overtakes us, and when summer friends have deserted us. —HENRIETTA DUMONT, The Floral Offering

Love’s language is hyperbole, but whispered, sibilant similes and promises sotto voce. It’s easy to imagine you’ve misheard,

... And I have found the woman I will love till the end of my days. She is the rock upon which I stand, from which I speak ton you today. From the moment she won my heart, my life's only fear has been that she would be absent from it, and the only truth I have since been convinced of is this, that love hath no emblem as curt as that which exists between she and I. When I'm with her, time is swift but at the same time stagnant, for she is, and forever will be, my eternal now. She is the source of my needing, the person without whom I would not be whole, and my feelings for her have reached a juncture where near is not near enough, a hair apart suddenly now a hair too far. I exist for her. And now I would like to exist with her. In perpetuity.

Birds began singing in brake and copse: birds were faithful to their mates; birds were emblems of love.

When we find her, I'm still going to fight for her.-Emil-

I am a Woman: an emblem of dignity; loving, caring, healing...scintillating, inspiring and appealing...

Love is the emblem of eternity. It confounds all notion of time, effaces all memory of a beginning, all fear of an end. ~ Madame de Staël

Slender and lissome, Zilia had skin of the purest white and features the very emblem of candor and modesty; her large dark blue eyes, more tender than lively, seemed to express love at the height of delicacy, sentiment at its most voluptuous. Her mouth was deliciously formed, her teeth white and beautiful; she seemed a little pale until one's gaze fell upon her and then she burst to life, fresh as a rose. Her brow was noble, her hair, so nicely patterned, ashen blonde in great quantity, elegantly matched by the gracious contours of her veil, streaming across alabaster breasts, always exposed in accord with the fashion of the country—all finally lent this pretty woman the air of a goddess of youth. She had just reached her 16th year, still growing despite all, her arms lithe and fingers to our eyes so very supple and slender.

Birds began singing in brake and copse: birds were faithful to their mates; birds were emblems of love. What was I? In the midst of my pain of heart and frantic effort of principle, I abhorred myself. I had no solace from self-approbation: none even from self-respect.

The Winding Stair My Soul. I summon to the winding ancient stair; Set all your mind upon the steep ascent, Upon the broken, crumbling battlement, Upon the breathless starlit air, 'Upon the star that marks the hidden pole; Fix every wandering thought upon That quarter where all thought is done: Who can distinguish darkness from the soul My Self. The consecretes blade upon my knees Is Sato's ancient blade, still as it was, Still razor-keen, still like a looking-glass Unspotted by the centuries; That flowering, silken, old embroidery, torn From some court-lady's dress and round The wodden scabbard bound and wound Can, tattered, still protect, faded adorn My Soul. Why should the imagination of a man Long past his prime remember things that are Emblematical of love and war? Think of ancestral night that can, If but imagination scorn the earth And intellect is wandering To this and that and t'other thing, Deliver from the crime of death and birth. My Self. Montashigi, third of his family, fashioned it Five hundred years ago, about it lie Flowers from I know not what embroidery - Heart's purple - and all these I set For emblems of the day against the tower Emblematical of the night, And claim as by a soldier's right A charter to commit the crime once more. My Soul. Such fullness in that quarter overflows And falls into the basin of the mind That man is stricken deaf and dumb and blind, For intellect no longer knows Is from the Ought, or knower from the Known - That is to say, ascends to Heaven; Only the dead can be forgiven; But when I think of that my tongue's a stone. II My Self. A living man is blind and drinks his drop. What matter if the ditches are impure? What matter if I live it all once more? Endure that toil of growing up; The ignominy of boyhood; the distress Of boyhood changing into man; The unfinished man and his pain Brought face to face with his own clumsiness; The finished man among his enemies? - How in the name of Heaven can he escape That defiling and disfigured shape The mirror of malicious eyes Casts upon his eyes until at last He thinks that shape must be his shape? And what's the good of an escape If honour find him in the wintry blast? I am content to live it all again And yet again, if it be life to pitch Into the frog-spawn of a blind man's ditch, A blind man battering blind men; Or into that most fecund ditch of all, The folly that man does Or must suffer, if he woos A proud woman not kindred of his soul. I am content to follow to its source Every event in action or in thought; Measure the lot; forgive myself the lot! When such as I cast out remorse So great a sweetness flows into the breast We must laugh and we must sing, We are blest by everything, Everything we look upon is blest

We have in this parable a lively emblem of the condition and behavior of sinners in their natural state. When enriched by the bounty of the great common Father, thus do they ungratefully run from Him, 15:12. Sensual pleasures are eagerly pursued, till they have squandered away all the grace of God, 15:13. But while these pleasures continue, not a serious thought of God can find a place in their minds. And even when afflictions come upon them, 15:14, still they will endure much hardship before they will let the grace of God, concurring with His Providence, persuade them to think of a return, 15:15, 16. But when they see themselves naked, indigent, and undone, then they recover the exercise of their reason, 15:17. Then they remember the blessings they have thrown away, and pay attention to the misery they have incurred. Upon this, they resolve to return to their Father, and put the resolution immediately in practice, 15:18, 19. Behold with wonder and pleasure the gracious reception they find from Divine, injured goodness! When such a prodigal comes to his Father, He sees him afar off, 15:20. He pities, meets, embraces him, and interrupts his acknowledgments with the tokens of His returning favor, 15:21. He arrays him with the robe of a Redeemer’s righteousness, with inward and outward holiness, adorns him with all His sanctifying graces, and honors him with the tokens of adopting love, 15:22. And all this He does with unutterable delight, in that he who was lost is now found, 15:23, 24. Let no older brother murmur at this indulgence, but rather welcome the prodigal back into the family. And let those who have been thus received, wander no more, but emulate the strictest piety of those who for many years have served their heavenly Father and not transgressed His commandments.

What happened to your arm?" she asked me one night in the Gentleman Loser, the three of us drinking at a small table in a corner. Hang-gliding," I said, "accident." Hang-gliding over a wheatfield," said Bobby, "place called Kiev. Our Jack's just hanging there in the dark, under a Nightwing parafoil, with fifty kilos of radar jammed between his legs, and some Russian asshole accidentally burns his arm off with a laser." I don't remember how I changed the subject, but I did. I was still telling myself that it wasn't Rikki who getting to me, but what Bobby was doing with her. I'd known him for a long time, since the end of the war, and I knew he used women as counters in a game, Bobby Quine versus fortune, versus time and the night of cities. And Rikki had turned up just when he needed something to get him going, something to aim for. So he'd set her up as a symbol for everything he wanted and couldn't have, everything he'd had and couldn't keep. I didn't like having to listen to him tell me how much he loved her, and knowing he believed it only made it worse. He was a past master at the hard fall and the rapid recovery, and I'd seen it happen a dozen times before. He might as well have had next printed across his sunglasses in green Day-Glo capitals, ready to flash out at the first interesting face that flowed past the tables in the Gentleman Loser. I knew what he did to them. He turned them into emblems, sigils on the map of his hustler' s life, navigation beacons he could follow through a sea of bars and neon. What else did he have to steer by? He didn't love money, in and of itself , not enough to follow its lights. He wouldn't work for power over other people; he hated the responsibility it brings. He had some basic pride in his skill, but that was never enough to keep him pushing. So he made do with women. When Rikki showed up, he needed one in the worst way. He was fading fast, and smart money was already whispering that the edge was off his game. He needed that one big score, and soon, because he didn't know any other kind of life, and all his clocks were set for hustler's time, calibrated in risk and adrenaline and that supernal dawn calm that comes when every move's proved right and a sweet lump of someone else's credit clicks into your own account.

At the time, I paid no heed to the emblem above the door of a compass crossed with a square; the library had been founded by Masons. There, in the quiet shadows, I read for hours from the books that the kind librarian allowed me to take from the shelves: fairy tales, adventure stories, adaptations of classics for children, and dictionaries of symbols. One day while browsing among the shelves I ran across a yellowed volume: Les Tarots by Eteilla. All my efforts to read it were in vain. The letters looked strange and the words were incomprehensible. I began to worry that I had forgotten how to read. When I communicated my anguish to the librarian, he began to laugh. “But how could you understand it; it’s written in French, my young friend! I can’t understand it either!” Oh, how I felt drawn to those mysterious pages! I flipped through them, seeing many numbers, sums, the frequent occurrence of the word Thot, some geometric shapes . . . but what fascinated me most was a rectangle inside which a princess, wearing a three-pointed crown and seated on a throne, was caressing a lion that was resting its head on her knees. The animal had an expression of profound intelligence combined with an extreme gentleness. Such a placid creature! I liked the image so much that I committed a transgression that I still have not repented: I tore out the page and brought it home to my room. Concealed beneath a floorboard, the card “STRENGTH” became my secret treasure. In the strength of my innocence, I fell in love with the princess.

This is what we call a shamrock. It has three leaves. Do you know what it represents?" "Luck? Amelia answered. Lee smiled. "That's what everyone says." Rick shrugged. "Well, I know it's Ireland's emblem." Lee shook his head and said earnestly, "It's much more than that. It represents our religion... who we are. When St. Patrick was trying to teach Christianity here in Ireland, he used this shamrock as an example." Lee pointed to each leaf and said, "This is the Father, the Son, and the Holy Ghost...." Rick still held the clover in his hand. He looked at it and twirled it between his fingers as he said, "I'm calling this the Shamrock Case from now on. I love what it represents.

When I was a schoolboy in England, the old bound volumes of Kipling in the library had gilt swastikas embossed on their covers. The symbol’s “hooks” were left-handed, as opposed to the right-handed ones of the Nazi hakenkreuz, but for a boy growing up after 1945 the shock of encountering the emblem at all was a memorable one. I later learned that in the mid-1930s Kipling had caused this “signature” to be removed from all his future editions. Having initially sympathized with some of the early European fascist movements, he wanted to express his repudiation of Hitlerism (or “the Hun,” as he would perhaps have preferred to say), and wanted no part in tainting the ancient Indian rune by association. In its origin it is a Hindu and Jain symbol for light, and well worth rescuing. To

In this peaceful city, during Tet, it was traditional to send cups of paper with lit candles floating down the Huong like flickering blossoms, prayers for health, for success, for the memory of loved ones away or departed, for success in business or in love, and perhaps for an end to the war and killing. It made a moving collective display, a vast flotilla of hope, many thousands of tiny flames. They would wind down the wide water without sound, flowing past the bright lights of the modern city to the south, framed to the north by the fortress’s high black walls. People would line both banks of the Huong to savor the spectacle, stepping up and bending to add their own offering. The ritual was Hue’s emblem and signature, a gesture of beauty and calm, of harmony between the living and the dead, an expression of Vietnam’s soul, a place far from the horrors of war. Not this year.

The Saviour made use of this symbolic service to direct the minds of the people to the blessings that he had come to bring them. “In the last day, that great day of the feast,” his voice was heard in tones that rang through the temple courts, “If any man thirst, let him come unto Me, and drink. He that believeth on Me, as the Scripture hath said, out of his belly shall flow rivers of living water.” “This,” said John, “spake he of the Spirit, which they that believe on him should receive.” John 7:37-39. The refreshing water, welling up in a parched and barren land, causing the desert place to blossom, and flowing out to give life to the perishing, is an emblem of the divine grace which Christ alone can bestow, and which is as the living water, purifying, refreshing, and invigorating the soul. He in whom Christ is abiding has within him a never-failing fountain of grace and strength. Jesus cheers the life and brightens the path of all who truly seek him. His love, received into the heart, will spring up in good works unto eternal life. And not only does it bless the soul in which it springs, but the living stream will flow out in words and deeds of righteousness, to refresh the thirsting around him.

Monoïmos … thinks that there is some such Man as Oceanus, of whom the poet speaks somewhat as follows: Oceanus, the origin of gods and of men.134 Putting this into other words, he says that the Man is All, the source of the universe, unbegotten, incorruptible, everlasting; and that there is a Son of the aforesaid Man, who is begotten and capable of suffering, and whose birth is outside time, neither willed nor predetermined … This Man is a single Monad, uncompounded [and] indivisible, [yet] compounded [and] divisible; loving and at peace with all things [yet] warring with all things and at war with itself in all things; unlike and like [itself], as it were a musical harmony containing all things … showing forth all things and giving birth to all things. It is its own mother, its own father, the two immortal names. The emblem of the perfect Man, says Monoïmos, is the jot or tittle.135 This one tittle is the uncompounded, simple, unmixed Monad, having its composition from nothing whatsoever, yet composed of many forms, of many parts. That single, indivisible jot is the many-faced, thousand-eyed and thousand-named, the jot of the iota. This is the emblem of that perfect and indivisible Man. … The Son of the Man is the one iota, the one jot flowing from on high, full and filling all things, containing in himself everything that is in the Man, the Father of the Son of Man.136

TOTALITARIANISM: People are interested in ants because they think they have managed to create a successful totalitarian system. Certainly, the impression we get from the outside is that everyone in the anthill works, everyone is obedient, everyone is ready to sacrifice themselves and everyone is the same. And for the time being, all human totalitarian systems have failed. That is why we thought of copying social insects (like Napoleon, whose emblem was the bee). The pheromones that flood the anthill with global information have an equivalent in the planetary television of today. There is a widespread belief that if the best is made available to all, one day we will end up with a perfect human race. That is not the way of things. Nature, with all due respect to Mr Darwin, does not evolve in the direction of the supremacy of the best (according to which criteria, anyway?). Nature draws its strength from diversity. It needs all kinds of people, good, bad, mad, desperate, sporty, bed-ridden, hunchbacked, hare-lipped, happy, sad, intelligent, stupid, selfish, generous, small, tall, black, yellow, red and white. It needs all religions, philosophies, fanaticisms and wisdom. The only danger is that any one species may be eliminated by another. In the past, fields of maize artificially designed by men and made up of clones of the best heads (the ones that need least water, are most frost-resistant or produce the best grains) have suddenly succumbed to trivial infections while fields of wild maize made up of several different strains, each with its own peculiar strengths and weaknesses, have always managed to survive epidemics. Nature hates uniformity and loves diversity. It is in this perhaps that its essential genius lies. Edmond Wells Encyclopedia of Relative and Absolute Knowledge

Despite its reputation for individualism and unbridled capitalism, the United States has a history rich in cooperation and communalism. From the colonial era to the present—and among the indigenous population for millennia—local communities have engaged in self-help, democracy, and cooperation. Indeed, the “individualistic” tradition might more accurately be called the “self-help” tradition, where “self” is defined not only in terms of the individual but in terms of the community (be it family, township, religious community, etc.). Americans are traditionally hostile to overarching authorities separate from the community with which they identify, a hostility expressed in the age-old resentment towards both government and big business. The stereotype, based on fact, is that Americans would rather solve problems on their own than rely on political and economic power-structures to do so. The following brief survey of the history substantiates this claim. While my focus is on worker cooperatives, I will not ignore the many and varied experiments in other forms of cooperation and communalism. Certain themes and lessons can be gleaned from the history. The most obvious is that a profound tension has existed, constantly erupting into conflict, between the democratic, anti-authoritarian impulses of ordinary Americans and the tendency of economic and political power-structures to grow extensively and intensively, to concentrate themselves in ever-larger and more centralized units that reach as far down into society as possible. Power inherently tries to control as much as it can: it has an intrinsic tendency toward totalitarianism, ideally letting nothing, even the most trivial social interactions, escape its oversight. Bentham’s Panopticon is the perfect emblem of the logic of power. Other social forces, notably people’s strivings for freedom and democracy, typically keep this totalitarian tendency in check. In fact, the history of cooperation and communalism is a case-study in the profound truth that people are instinctively averse to the modes of cutthroat competition, crass greed, authoritarianism, hierarchy, and dehumanization that characterize modern capitalism. Far from capitalism’s being a straightforward expression of human nature, as apologists proclaim, it is more like the very antithesis of human nature, which is evidently drawn to such things as free self-expression, spontaneous “play,”131 cooperation and friendly competition, compassion, love. The work of Marxist historians like E. P. Thompson shows how people have had to be disciplined, their desires repressed, in order for the capitalist system to seem even remotely natural: centuries of indoctrination, state violence, incarceration of “undesirables,” the bureaucratization of everyday life, have been necessary to partially accustom people to the mechanical rhythms of industrial capitalism and the commodification of the human personality.132 And of course resistance continues constantly, from the early nineteenth century to the present day. “Wage-slavery,” as workers in the nineteenth century called it, is a monstrous assault on human dignity, which is why even today, after so much indoctrination, people still hate being subordinated to a “boss” and rebel against it whenever they can.

Slowly crossing the deck from the scuttle, Ahab leaned over the side, and watched how his shadow in the water sank and sank to his gaze, the more and the more that he strove to pierce the profundity. But the lovely aromas in that enchanted air did at last seem to dispel, for a moment, the cankerous thing in his soul. That glad, happy air, that winsome sky, did at last stroke and caress him; the step-mother world, so long cruel - forbidding - now threw affectionate arms round his stubborn neck, and did seem to joyously sob over him, as if over one, that however wilful and erring, she could yet find it in her heart to save and to bless. From beneath his slouched hat Ahab dropped a tear into the sea; nor did all the pacific contain such wealth as that one wee drop. Starbuck saw the old man; saw him, how he heavily leaned over the side; and he seemed to hear in his own true heart the measureless sobbing that stole out of the centre of the serenity around. Careful not to touch him, or be noticed by him, he yet drew near to him, and stood there. Ahab turned. "Starbuck!" "Sir." "Oh, Starbuck! it is a mild, mild wind, and a mild looking sky. On such a day - very much such a sweetness as this - I struck my first whale - a boy-harpooneer of eighteen! Forty - forty - forty years ago! - ago! Forty years of continual whaling! forty years of privation, and peril, and storm-time! forty years on the pitiless sea! for forty years has Ahab forsaken the peaceful land, for forty years to make war on the horrors of the deep! Aye and yes, Starbuck, out of those forty years I have not spent three ashore. When I think of this life I have led; the desolation of solitude it has been; the masoned, walled-town of a Captain's exclusiveness, which admits but small entrance to any sympathy from the green country without - oh, weariness! heaviness! Guinea-coast slavery of solitary command! - when I think of all this; only half-suspected, not so keenly known to me before - and how for forty years I have fed upon dry salted fare - fit emblem of the dry nourishment of my soul - when the poorest landsman has had fresh fruit to his daily hand, and broken the world's fresh bread to my mouldy crusts - away, whole oceans away, from that young girl-wife I wedded past fifty, and sailed for Cape Horn the next day, leaving but one dent in my marriage pillow - wife? wife? - rather a widow with her husband alive! Aye, I widowed that poor girl when I married her, Starbuck; and then, the madness, the frenzy, the boiling blood and the smoking brow, with which, for a thousand lowerings old Ahab has furiously, foamingly chased his prey - more a demon than a man! - aye, aye! what a forty years' fool - fool - old fool, has old Ahab been! Why this strife of the chase? why weary, and palsy the arm at the oar, and the iron, and the lance? how the richer or better is Ahab now? Behold. Oh, Starbuck! is it not hard, that with this weary load I bear, one poor leg should have been snatched from under me? Here, brush this old hair aside; it blinds me, that I seem to weep. Locks so grey did never grow but from out some ashes! But do I look very old, so very, very old, Starbuck? I feel deadly faint, bowed, and humped, as though I were Adam, staggering beneath the piled centuries since Paradise. God! God! God! - crack my heart! - stave my brain! - mockery! mockery! bitter, biting mockery of grey hairs, have I lived enough joy to wear ye; and seem and feel thus intolerably old? Close! stand close to me, Starbuck; let me look into a human eye; it is better than to gaze into sea or sky; better than to gaze upon God. By the green land; by the bright hearth-stone! this is the magic glass, man; I see my wife and my child in thine eye. No, no; stay on board, on board! - lower not when I do; when branded Ahab gives chase to Moby Dick. That hazard shall not be thine. No, no! not with the far away home I see in that eye!

Oh, Starbuck! it is a mild, mild wind, and a mild looking sky. On such a day- very much such a sweetness as this- I struck my first whale- a boy-harpooneer of eighteen! Forty- forty- forty years ago!- ago! Forty years of continual whaling! forty years of privation, and peril, and storm-time! forty years on the pitiless sea! for forty years has Ahab forsaken the peaceful land, for forty years to make war on the horrors of the deep! Aye and yes, Starbuck, out of those forty years I have not spent three ashore. When I think of this life I have led; the desolation of solitude it has been; the masoned, walled-town of a Captain’s exclusiveness, which admits but small entrance to any sympathy from the green country without- oh, weariness! heaviness! Guinea-coast slavery of solitary command!- when I think of all this; only half-suspected, not so keenly known to me before- and how for forty years I have fed upon dry salted fare- fit emblem of the dry nourishment of my soul!- when the poorest landsman has had fresh fruit to his daily hand, and broken the world’s fresh bread to my mouldy crusts- away, whole oceans away, from that young girl-wife I wedded past fifty, and sailed for Cape Horn the next day, leaving but one dent in my marriage pillow- wife? wife?- rather a widow with her husband alive? Aye, I widowed that poor girl when I married her, Starbuck; and then, the madness, the frenzy, the boiling blood and the smoking brow, with which, for a thousand lowerings old Ahab has furiously, foamingly chased his prey- more a demon than a man!- aye, aye! what a forty years’ fool- fool- old fool, has old Ahab been! Why this strife of the chase? why weary, and palsy the arm at the oar, and the iron, and the lance? how the richer or better is Ahab now? Behold. Oh, Starbuck! is it not hard, that with this weary load I bear, one poor leg should have been snatched from under me? Here, brush this old hair aside; it blinds me, that I seem to weep. Locks so grey did never grow but from out some ashes! But do I look very old, so very, very old, Starbuck? I feel deadly faint, bowed, and humped, as though I were Adam, staggering beneath the piled centuries since Paradise. God! God! God!- crack my heart!- stave my brain!- mockery! mockery! bitter, biting mockery of grey hairs, have I lived enough joy to wear ye; and seem and feel thus intolerably old? Close! stand close to me, Starbuck; let me look into a human eye; it is better than to gaze into sea or sky; better than to gaze upon God. By the green land; by the bright hearthstone! this is the magic glass, man; I see my wife and my child in thine eye. No, no; stay on board, on board!- lower not when I do; when branded Ahab gives chase to Moby Dick. That hazard shall not be thine. No, no! not with the far away home I see in that eye!” “Oh, my Captain! my Captain! noble soul! grand old heart, after all! why should any one give chase to that hated fish! Away with me! let us fly these deadly waters! let us home! But Ahab’s glance was averted; like a blighted fruit tree he shook, and cast his last, cindered apple to the soil. “What is it, what nameless, inscrutable, unearthly thing is it; what cozening, hidden lord and master, and cruel, remorseless emperor commands me; that against all natural lovings and longings, I so keep pushing, and crowding, and jamming myself on all the time; recklessly making me ready to do what in my own proper, natural heart, I durst not so much as dare? Is Ahab, Ahab? Is it I, God, or who, that lifts this arm? But if the great sun move not of himself; but is an errand-boy in heaven; nor one single star can revolve, but by some invisible power; how then can this one small heart beat; this one small brain think thoughts; unless God does that beating, does that thinking, does that living, and not I. By heaven, man, we are turned round and round in this world, like yonder windlass, and Fate is the handspike.

If we can fight the tendency to let it become so familiar that we don’t notice it, we can be challenged every week to remember that God doesn’t want our bloody victories and that sacrifice doesn’t really overcome our rivalries. At least for Christians, that crucifix should be the emblem of the end of violence.

April 13 MORNING “A bundle of myrrh is my well-beloved unto me.” — Song of Solomon 1:13 MYRRH may well be chosen as the type of Jesus on account of its preciousness, its perfume, its pleasantness, its healing, preserving, disinfecting qualities, and its connection with sacrifice. But why is He compared to “a bundle of myrrh”? First, for plenty. He is not a drop of it, He is a casket full. He is not a sprig or flower of it, but a whole bundle. There is enough in Christ for all my necessities; let me not be slow to avail myself of Him. Our well-beloved is compared to a “bundle” again, for variety: for there is in Christ not only the one thing needful, but in “Him dwelleth all the fulness of the Godhead bodily,” everything needful is in Him. Take Jesus in His different characters, and you will see a marvellous variety — Prophet, Priest, King, Husband, Friend, Shepherd. Consider Him in His life, death, resurrection, ascension, second advent; view Him in His virtue, gentleness, courage, self-denial, love, faithfulness, truth, righteousness — everywhere He is a bundle of preciousness. He is a “bundle of myrrh” for preservation — not loose myrrh tied up, myrrh to be stored in a casket. We must value Him as our best treasure; we must prize His words and His ordinances; and we must keep our thoughts of Him and knowledge of Him as under lock and key, lest the devil should steal anything from us. Moreover, Jesus is a “bundle of myrrh” for speciality. The emblem suggests the idea of distinguishing, discriminating grace. From before the foundation of the world, He was set apart for His people; and He gives forth His perfume only to those who understand how to enter into communion with Him, to have close dealings with Him. Oh! blessed people whom the Lord hath admitted into His secrets, and for whom He sets Himself apart. Oh! choice and happy who are thus made to say, “A bundle of myrrh is my wellbeloved unto me.

 Quietly contemplate the Lamb as the light of heaven. Light in Scripture  is the emblem of joy. The joy of the saints in heaven is comprised in  this: Jesus chose us, loved us, bought us, cleansed us, robed us, kept  us, glorified us: we are here entirely through the Lord Jesus.

Over the white and green robes, as the crown and perfection of its disguise, the soul puts on the third, the splendid robe of purple. This is the emblem of charity, which not only enhances the beauty of the others, but which so elevates the soul and renders it so lovely and pleasing in His eyes that it ventures to say to Him, “I am black but beautiful, O daughters of Jerusalem, therefore hath the king loved me and brought me into His secret chamber.”15 This robe of charity, which is that of love, not only defends and protects the soul from its third enemy, the flesh—for where the true love of God is there is no room for self-love or for selfishness—but strengthens the other virtues also, and makes them flourish for the protection of the soul, beautifying it and adorning it with grace, so that it shall please the Beloved; for without charity no virtue is pleasing unto God. This is the purple, spoken of in the Canticle, by which the soul ascends to the seat where God reposes: “the seat of gold, the going up of purple.”16 It is vested in this robe of purple that the soul journeys, as the first stanza declares, when in the dark night it went out of itself, and from all created things, with anxious love inflamed, by the secret ladder of contemplation to the perfect union of the love of God its beloved Savior. 11.

On a hill far away stood an old rugged cross, The emblem of suffering and shame; And I love that old cross where the dearest and best For a world of lost sinners was slain. So I’ll cherish the old rugged cross, Till my trophies at last I lay down; I will cling to the old rugged cross, And exchange it someday for a crown. O that old rugged cross, so despised by the world, Has a wondrous attraction for me; For the dear Lamb of God left His glory above To bear it to dark Calvary. In that old rugged cross, stained with blood so divine, A wondrous beauty I see, For ’twas on that old cross Jesus suffered and died, To pardon and sanctify me. To the old rugged cross I will ever be true; Its shame and reproach gladly bear; Then He’ll call me some day to my home far away, Where His glory forever I’ll share.

Here is an unbroken space in which a woman and a man may with the full sanction of society, practically make love to each other with their eyes, their fleeting touch, and the display of their bodies. Emblem of marriage, indeed.

To hear a hum is to hark a psalm. And dear the thrum of a lark that calm. A Seer strum that spark with aplomb. A whisper and drum stark in no qualm. A letter emblem mark by your palm. A server that form as clark to cast. A weaver of rhyme for tome to last. A maker of poem is pure and just.

This ambiant and all penetrating fluid, this ray detached from the sun’s splendor, and fixed by the weight of the atmosphere, and by the power of central attraction, this body of the Holy Ghost, which we call the Astral Light and the Universal Agent, this electromagnetic ether, this vital and luminous caloric is represented on ancient monuments by the girdle of Isis, which twines in a love knot round two poles, by the bull-headed serpent, by the serpent with the head of a goat or dog, in the ancient theogonies by the serpent devouring its own tail, emblem of prudence and of Saturn. It is the winged dragon of Medea, the double serpent of the Caduceus, and the tempter of Genesis; but it is also the brazen snake of Moses, encircling the Tau, that is, the generative lingam; it is the Hyle of the Gnostics, and the double tail which forms the legs of the solar cock of Abraxos.

Of course the rose has plenty of other associations beyond the realm of love and sex. It has served as a royal emblem and national flower. It represents Christian charity, the brevity of life, and hopes for happiness, a time when everything will come up roses. Secular and spiritual roses are often intertwined....

Stanley throws the screen door of the kitchen open and comes in. He is of medium height, about five feet eight or nine, and strongly, compactly built. Animal joy in his being is implicit in all his movements and attitudes. Since earliest manhood the center of his life has been pleasure with women, the giving and taking of it, not with weak indulgence, dependently, but with the power and pride of a richly feathered male bird among hens. Branching out from this complete and satisfying center are all the auxiliary channels of his life, such as his heartiness with men, his appreciation of rough humor, his love of good drink and food and games, his car, his radio, everything that is his, that bears his emblem of the gaudy seed-bearer. He sizes women up at a glance, with sexual classifications, crude images flashing into his mind and determining the way he smiles at them.

I was walking all along just going for a walk outside after the party, I just felt good, I didn’t know if I wanted to sing, dance, and or cry; I was that happy getting to be with Marcel, so I went to my spot in the old car in the junkyard. I have to jump the face and rip my tank top or something like that yet it worth it, to see my dream car, sitting there I not a girlie girl but I love this cute thing it's sex looking like me. I found this old car at colleen’s junkyard it like right next door, I freak’n loved this old piece of crap, I even had sex with myself in the back seat, I took the old hood ornament off myself and keep it, my dad said it was off of Neveah’s dad's car, yet it was given to my mom and that why it just sitting outside for all the kids like me to rip the parts off of and sell on eBay. My stepmom hated Kristen, my real mother, so that is why the car ended up where it’s at, it was passed down yet the step-monster made sure I would never have it. My stepdad said the emblem is of a 1950 Nash that I found, little did I know it doesn’t go on that car yet, I think it’s a good fit, I was getting the car on my eighteenth birthday- I freaked up and had to die, just like me in the graveyard we both are retreating away. My stepdads had the 1950 Nash which he said was the first real sports car and it’s all steel, so I put it back on without him knowing that I did, funny maybe that's why I passed doing something like that… it was like it was meant for that car, or so he said and I did also. There is an old fender off what likes to be some old ford over there too that is rusty red, I am not sure of the year it’s too damn old for me to know. I remember right my dad said that grand-ma Nevaeh went to school in something like a 1965 Cadillac Deville convertible, yet, I don’t see that she had like nothing, I don’t know what that thing is. Like with these old cars, don't think you have a seat belt, you just cracked your head off the dash of the Nash and then they wiped it off, and sold it to some other poor ass hole.

Physically, he’s changed again. The face more drawn, the skin more wan, and he’s gained weight in the oddest way. His face, arms, legs, and butt are skinny, but his stomach – his stomach has ballooned. He looks three months’ pregnant. His belly is huge and tight as a drum, as though his shirt has been buttoned with difficulty over a basketball. Cassavetes is a man of immense ego but little vanity. He either won’t or can’t get that stomach down, but he does nothing (like wear looser shirts) to hide it. He intends to play the belly as part of his Love Streams costume. The film’s Robert Harmon will be weighed down with Cassavetes’ belly, and on Robert Harmon it will be an emblem of the dead weight of his life. Cassavetes

Romulan was the child of his body, the last emblem of love which was left.

What do monkeys know of peace and love, when guns are their emblem of patriotism!

Military is Legal Terrorism (Ceasefire Sonnet) Any planet that confuses guns with gallantry is a planet of apes. Prioritizing military over education, we only build a world full of terrorists. Military is just legal terrorism, To fathom this you gotta be human. What do monkeys know of peace and love, When guns are their emblem of patriotism! We don't need civilian disarmament, We need absolute universal disarmament. Only a worldwide ban on firearms production, Can facilitate a paradigm of peaceful coexistence. Let's see which nation has the heart and backbone, To legislate absolute ban on firearms manufacture! Let's see who are the first civilized people, Let's see which nation is the first peacemaker! What's the point of one ceasefire, Let's pull the plug on all war. Let's disband all military, and siphon those funds to housing, education and healthcare.

Tribute: Nelson Mandela Tonight, I salute not the sun. Tonight, I salute not the stars. Tonight, I laud a hero. Tonight, I extol a legend. Tonight, I hail Nelson Mandela. "He came from the sky," some say. "He came from the stars," others claim. "He came from Heaven," many declare. "He came from God," all affirm. Madiba, you are my teacher. Madiba, you are my elder. You are my father. You are my hero. I won't break even if they imprison me. I won't shake even if they threaten me. I won't weep even if they kill me. I won't yield even if they assassinate me. You are our symbol of courage. You are our emblem of hope. You are our model of faith You are our paragon of love. You are our champion. You are our hero. You are our legend. We fight for you. We suffer for you. We are even prepared to die for you. You opened our eyes. You opened our ears. You opened our minds. You opened our hearts. How sharp your mind was. How strong your heart was. How pure your soul was. You were a fox, you were a lion, but you were also a dove. Long live Madiba, Africa remembers you! Long live Madiba, Africa honors you! Long live Madiba, Africa celebrates you! Long live Madiba, the world loves you!!!

The things of the world are not simply neutral objects which stand before us for our contemplation. Each one of them symbolises or recalls a particular way of behaving, provoking in us reactions which are either favourable or unfavourable. This is why people’s tastes, character, and the attitude they adopt to the world and to particular things can be deciphered from the objects with which they choose to surround themselves, their preferences for certain colours or the places where they like to go for walks...The objects which haunt our dreams are meaningful in the same way. Our relationship with things is not a distant one: each speaks to our body and to the way we live. They are clothed in human characteristics (whether docile, soft, hostile or resistant) and conversely they dwell within us as emblems of forms of life we either love or hate. Humanity is invested in the things of the world and these areninvested in it. To use the language of psychoanalysis, things are complexes. This is what Cézanne meant when he spoke of the particular ‘halo’ of things which it is the task of painting to capture.

Trust me, it wasn't your fault If you’ve ever suffered the accusations of people who objectified you as an emblem of darkness, it wasn’t your fault. If you’ve ever been haunted by the opinions of your friends, it wasn’t your fault. If they’ve ever assumed the worst of you, it wasn’t your fault. If you’ve ever been judged by your own parents, it wasn’t your fault. If you’ve ever been treated as an outcast, it wasn’t your fault. If you’ve ever made a decision based on an opinion, it wasn’t your fault. If you’ve ever been labeled, it wasn’t your fault. If you’ve ever been stuck in the middle of a love triangle, it wasn’t your fault. If you’ve ever been heartbroken, it wasn’t your fault. If you’ve ever cried yourself to sleep, it wasn’t your fault. As you suffered and grew up, your soul got stained, your heart got shattered and your body paralyzed, which drove you into a deep state of slow sleep. As you opened your eyes, the atrocities of your past were glistening over your eyes and you knew, you had lost yourself in a place of utter darkness, but there was learning to be done in the cold dark. Like seeds of plants shaded by dirt, you twitched with the want to rise. As you grew tired of the shadows, you climbed into a world that was finally making room for light. Room for you and for all your truth. You ignited not in the light but in the distant shadows of the dark. In your chaos, you found clarity. In your suffering, you found purpose. You didn’t ignore the pain. You gave it reason. You used it. You reveled in it. As you began your journey to redefine yourself in misery and pain, your heart grew fonder but you didn’t give up. As stones of suffering came to dance, your feet took flight, the sun tried to burn you down, but God threw a shadow over the horizon and you saw a ray of hope and chased your way over the mightiest slopes. For a long time, you thought being different was a negative thing; but as you grew older, you started to realize that you were born to stand out, not blend in. Now, when people put a label on you, you find comfort in your true self because, in the end, you are proud to be who you’re. You’re a survivor. You and I come from completely different places, our world is a parallel space and we speak different languages, but one thing I’m sure of is that my heart beats the same as yours. At end of the day, we’re all meant to be who we are; Our True Selves.

If you’ve ever suffered the accusations of people who objectified you as an emblem of darkness, it wasn’t your fault. If you’ve ever been haunted by the opinions of your friends, it wasn’t your fault. If they’ve ever assumed the worst of you, it wasn’t your fault. If you’ve ever been judged by your own parents, it wasn’t your fault. If you’ve ever been treated as an outcast, it wasn’t your fault. If you’ve ever made a decision based on an opinion, it wasn’t your fault. If you’ve ever been labeled, it wasn’t your fault. If you’ve ever been stuck in the middle of a love triangle, it wasn’t your fault. If you’ve ever been heartbroken, it wasn’t your fault. If you’ve ever cried yourself to sleep, it wasn’t your fault. As you suffered and grew up, your soul got stained, your heart got shattered and your body paralyzed, which drove you into a deep state of slow sleep. As you opened your eyes, the atrocities of your past were glistening over your eyes and you knew, you had lost yourself in a place of utter darkness, but there was learning to be done in the cold dark. Like seeds of plants shaded by dirt, you twitched with the want to rise. As you grew tired of the shadows, you climbed into a world that was finally making room for light. Room for you and for all your truth. You ignited not in the light but in the distant shadows of the dark. In your chaos, you found clarity. In your suffering, you found purpose. You didn’t ignore the pain. You gave it reason. You used it. You reveled in it. As you began your journey to redefine yourself in misery and pain, your heart grew fonder but you didn’t give up. As stones of suffering came to dance, your feet took flight, the sun tried to burn you down, but God threw a shadow over the horizon and you saw a ray of hope and chased your way over the mightiest slopes. For a long time, you thought being different was a negative thing; but as you grew older, you started to realize that you were born to stand out, not blend in. Now, when people put a label on you, you find comfort in your true self because, in the end, you are proud to be who you’re. You’re a survivor. You and I come from completely different places, our world is a parallel space and we speak different languages, but one thing I’m sure of is that my heart beats the same as yours. At end of the day, we’re all meant to be who we are; Our True Selves.

If you’ve ever suffered the accusations of people who objectified you as an emblem of darkness, it wasn’t your fault. If you’ve ever been haunted by the opinions of your friends, it wasn’t your fault. If they’ve ever assumed the worst of you, it wasn’t your fault. If you’ve ever been judged by your own parents, it wasn’t your fault. If you’ve ever been treated as an outcast, it wasn’t your fault. If you’ve ever made a decision based on an opinion, it wasn’t your fault. If you’ve ever been labeled, it wasn’t your fault. If you’ve ever been stuck in the middle of a love triangle, it wasn’t your fault. If you’ve ever been heartbroken, it wasn’t your fault. If you’ve ever cried yourself to sleep, it wasn’t your fault. As you suffered and grew up, your soul got stained, your heart got shattered and your body paralyzed, which drove you into a deep state of slow sleep. As you opened your eyes, the atrocities of your past were glistening over your eyes and you knew, you had lost yourself in a place of utter darkness, but there was learning to be done in the cold dark. Like seeds of plants shaded by dirt, you twitched with the want to rise. As you grew tired of the shadows, you climbed into a world that was finally making room for light. Room for you and for all your truth. You ignited not in the light but in the distant shadows of the dark. In your chaos, you found clarity. In your suffering, you found purpose. You didn’t ignore the pain. You gave it reason. You used it. You reveled in it. As you began your journey to redefine yourself in misery and pain, your heart grew fonder but you didn’t give up. As stones of suffering came to dance, your feet took flight, the sun tried to burn you down, but God threw a shadow over the horizon and you saw a ray of hope and chased your way over the mightiest slopes. For a long time, you thought being different was a negative thing; but as you grew older, you started to realize that you were born to stand out, not blend in. Now, when people put a label on you, you find comfort in your true self because, in the end, you are proud to be who you’re. You’re a survivor. You and I come from completely different places, our world is a parallel space and we speak different languages, but one thing I’m sure of is that my heart beats the same as yours. At end of the day, we’re all meant to be who we are; Our True Selves.

The son of a Revolutionary soldier, attachment to this Union was among the first lessons of my childhood; bred to the service of my country, from boyhood to mature age, I wore its uniform. Through the brightest portion of my life I was accustomed to see our flag, historic emblem of the Union, rise with the rising and fall with the setting sun. I look upon it now with the affection of early love, and seek to preserve it by a strict adherence to the Constitution, from which it had its birth, and by the nurture of which its stars have come so much to outnumber its original stripes. Shall that flag, which has gathered fresh glory in every war, and become more radiant still by the conquest of peace—shall that flag now be torn by domestic faction, and trodden in the dust by sectional rivalry?

He was always crazy about her. If he was a king then she was his crest– the emblem of his kingdom. Without her, his world is lost. He left his house or rather palace, now spends his days on some filthy park-bench. He is a king turned to beggar. Nothing can cure him except his Angel, Emily.

In old prints melancholy is usually portrayed as a woman, disheveled, deranged, surrounded by broken pitchers, leaning casks, torn books. She may be sunk in unpeaceful sleep, heavy limbed, overpowered by her inability to take the world's measure, her compass and book laid aside. She is very frightening, but the person she frightens most is herself. She is her own disease. Miter shows her wearing a large ungainly dress, winged, a garland in her tangled hair. She has a fierce frown and so great is her disarray that she is closed in by emblems of study, duty, and suffering: a bell, an hourglass, a pair of scales, a globe, a compass, a ladder, nails. Sometimes this woman is shown surrounded by encroaching weeds, a conweb undisturbed above her head. Sometimes she gazes out of the window at a full moon for she is moonstruck. And should melancholy strike a man it will because he is suffering from romantic love: he will lean his padded satin arm on a velvet cushion and gaze skywards under the nodding plume of his hat, or he will grasp a thorn or a nettle and indicate that he does not sleep. These men seem to me to be striking a bit of a pose, unlike women, whose melancholy is less picturesque. The women look as if they are in the grip of an affliction too serious to be put into words. The men, on the other hand, appear to have dressed up for the occasion, and are anxious to put a noble face on their suffering. Which shows that nothing much has changed since the sixteenth century at least in that respect.