Icon Of The Seas Quotes

A mind forever voyaging through strange seas of thought…alone.

Sweep away the clouds And let a dome of blue sky Give this sea a name!

Sand as far as the eye can see, between the last hills and the sea -- the sea -- in the cold air of an afternoon almost past, and blessed by the wind that always blows from the north. The beach. And the sea. It could be perfection -- an image for divine eyes -- a world that happens, that's all, the mute existence of land and water, a work perfectly accomplished, truth --truth -- but once again it is the redeeming grain of a man that jams the mechanism of that paradise, a bagatelle capable on its own of suspending all that great apparatus of inexorable truth, a mere nothing, but one planted in the sand, an imperceptible tear in the surface of that sacred icon, a minuscule exception come to rest on the perfection of that boundless beach. To see him from afar he would be no more than a black dot: amid nothingness, the nothing of a man and a painter's easel. The easel is anchored by slender cords to four stones placed on the sand. It sways imperceptibly in the wind that always blows from the north. The man is wearing waders and a large fisherman's jacket. He is standing, facing the sea, twirling a slim paintbrush between his fingers. On the easel, a canvas.

He is on his way to her. In a moment he will leave the wooden sidewalks and vacant lots for the paved streets. The small suburban houses flash by like the pages of a book, not as when you turn them over one by one with your forefinger but as when you hold your thumb on the edge of the book and let them all swish past at once. The speed is breathtaking. And over there is her house at the far end of the street, under the white gap in the rain clouds where the sky is clearing, toward the evening. How he loves the little houses in the street that lead to her! He could pick them up and kiss them! Those one-eyed attics with their roofs pulled down like caps. And the lamps and icon lights reflected in the puddles and shining like berries! And her house under the white rift of the sky! There he will again receive the dazzling, God-made gift of beauty from the hands of its Creator. A dark muffled figure will open the door, and the promise of her nearness, unowned by anyone in the world and guarded and cold as a white northern night, will reach him like the first wave of the sea as you run down over the sandy beach in the dark.

To boldly go where no man has gone before” says the iconic Captain’s Oath in the Star Trek series. Humanity seeks to live adventures, either by conquering mountains or the seas, or by watching war movies, space adventures, fantasies and thrillers. But often the greatest adventure of them all is to negotiate through a lifetime.

At first glance, the stewardess appears to have been a reflection of conservative postwar gender roles—an impeccable airborne incarnation of the mythical homemaker of the 1950s who would happily abandon work to settle down with Mr. Right. A high-flying expert at applying lipstick, warming baby bottles, and mixing a martini, the stewardess was popularly imagined as the quintessential wife to be. Dubbed the “typical American girl,” this masterful charmer—known for pampering her mostly male passengers while maintaining perfect poise (and straight stocking seams) thirty thousand feet above sea level—became an esteemed national heroine for her womanly perfection. But while the the stewardess appears to have been an airborne Donna Reed, a closer look reveals that she was also popularly represented as a sophisticated, independent, ambitious career woman employed on the cutting edge of technology. This iconic woman in the workforce was in a unique position to bring acceptance and respect to working women by bridging the gap between the postwar domestic ideal and wage work for women. As both the apotheosis of feminine charm and American careerism, the stewardess deftly straddled the domestic ideal and a career that took her far from home. Ultimately, she became a crucial figure in paving the way for feminism in America.

If I may, Miss,” Sands said. “What you call ‘a mascot’ is more what should be termed ‘an icon.’ A subject not just of morale but of veneration or even worship. These men are United States Marines, yes, and they will continue to do their duty. But they are Marines who have lost everything. Family, friends, buddies, country. We are one and all lost and adrift on a darkling sea. You, Miss Smith, have become not their pin-up girl but their heart and soul. They would follow me into hell. Charge any shore, face any fire. I am their Gunny. That’s what Marines do. If you hinted that Satan had a case of ammo you particularly liked, they would charge in without a bucket of water. As Staff Sergeant Januscheitis said when he, separately, brought the idea up: ‘The only thing we’ve got left, Gunny, is Faith.

...'unless you convert to Orthodoxy, you too will follow your Pope down that valley, through the scorching fire. We will watch you from this balcony,' he added, 'but of course it will then be too late to save you.' I smiled, but Fr. Theophanes was in full swing and clearly in no mood for joking. 'No one can truly know what that day will be like.' He shook his head gravely. 'But some of our Orthodox fathers have had visions. Fire-fire that will never end, terrible, terrible fire - will come from the throne of Christ, just like it does on the icons. The saints-those who are to be saved, in router words the Orthodox Church-will fly in the air to meet Christ. But sinners and all non-Orthodox will be separated from the Elect. The damned will be pushed and prodded by devils down through the fire, down from the Valley of Joseph, past here-in fact exactly the route those Israeli hikers took today-down, down to the Mouth of Hell.' 'Is that nearby?' 'Certainly,' said Theophanes, stroking his beard. 'The Mouth of Hell will open up near the Dead Sea.' 'That is in the Bible?' 'Of course,' said Theophanes. 'Everything I am telling you is true.

Without us these isles rose from the sea; without us they acquired a couple of hundred lakes replete with fish; without our help they were settled by capercaillies, hares, and deer, while foxes, wolves, and other beasts of prey never appeared there ... [T]he monks crossed the mother-of-pearl sea in a tiny boat and came to look on this island without a beast of prey as sacred. The Solovetsky Monastery began with them ... Prison thought: How glorious - good stone walls standing on a separate island! What a good place to confine important criminals ... The eighty-year-old and even hundred-year-old monks begged on their knees to be allowed to die on the 'holy soil,' but they were all thrown out with proletarian ruthlessness except for the most necessary among them ... And that is how one of the favorite sayings constantly repeated by the prisoners came true: A holy place is never empty. The chimes of bells fell silent, the icon lamps and candle stands fell dark, the liturgies and the vespers resounded no longer; psalms were no longer chanted around the clock ... And so ... the Archipelago ... began its malignant advance through the nation ...

But as soon as you enter a university, we witness a radical and communal face of Communism. Here, they propagate the weaknesses and evils of Hindu culture. They manipulate and twist ancient books to misrepresent them and provoke students. For example, they use Tulsidas’ chaupai, without mentioning the rest of the Ramcharitmanas, which is the real context. “ढोल गंवार शूद्र पशु नारी, सकल ताडना के अधिकारी.” Dhol ganvar shudra pashu nari, sakal tadana ke adhikari. ‘The above lines are spoken by the Sea Deity Samudra to Ram. When Lord Ram got angry and took out his weapon in order to evaporate the whole sea, the deity appeared and said the above lines in the context of boundaries that are created by God himself in order to hold his creations.  ‘What Leftists do is that they very cleverly translate it literally in Hindi, ignoring the fact that Ramcharitmanas is written in Awadhi and the same word means one thing in Hindi and another in Awadhi. While the literal meaning of the line in Hindi is ‘Drums, the illiterate, lower caste, animals and women deserve a beating to straighten up and get the acts together’, its real meaning in Awadhi is different. In Awadhi, tadna means to take care, to protect. Whereas, in Hindi, the same word means punishment, torture, oppression. Samudra meant that like drums, the illiterate, Shudra, animals and women need special care and need to be protected in the boundary of a social safety net. In the same way, the sea also needs to reside within the boundaries created by God. And hence, Samudra gave the suggestion to create the iconic Ram Setu. ‘Here, Shudra doesn’t mean lower caste or today’s Dalit. It meant people employed in cottage industries.’ I remember there is a book by R.C. Dutta, Economic Interpretation of History, in which he has said that when the Indian economy was based on the principles of Varna, handicrafts accounted for over twenty-five percent of the economy. Artisans and labour who were involved in the handicraft business were called ‘Shudra’. If there was so much caste-based discrimination, why would Brahmins use their produce? Both Dutta and Dadabhai Naoroji have written that the terminology of ‘caste discrimination’ was used by the British to divide Indian society on those lines.

Many people, especially non-Muslims, who read the Qur’an for the first time, are struck by what appears as a kind of incoherence from the human point of view. It is neither like a highly mystical text nor a manual of Aristotelian logic, though it contains both mysticism and logic. It is not just poetry, though it contains the most powerful poetry. The text of the Qur’an reveals human language crushed by the power of the Divine Word. It is as if human language were scattered into a thousand fragments like a wave scattered into drops against the rocks at sea. One feels through the shattering effect left upon the language of the Qur’an, the power of the Divine whence it originated. The Qur’an displays human language with all the weakness inherent in it becoming suddenly the recipient of the Divine Word and displaying its frailty before a power which is infinitely greater than man can imagine.5

Everything on Earth and everything that must exist in the heavens poured exultantly and noiselessly through me in a single stream. In bliss barely supportable by the human heart, I felt as if slowly revolving, graceful spheres glided through me in a universal dance, and everything I could think of or imagine merged in a jubilant oneness. The ancient forests and clear rivers, the people sleeping by the fire, the peoples of countries near and far, cities waking up and busy streets, cathedrals with sacred icons, seas tossing tirelessly, and steppes with blowing grass – everything indeed was within me that night, and I was within everything.

The first time the power of art pulled the rug out from under me, I was nineteen years old. It was the early 1970s. I was in Europe for the first time, on my way through Paris to Warsaw with my Polish girlfriend, on a bizarre quest to sell blue jeans behind the Iron Curtain. On that day, during my first pilgrimage to the Louvre, I laid eyes on a painting that seemed the sum of all things. It was a cosmographic perpetual motion machine, a purgatorial charnel house—as far from the warmth of any human sun as anything I’d ever beheld. The moment I saw it, something like Krakatoa went off within me. That painting was Théodore Géricault’s The Raft of the Medusa. Standing before it, I felt the gravitational field of my life shift forever. The Raft of the Medusa is massive in scale, yet its subject matter is as simple as cows in a field, bathers by a river, or a birth in a manger. We see a large raft bearing a crowd of male figures, at the mercy of heaving seas. Their poses suggest a classical frieze, like Elgin marbles from hell—a collective ash heap of individually vivisected souls stripped bare of humanity. Each of the men is marked by a distinct, unforgettable gesture. Some are reckoning with their wounds; others seem to be coming to terms with death; some seem closer to damnation than to life. Every one of them appears hopeless. Our eyes are compelled by shafts of flickering phosphorescent light that rake at angles across the figures in the painting’s foreground, tracing its dark pyramidal structure. It’s a vision of jagged complexity and somehow also of profound grandeur.

What these creative professionals understand is that focus not only requires keeping distraction out; it also necessitates keeping ourselves in. After we’ve learned to master internal triggers, make time for traction, and hack back external triggers, the last step to becoming indistractable involves preventing ourselves from sliding into distraction. To do so, we must learn a powerful technique called a “precommitment,” which involves removing a future choice in order to overcome our impulsivity. Although researchers are still studying why it is so effective, precommitment is, in fact, an age-old tactic. Perhaps the most iconic precommitment in history appears in the ancient telling of the Odyssey. In the story, Ulysses must sail his ship and crew past the land of the Sirens, who sing a bewitching song known to draw sailors to their shores. When sailors approach, they wreck their ships on the Sirens’ rocky coast and perish. Knowing the danger ahead, Ulysses hatches a clever plan to avoid this fate. He orders his men to fill their ears with beeswax so they cannot hear the Sirens’ call. Everyone follows Ulysses’s orders, with the exception of Ulysses, who wants to hear the beautiful song for himself. But Ulysses knows that he will be tempted to either steer his ship toward the rocks or jump into the sea to reach the Sirens. To safeguard himself and his men, he instructs his crew to tie him to the mast of the ship and instructs them not to set him free nor change course until the ship is in the clear, no matter what he says or does. The crew follows Ulysses’s commands, and as the ship passes the Sirens’ shores, he is driven temporarily insane by their song. In an angry rage, he calls for his men to let him go, but since they cannot hear the Sirens nor their captain, they navigate past the danger safely.

Vietnam was originally a matriarchy and, in 111 B.C. China tried to integrate it into the Han Empire, the first resistance leaders were women. A female military commander who managed, for a time, to successfully oppose the Chinese occupation of Vietnam, famously exhorted her troops: 'I'd like to ride storms, kill sharks in the open sea, drive out the aggressors, reconquer the country, undo the ties of serfdom, and never bend my back to be the concubine of whatever man.' Such heroines became iconic symbols of Vietnamese patriotism. The Chinese ruled Vietnam for one thousand five hundred years, imposing Confucian principles of male superiority. This provoked a deep divide between the north of the country, strongly influenced by China, and the south which kept alive the more relaxed culture of feminine sensuality. The nation's struggle for independence, finally won in 1428, was shaped by women's struggles for liberation from (Chinese) patriarchy. The whore was a distinct image of South Vietnam during two decades of the Vietnam War until the communist North's victory in 1975. Saigon — now Ho Chi Minh City — the 'Paris of the East' was dominated by corrupt politicians, army officers and gangsters who enjoyed and profited from prostitution rackets. After Communists seized power, a decade of severe repression followed, then an increasingly flagrant resurrection from prostitution in the late 1980s in reaction to poverty and austerity and austerity under communism.

It was during the early summer of 1952 that I found myself in the small community park next to Stevens Institute of Technology. Although I had a job, I had only worked as a “soda jerk” for a little over a week before I started looking for something else. The Hoboken waterfront was still familiar to me from earlier years when I walked this way to catch the trolley or the electrified Public Service bus home from the Lackawanna Ferry Terminal. Remembering the gray-hulled Liberty Ships being fitted out for the war at these dilapidated piers, was still very much embedded in my memory. Things had not changed all that much, except that the ships that were once here were now at the bottom of the ocean, sold, or nested at one of the “National Defense Reserve Fleets.” The iconic movie On the Waterfront had not yet been filmed, and it would take another two years before Marlon Brando would stand on the same pier I was now looking down upon, from the higher level of Stevens Park. Labor problems were common during this era, but it was all new to me. I was only 17 years old, but would later remember how Marlon Brando got the stuffing kicked out of him for being a union malcontent. When they filmed the famous fight scene in On the Waterfront, it took place on a barge, tied up in the very same location that I was looking upon.

During his extensive career as an airmail pilot with Aéropostale, Antoine served as the company’s station manager in barren Villa Bens. During the Second World War, although he was older than most, Saint-Exupéry joined the Free French Air Force. On July 31, 1944, as fate would have it, he disappeared on a reconnaissance mission flying a P-38 Lightning over the Mediterranean, somewhere south of Marseille. The body of a French pilot was found a few days after Antoine’s disappearance and was buried in Carqueiranne, France. After his death he became an icon and national hero throughout France. For a fleeting moment I wondered what anyone could do to pass the time of day at such a remote location…. Antoine de Saint-Exupéry used his time to write books! Today the word Aéropostale takes on an entirely new meaning. It has become the name of an American retailer of casual apparel for young people. Go figure….

Jonathan had been celebrated at his original Jams restaurant for the deboned, grilled half chicken he served with fries. "But it was a different beast," he says, in comparison to the pollo al forno at Barbuto, which is now one of the city's most iconic dishes. "I wanted to not waste anything," he says of the choice to roast the bird on the bone at Barbuto. Placing two halves of a chicken in a skillet, he dresses them with olive oil, sea salt, and fresh cracked pepper. He then roasts it in the wood-burning oven, basting it along the way to make succulent, brown, and crispy skin. Beneath, the meat becomes tender and juicy. After letting the pieces rest for a few minutes, he tops them with salsa verde, a mixture of smashed garlic, capers, cured anchovies, olive oil, salt, pepper, and a mash of herbs- such as parsley, tarragon, and oregano- and serves it so simply and yet it's so spectacular. "It became one of my greatest hits," Jonathan acknowledges. "And when people love something, you don't deny them.

Here’s my protocol for my usual monthly 3-day fast from Thursday dinner to Sunday dinner: On Wednesday and Thursday, plan phone calls for Friday. Determine how you can be productive via cell phone for 4 hours. This will make sense shortly. Have a low-carb dinner around 6 p.m. on Thursday. On Friday, Saturday, and Sunday mornings, sleep as late as possible. The point is to let sleep do some of the work for you. Consume exogenous ketones or MCT oil upon waking and 2 more times throughout the day at 3- to 4-hour intervals. I primarily use KetoCaNa and caprylic acid (C8), like Brain Octane. The exogenous ketones help “fill the gap” for the 1 to 3 days that you might suffer carb withdrawal. Once you’re in deep ketosis and using body fat, they can be omitted. On Friday (and Saturday if needed), drink some caffeine and prepare to WALK. Be out the door no later than 30 minutes after waking. I grab a cold liter of water or Smartwater out of my fridge, add a dash of pure, unsweetened lemon juice to attenuate boredom, add a few pinches of salt to prevent misery/headaches/cramping, and head out. I sip this as I walk and make phone calls. Podcasts also work. Once you finish your water, fill it up or buy another. Add a little salt, keep walking, and keep drinking. It’s brisk walking—NOT intense exercise—and constant hydration that are key. I have friends who’ve tried running or high-intensity weight training instead, and it does not work for reasons I won’t bore you with. I told them, “Try brisk walking and tons of water for 3 to 4 hours. I bet you’ll be at 0.7 mmol the next morning.” One of them texted me the next morning: “Holy shit. 0.7 mmol.” Each day of fasting, feel free to consume exogenous ketones or fat (e.g., coconut oil in tea or coffee) as you like, up to 4 tablespoons. I will often reward myself at the end of each fasting afternoon with an iced coffee with a bit of coconut cream in it. Truth be told, I will sometimes allow myself a SeaSnax packet of nori sheets. Oooh, the decadence. Break your fast on Sunday night. Enjoy it. For a 14-day or longer fast, you need to think about refeeding carefully. But for a 3-day fast, I don’t think what you eat matters much. I’ve done steak, I’ve done salads, I’ve done greasy burritos. Evolutionarily, it makes no sense that a starving hominid would need to find shredded cabbage or some such nonsense to save himself from death. Eat what you find to eat.

Soon our culture's oldest dreams will be made real. Even the thought of sending a kind of flying craft to the moon is no longer nothing more than a child's fantasy. At this moment in the cities below us, the first mechanical men are being constructed that will have the capability to pilot the ship on its maiden voyage. But no one has asked if this dream we've had for so long will lose its value once it's realized. What will happen when those mechanical men step out of their ship and onto the surface of this moon, which has served humanity for thousands of years as our principal icon of love and madness? When they touch their hands to the ground and perform their relentless analyses and find no measurable miracles, but a dead gray world of rocks and dust? When they discover that it was the strength of millions of boyhood daydreams that kept the moon aloft, and that without them that murdered world will fall, spiraling slowly down and crashing into the open sea?

less an icon than the Melbourne Cricket