Mixing Colours Quotes

I bought a piece of God, ground to dust and mixed with alcohol in a glass bottle the colour of molasses.

We let our lives mix with our dreams like two coloured paints, until we didn't know which is what and we didn't care.

Look at walls splashed with a number of stains, or stones of various mixed colours. If you have to invent some scene, you can see there resemblances to a number of landscapes, adorned with mountains, rivers, rocks, trees, great plains, valleys and hills, in various ways. Also you can see various battles, and lively postures of strange figures, expressions on faces, costumes and an infinite number of things, which you can reduce to good integrated form. This happens on such walls and varicoloured stones, (which act) like the sound of bells, in whose peeling you can find every name and word that you can imagine. Do not despise my opinion, when I remind you that it should not hard for you to stop sometimes and look into the stains of walls, or the ashes of a fire, or clouds, or mud or like places, in which, if you consider them well, you may find really marvelous ideas. The mind of the painter is stimulated to new discoveries, the composition of battles of animals and men, various compositions of landscapes and monstrous things, such as devils and similar things, which may bring you honor, because by indistinct things the mind is stimulated to new inventions.

At sunset you see a mix of humanity's regrets and some wishes coming true, thus the exploding and contrasting colours. On Sunset

Memory edits things, colours them, mixes cement with the rainbow, does whatever's needed to make the story work.

The mixed woods of Germany were the sort that deserved a good savoring—no, a savouring, with a British u in there for the sake of decadence, as colours are somehow more vibrant to me than mere colors.

There was one thing I'd never considered about mixing red and yellow: a drop of yellow into red paint won't do much to change the colour; but one drop of red into yellow and the whole pot is tainted for ever.

Remember when we didn't know that colours can mix and form other colours. When we were not introduced to strokes that brushes can form, when light and dark were not necessary for the picture to be completed, and when it was a matter of lines that were not suppose to be connected. When feelings crashed on a white heart unintentionally and when our soul was not held in captive. Remember?

Human colour is the colour I’m truly interested in, the colour of your humanity. May the size of your heart and the depth of your soul be your currency. Welcome aboard my Good Ship. Let us sail to the colourful island of mixed identity. "SHADE" - Salena Godden

But I prefer the windy days, the days that strip me back, blasted, tossed, who knows where, imagine them, purple-red, silver-pink, natural confetti, thin, fragile, easily crushed and blackened, fading already wherever the air's taken them across the city, the car parks, the streets, the ragged grass verges, dog-ear and adrift on the surfaces of the puddles, flat to the gutter stones, mixing with the litter, their shards of colour circling in the leafy-grimy corners of yards.

It’s me, you fool. Who do you think it is? I’m coming in.” He was already naked. She turned away from him as he slipped in by her side but he caught her in his arms and felt her body thaw his belly and thighs. That was all, just to lie there listening to the breathing and the silence and feel the warmth colour his belly and thighs and head. She never wore clothes in bed. They were naked and the warmth run out of her. He wanted to laugh, because it was such a marvelous discovery to make, this warmth. She was hissing like a snake. “No, it’s wrong.” She went on hissing. She brought an elbow back smartly and struck him in the paunch. She seemed all elbows, shoulder blades and heels. It was like trying to make love to a dough-mixing machine. She wanted it, didn’t she, otherwise why all this hissing and moaning?

We were in the main dining-room, and there was a fine-dressed crowd there, all talking loud and enjoyable about the two St. Louis topics, the water supply and the colour line. They mix the two subjects so fast that strangers often think they are discussing water-colours; and that has given the old town something of a rep as an art centre.

The reality of this wide-eyed caramel-coloured wonder was arresting. This was the future, alive and kicking in my arms.

The providences of God to his saints here, while on this low bottom of earth, are mixed and parti-coloured, as was signified by the ‘speckled’ horses, Zech. 1:8, in

It’s a delicate risk, dropping your heart on the doorstep of someone with lipstick smeared up their neck in the colour of blood mixed into dark wine

Before Parting A MONTH or twain to live on honeycomb Is pleasant; but one tires of scented time, Cold sweet recurrence of accepted rhyme, And that strong purple under juice and foam Where the wine’s heart has burst; Nor feel the latter kisses like the first. Once yet, this poor one time; I will not pray Even to change the bitterness of it, The bitter taste ensuing on the sweet, To make your tears fall where your soft hair lay All blurred and heavy in some perfumed wise Over my face and eyes. And yet who knows what end the scythèd wheat Makes of its foolish poppies’ mouths of red? These were not sown, these are not harvested, They grow a month and are cast under feet And none has care thereof, As none has care of a divided love. I know each shadow of your lips by rote, Each change of love in eyelids and eyebrows; The fashion of fair temples tremulous With tender blood, and colour of your throat; I know not how love is gone out of this, Seeing that all was his. Love’s likeness there endures upon all these: But out of these one shall not gather love. Day hath not strength nor the night shade enough To make love whole and fill his lips with ease, As some bee-builded cell Feels at filled lips the heavy honey swell. I know not how this last month leaves your hair Less full of purple colour and hid spice, And that luxurious trouble of closed eyes Is mixed with meaner shadow and waste care; And love, kissed out by pleasure, seems not yet Worth patience to regret.

Who hath woe? who hath sorrow? who hath contentions? who hath babbling? who hath wounds without cause? who hath redness of eyes? pr.23.30 They that tarry long at the wine; they that go to seek mixed wine. pr.23.31 Look not thou upon the wine when it is red, when it giveth his colour in the cup, when it moveth itself aright. pr.23.32 At the last it biteth like a serpent, and stingeth like an adder.† pr.23.33 Thine eyes shall behold strange women, and thine heart shall utter perverse things. pr.23.34 Yea, thou shalt be as he that lieth down in the midst of the sea, or as he that lieth upon the top of a mast.† pr.23.35 They have stricken me, shalt thou say, and I was not sick; they have beaten me, and I felt it not: when shall I awake? I will seek it yet again.

How many were the aquarelles she painted for me; what a revelation it was when she showed me the lilac tree that grows out of mixed blue and red! Sometimes, in our St Petersburg house, from a secret compartment in the wall of her dressing room (and my birth room), she would produce a mass of jewelry for my bedtime amusement. I was very small then, and those flashing tiaras and chokers and rings seemed to me hardly inferior in mystery and enchantment to the illumination in the city during imperial fêtes, when, in the padded stillness of a frosty night, giant monograms, crowns, and other armorial designs, made of coloured electric bulbs - sapphire, emerald, ruby - glowed with a kind of charmed constraint above snow-lined cornices on housefronts along residential streets.

I’m going back to the study,” I say happily. “I’m rearranging the books by the colour of their spines. It gives the room a much artier vibe.” Asa chokes on his tea, and I smile sunnily. “See you later.

For he mixes up unanswerable things with false conclusions, he is perpetually letting the cat out of the bag and exposing our tricks, putting a colour to our actions, disturbing us with our own memory, indecently revealing corners of the soul.

He did not know how much time passed. He got up, ripped the canvas off the frame, threw it into a corner, and put on a new one. He mixed some paints, sat down, and began work. One starts with a hopeless struggle to follow nature, and everything goes wrong; one ends by calmly creating from one’s palette, and nature agrees with it and follows. On croit que j’imagine—ce n’est pas vrai—je me souviens. It was just as Pietersen had told him in Brussels; he had been too close to his models. He had not been able to get a perspective. He had been pouring himself into the mould of nature; now he poured nature into the mould of himself. He painted the whole thing in the colour of a good, dusty, unpeeled potato. There was the dirty, linen table cloth, the smoky wall, the lamp hanging down from the rough rafters, Stien serving her father with steamed potatoes, the mother pouring the black coffee, the brother lifting a cup to his lips, and on all their faces the calm, patient acceptance of the eternal order of things. The sun rose and a bit of light peered into the storeroom window. Vincent got up from his stool. He felt perfectly calm and peaceful. The twelve days’ excitement was gone. He looked at his work. It reeked of bacon, smoke, and potato steam. He smiled. He had painted his Angelus. He had captured that which does not pass in that which passes. The Brabant peasant would never die.

Recognize, each story filled differently. As a plethora, where each substance more or less explored. Each field of knowledge [something] to gain from the careful mixing of paint/colours. Where substances are in the millions, and each substance a plethora in itself. Potentiality.

There are no lower orders. There are no lesbians or transgender people or fill in the blank. There is only people, a wild mix of energy, different abilities, colours ranging from ebony to bleached white. We’re everything and everybody. I don’t even believe in male and female, it’s a sliding scale and we are hag-ridden by a binary culture: male-female, black-white, straight-gay, rich-poor and so it goes. The gradations are infinite and the silliest mistake of all is to define people by their material possessions. It’s even worse if people define themselves by money.

As gin is not only a drink in itself but also a base for many mixed drinks, so Affection, besides being a love itself, can enter into the other loves and colour them all through and become the very medium in which from day to day they operate. They would not perhaps wear very well without it.

Yes. All the worth-while things in life. All mixed up. Rooms in candle-light. Leisure. Colour. Travel. Books. Music. Pictures. People—all kinds of people. Work that you love. And growth—growth and watching people grow. Feeling very strongly about things and then developing that feeling to—to make

In our folk nobody has any experience of youth, there’s barely even any time for being a toddler. The children simply don’t have any time in which they might be children........Indeed... there’s simply no way that we would be able to provide our children with a viable childhood, one that is real. Naturally, there are consequences. There’s a certain ever present, not to be liquidated childishness that permeates our folk; We often act in ways that are totally and utterly ridiculous and, indeed, precisely like children we do things that are crazy, letting loose with our assets in a manner that is bereft of all rationality, prodigious in our celebrations, partaking in a light-headed frivolousness that is divorced from all sensibility, and often enough all simply for the sake of some small token of fun, so much do we love having our small amusements. But our folk isn’t only childish, to a certain extent we also age prematurely, childhood and old age mix themselves differently with us than by others. We don’t have any youth, we jump right away into maturity and, then, we remain grown-ups for too long and as a consequence to this there’s a broad shadow of a certain tiredness and a sort of hopelessness that colours our essential nature, a nature that as a whole is otherwise so tenacious and permeated by hope, strong hope. This, no doubt, this is related to why we’re so disinclined toward music—we’re too old for music, so much excitement, so much passion doesn’t sit well with our heaviness;

Today, she is standing at the top of a mountain and appreciating the majestic panoramic view of mesmerizing Himalaya. As a kid, she used to look up in the sky and wish for wings to fly up to the mountains. And now after a long wait of many years, she is standing here and living her dream. It’s the moment when she can’t believe her eyes because what she always dreamed of has come alive. She looks with amazement as if she’s witnessing a miracle. It is the moment of her life. She just wants to feel it. There are beautiful clouds below her and there are snow clad mountain peaks emerging from those clouds. The white peaks shining in blue sky among white clouds look like glittering diamonds to her. The view of the large lush green meadow surrounded by mountains under blue sky with a rainbow circling the horizon has put her in a state of tranquility. As the sun starts drowning in the horizon, the sky begins to boast his mystical colours. The beautiful mix of pink, orange and red looks like creating a twilight saga. She opens her both arm and takes a deep breath to entwine with the nature. The glimmering rays of the moon are paying tribute to her by kissing her warm cheeks and her eyes twinkle in bright moon light. She raises her face towards the moon and senses the flood of memories which she wants to unleash. The cool breeze lifts her ruffled hair and blows her skirt up. She closes her eyes and breathes deep as if she wants to let her know that she is finally here and then she opens her eyes and finds herself on the same wheelchair inside a room with an empty wall in front of her eye. Tears rolls down from her eye but these are the tears of Joy because she is living her dreams today. The feelings comes to her mind while waiting for her daughter who is coming back home today after her first expedition of a high range mountain ~ AB

She had a singular insight into life, considering that she had never mixed with it. There are instances of persons who, without clear ideas of the things they criticize have yet had clear ideas of the relations of those things. Blacklock, a poet blind from birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

Though we came from our native Hawaiian mother, Chad and I were perceived and therefore raised as black, which widely cast us as outsiders, nonlocals - and being seen as local in Hawaii was currency. When we first returned to Oahu, we spoke with a Texas twang that also got us teased. Chad has strong emotions surrounding those first few months; he was traumatized by his apparent blackness, which was a nonevent in Dallas and Oakland, where we were among many black kids. In Hawaii, we were some of the few mixed black kids around. And both our parents taught us that because the world would perceive us as black, we were black.

She had a singular insight into life, considering that she had never mixed with it. There are instances of persons who, without clear ideas of the things they criticize, yet have had a clear idea of the relations of those things. Blacklock, a poet blind from birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

She had a singular insight into life, considering that she had never mixed with it. There are instances of persons who, without clear ideas of the things they criticize, yet have had a clear ideas of the relations of those things. Blacklock, a poet blind from birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

She had a singular insight into life, considering that she had never mixed with it. There are instances of persons who, without clear ideas of the things they criticize have yet had clear ideas of the relations of those things. Blacklock, a poet blind from his birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. in the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

When Nature made her chief work, Stella’s eyes, In colour black why wrapp’d she beams so bright? Would she in beamy black, like painter wise, Frame daintiest lustre, mix’d of shades and light? Or did she else that sober hue devise, In object best to knit and strength our sight, Lest if no veil those brave gleams did disguise, They sun-like should more dazzle than delight? Or would she her miraculous power show, That whereas black seems Beauty’s contrary, She even in black doth make all beauties flow? Both so and thus, she minding Love should be Placed ever there, gave him this mourning weed, To honour all their deaths, who for her bleed.

They stripped you off your colours; those that you spent your childhood mixing them to draw birds and butterflies. They dipped your wings/dreams in mud. Then they piled them on your shoulders until you metamorphosed into a terrible octopus. Whenever you got rid of one arm, another one smothered you. Now, you no longer dream of flying.

To fill the days up of his dateless year Flame from Queen Helen to Queen Guenevere? For first of all the sphery signs whereby Love severs light from darkness, and most high, In the white front of January there glows The rose-red sign of Helen like a rose: And gold-eyed as the shore-flower shelterless Whereon the sharp-breathed sea blows bitterness, A storm-star that the seafarers of love Strain their wind-wearied eyes for glimpses of, Shoots keen through February's grey frost and damp The lamplike star of Hero for a lamp; The star that Marlowe sang into our skies With mouth of gold, and morning in his eyes; And in clear March across the rough blue sea The signal sapphire of Alcyone Makes bright the blown bross of the wind-foot year; And shining like a sunbeam-smitten tear Full ere it fall, the fair next sign in sight Burns opal-wise with April-coloured light When air is quick with song and rain and flame, My birth-month star that in love's heaven hath name Iseult, a light of blossom and beam and shower, My singing sign that makes the song-tree flower; Next like a pale and burning pearl beyond The rose-white sphere of flower-named Rosamond Signs the sweet head of Maytime; and for June Flares like an angered and storm-reddening moon Her signal sphere, whose Carthaginian pyre Shadowed her traitor's flying sail with fire; Next, glittering as the wine-bright jacinth-stone, A star south-risen that first to music shone, The keen girl-star of golden Juliet bears Light northward to the month whose forehead wears Her name for flower upon it, and his trees Mix their deep English song with Veronese; And like an awful sovereign chrysolite Burning, the supreme fire that blinds the night, The hot gold head of Venus kissed by Mars, A sun-flower among small sphered flowers of stars, The light of Cleopatra fills and burns The hollow of heaven whence ardent August yearns; And fixed and shining as the sister-shed Sweet tears for Phaethon disorbed and dead, The pale bright autumn's amber-coloured sphere, That through September sees the saddening year As love sees change through sorrow, hath to name Francesca's; and the star that watches flame The embers of the harvest overgone Is Thisbe's, slain of love in Babylon, Set in the golden girdle of sweet signs A blood-bright ruby; last save one light shines An eastern wonder of sphery chrysopras, The star that made men mad, Angelica's; And latest named and lordliest, with a sound Of swords and harps in heaven that ring it round, Last love-light and last love-song of the year's, Gleams like a glorious emerald Guenevere's.

Human colour is the colour I'm truly interested in, the colour of your humanity. May the size of your heart and the depth of your soul be your currency. welcome aboard my Good Ship. Let us sail to the colourful island of misex identity. You can eat from the cooking pot of mixed culture and bathe in the cool shade of being mixed-race. There is no need for a passport. There are no borders. We are all citizens of the world. Whatever shade you are, bring your light, bring your colour, bring your music and your books, your stories and your histories, and climb aboad. United as a people we are a million majestic colours, together we are a glorious stained-glass window. We are building a cathedral of otherness, brick by brick and book by book. Raise your glass of rum, let's toast to the minorities who are the majority. There's no stopping time, nor the blurring of lines or the blending of shades. With a spirit of hope I leave you now. I drink to our sameness and to our unique differences. This is the twenty-first century and we share this, we live here, in the future. It is a beautiful morning, it is first light on the time of being other, so get out from that shade and feel the warmth of being outside. You tick: Other.

I was in love with Feyre,' Rhys said quietly, 'long before she ever returned the feeling.' Lucien crossed his arms. 'How fortunate that you got what you wanted in the end.' I closed my eyes for a heartbeat. Cassian and Azriel stilled, waiting for the order. 'I will only say this once,' warned the High Lord of the Night Court. Even Lucien flinched. 'I suspected Feyre was my mate before I ever knew she was involved with Tamlin. And when I learned of it... If it made her happy, I was willing to step back.' 'You came to our house and stole her away on her wedding day.' 'I was going to call the wedding off,' I cut in, taking a step toward Lucien. 'You knew it.' Rhysand went on before Lucien could snap a reply. 'I was willing to lose my mate to another male. I was willing to let them marry, if it brought her joy. But what I was not willing to do was let her suffer. To let her fade away into a shadow. And the moment that piece of shit blew apart his study, the moment he locked her in that house...' His wings ripped from him, and Lucien started. Rhys bared his teeth. My limbs turned light, trembling at the dark power curling in the corners of the room. Not fear- never fear of him. But at the shattered control as Rhys snarled at Lucien. 'My mate may one day find it in herself to forgive him. Forgive you. But I will never forget how it felt to sense her terror in those moments.' My cheeks heated, especially as Cassian and Azriel stalked closer, those hazel eyes now filled with a mix of sympathy and wrath. I had never talked about it to them- what had gone on that day Tamlin had destroyed his study, or the day he'd sealed me inside the manor. I'd never asked Rhys if he'd informed them. From the fury rippling from Cassian, the cold rage seeping from Azriel... I didn't think so. Lucien, to his credit, didn't back away a step. From Rhys, or me, or the Illyrians. The Clever Fox Stares Down Winged Death. The painting flashed in my mind. 'So, again, I will say this only once,' Rhys went on, his expression smoothing into lethal calm, dragging me from the colours and light and shadows gathering in my mind. 'Feyre did not dishonour or betray Tamlin. I revealed the mating bond months later- and she gave me hell for it, don't worry. But now that you've found your mate in a similar situation, perhaps you will try to understand how it felt. And if you can't be bothered, then I hope you're wise enough to keep your mouth shut, because the next time you look at my mate with that disdain and disgust, I won't bother to explain it again, and I will rip out your fucking throat.' Rhys said is so mildly that the threat took a second to register. To settle in me like a stone plunked into a pool. Lucien only shifted on his feet. Wary. Considering. I counted the heartbeats, debating how much I'd interfere if he said something truly stupid, when he at last murmured, 'There is a longer story to be told, it seems.

within the harbour, or on the beautiful sea without. The line of demarcation between the two colours, black and blue, showed the point which the pure sea would not pass; but it lay as quiet as the abominable pool, with which it never mixed. Boats without awnings were too hot to touch; ships blistered at their moorings; the stones of the quays had not cooled, night or day, for months. Hindoos, Russians, Chinese, Spaniards, Portuguese, Englishmen, Frenchmen, Genoese, Neapolitans, Venetians, Greeks, Turks, descendants from all the builders of Babel, come to trade at Marseilles, sought the shade alike—taking refuge in any hiding-place from a sea too intensely blue to be looked at, and a sky of purple, set with one great flaming jewel of fire. The universal stare made the eyes ache. Towards the distant line of Italian coast, indeed, it was a little relieved

The chamber dissolved in a row where all the colours of everyone's voices clashed and mixed into an indistinguishable brown cloud. Thaniel looked down at his own shorthand. It was a bad idea to take an exact transcript of a fight. It looked crass if it got into dispatches. You were supposed to summarize, softly. He thought about translating it as the fall of Japanese modernism, which was overdramatic, and wrote, 'the gentlemen continue to disagree.

Everything about the whimsical inn inspired curiosity instead of fear. In a third-floor bathing room, Evangeline found the most delightful copper tub, reminiscent of the clock in the hall. It had lovely jewelled handles and a faucet that could pout out different-coloured waters in a variety of scents: Pink honeysuckle. Lavender rose. Green pine needle. Silver rain. She'd mixed the rain and honeysuckle, and now she smelled like a sweet and stormy day.

I watched her leave with a curious mixture of relief and terror. I was alone again. Fear clutched at my chest and I wanted to call her back. I wondered if it would be different if my mother were alive. I wondered if she would be by my side, stroking my forehead, and whether I’d feel pure comfort, rather than this strange clawing mix of emotions. I knew my mother through stories, photographs and her brightly coloured dreamcatchers. I’d always thought that she would understand me, that she’d be warm and open, and that I would have grown up to be an entirely different person had she been around.

Why classify by skin color at all, unless you plan to invoke it in some way. If one group oppresses another, inadvertently or on purpose, you’d want good data on who’s oppressing whom so that you can redress the problem. With the same data, however, nefarious people in power might want to magnify inequality, which is just what happened in apartheid South Africa. The 1950 Population Registration Act codified skin color into White and Black, with multiple subcategories of Coloured, which included mixed race and Asian, enabling the White minority in power to establish laws that prescribed and stratified the social, political, educational, and economic freedoms of each population differently.

Every rose opens into a layering of itself, a dense-packed grandeur that holds until it spills. On days that are still I can trace, if I want, exactly where I’ve been just by doubling back on myself and following the trail I’ve left. But I prefer the windy days, the days that strip me back, blasted, tossed, who knows where, imagine them, purple-red, silver-pink, natural confetti, thin, fragile, easily crushed and blackened, fading already wherever the air’s taken them across the city, the car parks, the streets, the ragged grass verges, dog-ear and adrift on the surfaces of the puddles, flat to the gutter stones, mixing with the litter, their shards of colour circling in the leaf-grimy corners of yards.

Let us sail to the colourful island of mixed identity. You can eat from the cooking pot of mixed culture and bathe in the cool shade of being mixed-race. There is no need for a passport. There are no borders. We are all citizens of the world. Whatever shade you are, bring your light, bring your colour, bring your music and your books, your stories and your histories, and climb aboard. United as a people we are a million majestic colours, together we are a glorious stained-glass window. We are building a cathedral of otherness, brick by brick and book by book. Raise your glass of rum, let’s toast to the minorities who are the majority. There is no stopping time, nor the blurring of lines or the blending of shades. With a spirit of hope I leave you now.

Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion. And the greatest Art is that which excites the greatest impersonal emotion in an hypothetical perfect human being. Impersonal emotion! And what - I thought - do I mean by that? Surely I mean: That is not Art, which, while I am contemplating it, inspires me with any active or direct impulse; that is Art, when, for however brief a moment, it replaces within me interest in myself by interest in itself. For, let me suppose myself in the presence of a carved marble bath. If my thoughts be: 'What could I buy that for?' Impulse of acquisition; or: 'From what quarry did it come?' Impulse of inquiry; or: 'Which would be the right end for my head?' Mixed impulse of inquiry and acquisition - I am at that moment insensible to it as a work of Art. But, if I stand before it vibrating at sight of its colour and forms, if ever so little and for ever so short a time, unhaunted by any definite practical thought or impulse - to that extent and for that moment it has stolen me away out of myself and put itself there instead; has linked me to the universal by making me forget the individual in me. And for that moment, and only while that moment lasts, it is to me a work of Art. The word 'impersonal,' then, is but used in this my definition to signify momentary forgetfulness of one's own personality and its active wants.

She might come in to bride-bed: and he laughed, As one that wist not well of wise love's craft, And bade all bridal things be as she would. Yet of his gentleness he gat not good; For clothed and covered with the nuptial dark Soft like a bride came Brangwain to King Mark, And to the queen came Tristram; and the night Fled, and ere danger of detective light From the king sleeping Brangwain slid away, And where had lain her handmaid Iseult lay. And the king waking saw beside his head That face yet passion-coloured, amorous red From lips not his, and all that strange hair shed Across the tissued pillows, fold on fold, Innumerable, incomparable, all gold, To fire men's eyes with wonder, and with love Men's hearts; so shone its flowering crown above The brows enwound with that imperial wreath, And framed with fragrant radiance round the face beneath. And the king marvelled, seeing with sudden start Her very glory, and said out of his heart; "What have I done of good for God to bless That all this he should give me, tress on tress, All this great wealth and wondrous? Was it this That in mine arms I had all night to kiss, And mix with me this beauty? this that seems More fair than heaven doth in some tired saint's dreams, Being part of that same heaven? yea, more, for he, Though loved of God so, yet but seems to see, But to me sinful such great grace is given That in mine hands I hold this part of heaven, Not to mine eyes lent merely. Doth God make Such things so godlike for man's mortal sake? Have I not sinned, that in this fleshly life Have made of her a mere man's very wife?

Oh I'll die I'll die I'll die My skin is in blazing furore I do not know what I'll do where I'll go oh I am sick I'll kick all Arts in the butt and go away Shubha Shubha let me go and live in your cloaked melon In the unfastened shadow of dark destroyed saffron curtain The last anchor is leaving me after I got the other anchors lifted I can't resist anymore, a million glass panes are breaking in my cortex I know, Shubha, spread out your matrix, give me peace Each vein is carrying a stream of tears up to the heart Brain's contagious flints are decomposing out of eternal sickness other why didn't you give me birth in the form of a skeleton I'd have gone two billion light years and kissed God's ass But nothing pleases me nothing sounds well I feel nauseated with more than a single kiss I've forgotten women during copulation and returned to the Muse In to the sun-coloured bladder I do not know what these happenings are but they are occurring within me I'll destroy and shatter everything draw and elevate Shubha in to my hunger Shubha will have to be given Oh Malay Kolkata seems to be a procession of wet and slippery organs today But i do not know what I'll do now with my own self My power of recollection is withering away Let me ascend alone toward death I haven't had to learn copulation and dying I haven't had to learn the responsibility of shedding the last drops after urination Haven't had to learn to go and lie beside Shubha in the darkness Have not had to learn the usage of French leather while lying on Nandita's bosom Though I wanted the healthy spirit of Aleya's fresh China-rose matrix Yet I submitted to the refuge of my brain's cataclysm I am failing to understand why I still want to live I am thinking of my debauched Sabarna-Choudhury ancestors I'll have to do something different and new Let me sleep for the last time on a bed soft as the skin of Shubha's bosom I remember now the sharp-edged radiance of the moment I was born I want to see my own death before passing away The world had nothing to do with Malay Roychoudhury Shubha let me sleep for a few moments in your violent silvery uterus Give me peace, Shubha, let me have peace Let my sin-driven skeleton be washed anew in your seasonal bloodstream Let me create myself in your womb with my own sperm Would I have been like this if I had different parents? Was Malay alias me possible from an absolutely different sperm? Would I have been Malay in the womb of other women of my father? Would I have made a professional gentleman of me like my dead brother without Shubha? Oh, answer, let somebody answer these Shubha, ah Shubha Let me see the earth through your cellophane hymen Come back on the green mattress again As cathode rays are sucked up with the warmth of a magnet's brilliance I remember the letter of the final decision of 1956 The surroundings of your clitoris were being embellished with coon at that time Fine rib-smashing roots were descending in to your bosom Stupid relationship inflated in the bypass of senseless neglect Aaaaaaaaaaaaaaaaaaaaaaaah I do not know whether I am going to die Squandering was roaring within heart's exhaustive impatience I'll disrupt and destroy I'll split all in to pieces for the sake of Art There isn't any other way out for Poetry except suicide Shubha Let me enter in to the immemorial incontinence of your labia majora In to the absurdity of woeless effort In the golden chlorophyll of the drunken heart Why wasn't I lost in my mother's urethra? Why wasn't I driven away in my father's urine after his self-coition? Why wasn't I mixed in the ovum -flux or in the phlegm? With her eyes shut supine beneath me I felt terribly distressed when I saw comfort seize S

Every building of the gothic period differs in some important respect from every other; and many include features which, if they occur in other buildings, would not be considered gothic at all: so that all we have to reason upon is merely, if we be allowed to express it, a greater r less degree of 'Gothicness' in each building we examine. And it is this 'Gothicness'' - the character which, according as it is found more or less in a building, makes it more or less Gothic, - of which I want to define the nature; and I feel the same kind of difficulty in doing so which would be encountered by anyone who undertook to explain, for instance, the nature of Redness, without any actual red thing to point to, but only orange and purple things. Suppose they had only a piece of heather ad a dead oak-leaf to do it with. They might say, the colour which is mixed with the yellow in the oak-leaf , and with the blue in the heather, would be red.

Napoleon respected Islam, regarding the Koran as ‘not just religious; it is civil and political. The Bible only preaches morals.’52 He was also impressed by the way that the Muslims ‘tore more souls away from false gods, toppled more idols, pulled down more pagan temples in fifteen years than the followers of Moses and Christ had in fifteen centuries’.53* He had no objection to polygamy, saying that Egyptian men were gourmands en amour, and, when permitted, ‘will prefer having wives of various colours’.54† His flattery of the ulama (clergy), his discussions of the Koran, and his holding out the possibility of his conversion to Islam – as well as his attempts to impress the sheikhs with French science – were all intended to establish a collaborationist body of Egyptians, with mixed results. As it turned out, no amount of complying with Islamic ceremonies, salutations and usages prevented Selim III from declaring jihad against the French in Egypt, meaning that any attacks upon them were thenceforth blessed.

Now the last age by Cumae's Sibyl sung has come and gone, and the majestic roll of circling centuries begins anew: justice returns, returns old Saturn's reign, with a new breed of men sent down from heaven. Only do thou, at the boy's birth in whom the iron shall cease, the golden race arise, befriend him, chaste Lucina; 'tis thine own apollo reigns. And in thy consulate, this glorious age, O Pollio, shall begin, and the months enter on their mighty march. Under thy guidance, whatso tracks remain of our old wickedness, once done away, shall free the earth from never-ceasing fear. He shall receive the life of gods, and see heroes with gods commingling, and himself be seen of them, and with his father's worth reign o'er a world at peace. For thee, O boy, first shall the earth, untilled, pour freely forth her childish gifts, the gadding ivy-spray with foxglove and Egyptian bean-flower mixed, and laughing-eyed acanthus. Of themselves, untended, will the she-goats then bring home their udders swollen with milk, while flocks afield shall of the monstrous lion have no fear. Thy very cradle shall pour forth for thee caressing flowers. The serpent too shall die, die shall the treacherous poison-plant, and far and wide Assyrian spices spring. But soon as thou hast skill to read of heroes' fame, and of thy father's deeds, and inly learn what virtue is, the plain by slow degrees with waving corn-crops shall to golden grow, fom the wild briar shall hang the blushing grape, and stubborn oaks sweat honey-dew. Nathless yet shall there lurk within of ancient wrong some traces, bidding tempt the deep with ships, gird towns with walls, with furrows cleave the earth. Therewith a second Tiphys shall there be, her hero-freight a second Argo bear; new wars too shall arise, and once again some great Achilles to some Troy be sent. Then, when the mellowing years have made thee man, no more shall mariner sail, nor pine-tree bark ply traffic on the sea, but every land shall all things bear alike: the glebe no more shall feel the harrow's grip, nor vine the hook; the sturdy ploughman shall loose yoke from steer, nor wool with varying colours learn to lie; but in the meadows shall the ram himself, now with soft flush of purple, now with tint of yellow saffron, teach his fleece to shine. While clothed in natural scarlet graze the lambs.

Though each of them was of a type quite different from the others, all of them were beautiful; but I had been looking at them for so few moments, and was so far from daring to stare at them, that I had not yet been able to individualize any of them. With the exception of one, whose straight nose and darker complexion marked her out among the rest, as a king of Arabian looks may stand out in a Renaissance painting of the Magi, they were knowable only as a pair of hard, stubborn, laughing eyes in one of the faces; as two cheeks of that pink touched by coppery tones suggesting geraniums in another; and none of even these features had I yet inseparably attached to any particular girl rather than to some other; and when (given the order in which I saw their complex whole unfold before me, wonderful because the most dissimilar aspects were mixed into it and all shades of colour were juxtaposed, but also as confused as a piece of music in which one cannot isolate and identify the phrases as they form, which once heard are as soon forgotten) I noticed the emergence of a pale oval, of two green eyes, or black ones, I had no idea whether they were those whose charm had struck me a moment before, in my inability to single out and recognize one or other of these girls and allot them to her.

Probably you consider the body is not at all important. I’ve seen you eat, and you eat as if you were feeding a furnace. You may like the taste of food, but it is all so mechanical, so inattentive, the way you mix food on your plate. When you become aware of all this, your fingers, your eyes, your ears, your body all become sensitive, alive, responsive. This is comparatively easy. But what is more difficult is to free the mind from the mechanical habits of thought, feeling and action into which it has been driven by circumstances – by one’s wife, one’s children, one’s job. The mind itself has lost its elasticity. The more subtle forms of observation escape it. This means seeing yourself actually as you are without wanting to correct yourself or change what you see or escape from it – just to see yourself actually as you are, so that the mind doesn’t fall back into another series of habits. When such a mind looks at a flower or the colour of a dress or a dead leaf falling from a tree, it is now capable of seeing the movement of that leaf as it falls and the colour of that flower vividly. So both outwardly and inwardly the mind becomes highly alive, pliable, alert; there is a sensitivity which makes the mind intelligent. Sensitivity, intelligence and freedom in action are the beauty of living.

Though each of them was of a type quite different from the others, all of them were beautiful; but I had been looking at them for so few moments, and was so far from daring to stare at them, that I had not yet been able to individualize any of them. With the exception of one, whose straight nose and darker complexion marked her out among the rest, as a king of Arabian looks may stand out in a Renaissance painting of the Magi, they were knowable only as a pair of hard, stubborn, laughing eyes in one of the faces; as two cheeks of that pink touched by coppery tones suggesting geraniums in another; and none of even these features had I yet inseparably attached to any particular girl rather than to some other; and when (given the order in which I saw their complex whole unfold before me, wonderful because the most dissimilar aspects were mixed into it and all shades of colour were juxtaposed, but also as confused as a piece of music in which one cannot isolate and identify the phrases as they form, which once heard are as soon forgotten) I noticed the emergence of a pale oval, of two green eyes, or black ones, I had no idea whether they were those whose charm had struck me a moment before, in my inability to single out and recognize one or other of these girls and allot them to her. The fact that my view of them was devoid of demarcations, which I was soon to draw among them, sent a ripple of harmonious imprecision through their group, the uninterrupted flow of a shared, unstable and elusive beauty.

In consequence of the inevitably scattered and fragmentary nature of our thinking, which has been mentioned, and of the mixing together of the most heterogeneous representations thus brought about and inherent even in the noblest human mind, we really possess only *half a consciousness*. With this we grope about in the labyrinth of our life and in the obscurity of our investigations; bright moments illuminate our path like flashes of lighting. But what is to be expected generally from heads of which even the wisest is every night the playground of the strangest and most senseless dreams, and has to take up its meditations again on emerging from these dreams? Obviously a consciousness subject to such great limitations is little fitted to explore and fathom the riddle of the world; and to beings of a higher order, whose intellect did not have time as its form, and whose thinking therefore had true completeness and unity, such an endeavor would necessarily appear strange and pitiable. In fact, it is a wonder that we are not completely confused by the extremely heterogeneous mixture of fragments of representations and of ideas of every kind which are constantly crossing one another in our heads, but that we are always able to find our way again, and to adapt and adjust everything. Obviously there must exist a simple thread on which everything is arranged side by side: but what is this? Memory alone is not enough, since it has essential limitations of which I shall shortly speak; moreover, it is extremely imperfect and treacherous. The *logical ego*, or even the *transcendental synthetic unity of apperception*, are expressions and explanations that will not readily serve to make the matter comprehensible; on the contrary, it will occur to many that “Your wards are deftly wrought, but drive no bolts asunder.” Kant’s proposition: “The *I think* must accompany all our representations ,” is insufficient; for the “I” is an unknown quantity, in other words, it is itself a mystery and a secret. What gives unity and sequence to consciousness, since by pervading all the representations of consciousness, it is its substratum, its permanent supporter, cannot itself be conditioned by consciousness, and therefore cannot be a representation. On the contrary, it must be the *prius* of consciousness, and the root of the tree of which consciousness is the fruit. This, I say, is the *will*; it alone is unalterable and absolutely identical, and has brought forth consciousness for its own ends. It is therefore the will that gives unity and holds all its representations and ideas together, accompanying them, as it were, like a continuous ground-bass. Without it the intellect would have no more unity of consciousness than has a mirror, in which now one thing now another presents itself in succession, or at most only as much as a convex mirror has, whose rays converge at an imaginary point behind its surface. But it is *the will* alone that is permanent and unchangeable in consciousness. It is the will that holds all ideas and representations together as means to its ends, tinges them with the colour of its character, its mood, and its interest, commands the attention, and holds the thread of motives in its hand. The influence of these motives ultimately puts into action memory and the association of ideas. Fundamentally it is the will that is spoken of whenever “I” occurs in a judgement. Therefore, the will is the true and ultimate point of unity of consciousness, and the bond of all its functions and acts. It does not, however, itself belong to the intellect, but is only its root, origin, and controller.

I'm in sore straits, Jeeves.' 'I am sorry to hear that, sir.' 'You'll be sorrier when I explain further. Have you ever seen a garrison besieged by howling savages, with their ammunition down to the last box of cartridges, the water supply giving our and the United States Marines nowhere in sight?' 'Not to my recollection, sir.' 'Well, my position is roughly that of such a garrison, except that compared with me they're sitting pretty. Compared with me they haven't a thing to worry about.' 'You fill me with alarm, sir.' 'I bet I do, and I haven't even started yet. I will begin by saying that Miss Cook, to whom I'm engaged, is a lady for whom I have the utmost esteem and respect, but on certain matters we do not... what's the expression?' 'See eye to eye, sir?' 'That's right. And unfortunately those matters are the what-d'you-call-it of my whole policy. What is it that policies have?' 'I think the word for which you are groping, sir, may possibly be cornerstone.' 'Thank you, Jeeves. She disapproves of a variety of things which are the cornerstone of my policy. Marriage with her must inevitably mean that I shall have to cast them from my life, for she has a will of iron and will have no difficulty in making her husband jump through hoops and snap sugar off his nose. You get what I mean?' 'I do, sir. A very colourful image.' 'Cocktails, for instance, will be barred. She says they are bad for the liver. Have you noticed, by the way, how frightfully lax everything's getting now? In Queen Victoria's day a girl would never have dreamed of mentioning livers in mixed company.' 'Very true, sir. Tempora mutanter, nos et mutamur in illis.' 'That, however, is not the worst.' 'You horrify me, sir.' 'At a pinch I could do without cocktails. It would be agony, but we Woosters can rough it. But she says I must give up smoking.' 'This was indeed the most unkindest cut of all, sir.' 'Give up smoking, Jeeves!' 'Yes, sir. You will notice that I am shuddering.

It is easy for the student to feel that with all his labour he is collecting only a few leaves, many of them now torn or decayed, from the countless foliage of the Tree of Tales, with which the Forest of Days is carpeted. It seems vain to add to the litter. Who can design a new leaf? The patterns from bud to unfolding, and the colours from spring to autumn were all discovered by men long ago. But that is not true. The seed of the tree can be replanted in almost any soil, even in one so smoke-ridden (as Lang said) as that of England. Spring is, of course, not really less beautiful because we have seen or heard of other like events: like events, never from world's beginning to world's end the same event. Each leaf, of oak and ash and thorn, is a unique embodiment of the pattern, and for some this very year may be the embodiment, the first ever seen and recognized, though oaks have put forth leaves for countless generations of men. We do not, or need not, despair of drawing because all lines must be either curved or straight, nor of painting because there are only three 'primary' colours. We may indeed be older now, in so far as we are heirs in enjoyment or in practice of many generations of ancestors in the arts. In this inheritance of wealth there may be a danger of boredom or of anxiety to be original, and that may lead to a distaste for fine drawing, delicate pattern, and 'pretty' colours, or else to mere manipulation and over-elaboration of old material, clever and heartless. But the true road of escape from such weariness is not to be found in the willfully awkward, clumsy, or misshapen, not in making all things dark or unremittingly violent; nor in the mixing of colours on through subtlety to drabness, and the fantastical complication of shapes to the point of silliness and on towards delirium. Before we reach such states we need recovery. We should look at green again, and be startled anew (but not blinded) by blue and yellow and red. We should meet the centaur and the dragon, and then perhaps suddenly behold, like the ancient shepherds, sheep, and dogs, and horses – and wolves. This recovery fairy-stories help us to make. In that sense only a taste for them may make us, or keep us, childish.

Now the last age by Cumae's Sibyl sung has come and gone, and the majestic roll of circling centuries begins anew: justice returns, returns old Saturn's reign, with a new breed of men sent down from heaven. Only do thou, at the boy's birth in whom the iron shall cease, the golden race arise, befriend him, chaste Lucina; 'tis thine own apollo reigns. And in thy consulate, this glorious age, O Pollio, shall begin, and the months enter on their mighty march. Under thy guidance, whatso tracks remain of our old wickedness, once done away, shall free the earth from never-ceasing fear. He shall receive the life of gods, and see heroes with gods commingling, and himself be seen of them, and with his father's worth reign o'er a world at peace. For thee, O boy, first shall the earth, untilled, pour freely forth her childish gifts, the gadding ivy-spray with foxglove and Egyptian bean-flower mixed, and laughing-eyed acanthus. Of themselves, untended, will the she-goats then bring home their udders swollen with milk, while flocks afield shall of the monstrous lion have no fear. Thy very cradle shall pour forth for thee caressing flowers. The serpent too shall die, die shall the treacherous poison-plant, and far and wide Assyrian spices spring. But soon as thou hast skill to read of heroes' fame, and of thy father's deeds, and inly learn what virtue is, the plain by slow degrees with waving corn-crops shall to golden grow, fom the wild briar shall hang the blushing grape, and stubborn oaks sweat honey-dew. Nathless yet shall there lurk within of ancient wrong some traces, bidding tempt the deep with ships, gird towns with walls, with furrows cleave the earth. Therewith a second Tiphys shall there be, her hero-freight a second Argo bear; new wars too shall arise, and once again some great Achilles to some Troy be sent. Then, when the mellowing years have made thee man, no more shall mariner sail, nor pine-tree bark ply traffic on the sea, but every land shall all things bear alike: the glebe no more shall feel the harrow's grip, nor vine the hook; the sturdy ploughman shall loose yoke from steer, nor wool with varying colours learn to lie; but in the meadows shall the ram himself, now with soft flush of purple, now with tint of yellow saffron, teach his fleece to shine.

When the victor, in a fight of the cities, according to the law of warfare, executes the whole male population and sells all the women and children into slavery, we see, in the sanction of such a law, that the Greek deemed it a positive necessity to allow his hatred to break forth unimpeded; in such moments the compressed and swollen feeling relieved itself; the tiger bounded forth, a voluptuous cruelty shone out of his fearful eye. Why had the Greek sculptor to represent again and again war and fights in innumerable repetitions, extended human bodies whose sinews are tightened through hatred or through the recklessness of triumph, fighters wounded and writhing with pain, or the dying with the last rattle in their throat? Why did the whole Greek world exult in the fighting scenes of the "Iliad"? I am afraid, we do not understand them enough in "Greek fashion," and that we should even shudder, if for once we did understand them thus. But what lies, as the mother-womb of the Hellenic, behind the Homeric world? In the latter, by the extremely artistic definiteness, and the calm and purity of the lines we are already lifted far above the purely material amalgamation: its colours, by an artistic deception, appear lighter, milder, warmer; its men, in this coloured, warm illumination, appear better and more sympathetic — but where do we look, if, no longer guided and protected by Homer's hand, we step backwards into the pre-Homeric world? Only into night and horror, into the products of a fancy accustomed to the horrible. What earthly existence is reflected in the loathsome-awful theogonian lore: a life swayed only by the children of the night, strife, amorous desires, deception, age and death. Let us imagine the suffocating atmosphere of Hesiod's poem, still thickened and darkened and without all the mitigations and purifications, which poured over Hellas from Delphi and the numerous seats of the gods! If we mix this thickened Boeotian air with the grim voluptuousness of the Etruscans, then such a reality would extort from us a world of myths within which Uranos, Kronos and Zeus and the struggles of the Titans would appear as a relief. Combat in this brooding atmosphere is salvation and safety; the cruelty of victory is the summit of life's glories. And just as in truth the idea of Greek law has developed from murder and expiation of murder, so also nobler Civilisation takes her first wreath of victory from the altar of the expiation of murder. Behind that bloody age stretches a wave-furrow deep into Hellenic history. The names of Orpheus, of Musaeus, and their cults indicate to what consequences the uninterrupted sight of a world of warfare and cruelty led — to the loathing of existence, to the conception of this existence as a punishment to be borne to the end, to the belief in the identity of existence and indebtedness. But these particular conclusions are not specifically Hellenic; through them Greece comes into contact with India and the Orient generally. The Hellenic genius had ready yet another answer to the question: what does a life of fighting and of victory mean? and gives this answer in the whole breadth of Greek history.

Every select man strives instinctively for a citadel and a privacy, where he is FREE from the crowd, the many, the majority—where he may forget "men who are the rule," as their exception;—exclusive only of the case in which he is pushed straight to such men by a still stronger instinct, as a discerner in the great and exceptional sense. Whoever, in intercourse with men, does not occasionally glisten in all the green and grey colours of distress, owing to disgust, satiety, sympathy, gloominess, and solitariness, is assuredly not a man of elevated tastes; supposing, however, that he does not voluntarily take all this burden and disgust upon himself, that he persistently avoids it, and remains, as I said, quietly and proudly hidden in his citadel, one thing is then certain: he was not made, he was not predestined for knowledge. For as such, he would one day have to say to himself: "The devil take my good taste! but 'the rule' is more interesting than the exception—than myself, the exception!" And he would go DOWN, and above all, he would go "inside." The long and serious study of the AVERAGE man—and consequently much disguise, self-overcoming, familiarity, and bad intercourse (all intercourse is bad intercourse except with one's equals):—that constitutes a necessary part of the life-history of every philosopher; perhaps the most disagreeable, odious, and disappointing part. If he is fortunate, however, as a favourite child of knowledge should be, he will meet with suitable auxiliaries who will shorten and lighten his task; I mean so-called cynics, those who simply recognize the animal, the commonplace and "the rule" in themselves, and at the same time have so much spirituality and ticklishness as to make them talk of themselves and their like BEFORE WITNESSES—sometimes they wallow, even in books, as on their own dung-hill. Cynicism is the only form in which base souls approach what is called honesty; and the higher man must open his ears to all the coarser or finer cynicism, and congratulate himself when the clown becomes shameless right before him, or the scientific satyr speaks out. There are even cases where enchantment mixes with the disgust—namely, where by a freak of nature, genius is bound to some such indiscreet billy-goat and ape, as in the case of the Abbé Galiani, the profoundest, acutest, and perhaps also filthiest man of his century—he was far profounder than Voltaire, and consequently also, a good deal more silent. It happens more frequently, as has been hinted, that a scientific head is placed on an ape's body, a fine exceptional understanding in a base soul, an occurrence by no means rare, especially among doctors and moral physiologists. And whenever anyone speaks without bitterness, or rather quite innocently, of man as a belly with two requirements, and a head with one; whenever any one sees, seeks, and WANTS to see only hunger, sexual instinct, and vanity as the real and only motives of human actions; in short, when any one speaks "badly"—and not even "ill"—of man, then ought the lover of knowledge to hearken attentively and diligently; he ought, in general, to have an open ear wherever there is talk without indignation. For the indignant man, and he who perpetually tears and lacerates himself with his own teeth (or, in place of himself, the world, God, or society), may indeed, morally speaking, stand higher than the laughing and self-satisfied satyr, but in every other sense he is the more ordinary, more indifferent, and less instructive case. And no one is such a LIAR as the indignant man.

Every special human being strives instinctively for his own castle and secrecy, where he is saved from the crowd, the many, the majority—where he can forget the rule-bound "people," for he is an exception to them;—but for the single case where he is pushed by an even stronger instinct straight against these rules, as a person who seeks knowledge in a great and exceptional sense. Anyone who, in his intercourse with human beings, does not, at one time or another, shimmer with all the colours of distress—green and gray with disgust, surfeit, sympathy, gloom, and loneliness—is certainly not a man of higher taste. But provided he does not take all this weight and lack of enthusiasm freely upon himself, always keeps away from it, and stays, as mentioned, hidden, quiet, and proud in his castle, well, one thing is certain: he is not made for, not destined for, knowledge. For if he were, he would one day have to say to himself, "The devil take my good taste! The rule-bound man is more interesting than the exception—than I am, the exception!"— and he would make his way down , above all, "inside." The study of the average man—long, serious, and requiring much disguise, self-control, familiarity, bad company - (all company is bad company except with one’s peers):—that constitutes a necessary part of the life story of every philosopher, perhaps the most unpleasant, foul-smelling part, the richest in disappointments. But if he’s lucky, as is appropriate for a fortunate child of knowledge, he encounters real shortcuts and ways of making his task easier; I’m referring to the so-called cynics, those who, as cynics, simply recognize the animal, the meanness, the "rule-bound man" in themselves and, in the process, still possess that degree of intellectual quality and urge to have to talk about themselves and people like them before witnesses;—now and then they even wallow in books, as if in their very own dung. Cynicism is the single form in which common souls touch upon what honesty is, and the higher man should open his ears to every cruder and more refined cynicism and think himself lucky every time a shameless clown or a scientific satyr announces himself directly in front of him. There are even cases where enchantment gets mixed into the disgust—for example, in those places where, by some vagary of nature, genius is bound up with such an indiscreet billy-goat and ape; as in the Abbé Galiani, the most profound, sharp-sighted, and perhaps also the foulest man of his century—he was much deeper than Voltaire and consequently a good deal quieter. More frequently it happens that, as I’ve intimated, the scientific head is set on an ape’s body, a refined and exceptional understanding in a common soul; among doctors and moral physiologists, for example, that’s not an uncommon occurrence. And where anyone speaks without bitterness and quite harmlessly of men as a belly with two different needs and a head with one, everywhere someone constantly sees, looks for, and wants to see only hunger, sexual desires, and vanity, as if these were the real and only motivating forces in human actions, in short, wherever people speak "badly" of human beings—not even in a nasty way—there the lover of knowledge should pay fine and diligent attention; he should, in general, direct his ears to wherever people talk without indignation. For the indignant man and whoever is always using his own teeth to tear himself apart or lacerate himself (or, as a substitute for that, the world, or God, or society) may indeed, speaking morally, stand higher than the laughing and self-satisfied satyr, but in every other sense he is the more ordinary, the more trivial, the more uninstructive case. And no one lies as much as the indignant man.

For colour’s sake alone, Purletta Johnson belonged to the Jamaican bourgeoisie. She was fair-skinned, had light grey eyes, and worse, she spoke the kind of upper-St Andrew English culled from the BBC news which radios in middle- and upper-class Jamaican houses were always tuned to. In America at the time they would have described her as ‘yellow’. In Jamaica, she had been ‘red’. In a future England they would call her mixed-race, but at the time Purletta arrived in the country there was no such denominator, so she was simply coloured. Only briefly did this new assignment of class and race disturb her. Others in her position did everything to pass for white; they straightened their hair even more and then lightened it; they bleached their faces. These young women would have counselled Purletta to do the same, arguing that she had a distinct advantage with her grey eyes. She had arrived in England in the late 1960s, burdened by her mother’s idea that she should live there long enough to transform the UK-Right of Abode stamped into her Jamaican Passport (a gift from her father who was a citizen), into a full UK passport. No doubt Purletta’s mother also wanted her daughter to come back a cultivated English woman. But Purletta did the opposite. In the land of the BBC she suddenly abandoned her BBC accent. Away from Jamaica, she learned to talk Jamaican. She braided her hair close to her scalp and thereafter gave in to every possible stereotype, whether negative or positive. She became loud and colourful. Learned how to laugh from her gut, clapping her hands, leaning over and placing the palms of her hands on her thighs, shouting wooooooooiiii. She became fat and started to walk a kind of walk that was all hips. She got a gold tooth. Then she transformed herself into the kind of person who, as they said in Jamaica, any pan knock she was there!, so she started to go to every reggae show and would boogie all night until she was sticky with sweat. Purletta began to grow ganja on her balcony. She smoked, especially on evenings when she was getting ready to go out, and this would make her even louder, even more outrageous. A bona

tie fastening and flared sleeves. Very boho. Mo was right, she had lost weight; the top used to be snug on her arms and across her shoulders but now skimmed her shape nicely. With a white vest underneath and two strings of multi-coloured glass beads that she had picked up in Primark, she knew she would pass muster. ‘Well, look at you!’ Mo beamed. ‘You look lovely.’ ‘I don’t feel it, not really.’ She felt sick at the prospect of going to a social event without Phil. It wasn’t that they stuck together, joined at the hip, but she always took great comfort from knowing he was close by, just in case. ‘You’re going to be fine. The first time for anything is always the worst. Just take a deep breath.’ Rosie did just that and Mo disappeared into the kitchen and emerged with her mixing

Everything about the whimsical inn inspired curiosity instead of fear. In a third-floor bathing room, Evangeline found the most delightful copper tub, reminiscent of the clock in the hall. It had lovely jewelled handles and a faucet that could pour out different-coloured waters in a variety of scents: Pink honeysuckle. Lavender rose. Green pine needle. Silver rain. She'd mixed the rain and honeysuckle, and now she smelled like a sweet and stormy day.

Doubt is poison to magic, and I allowed myself to mix belief and doubt together. Of course, this can never work; it’s like adding a teaspoon of food colouring to a cup of clear water, even the smallest bit will spoil the greatest amount.

Paracelsus, in his work on The Tincture of the Philosophers, tells us that all that is necessary for us to do is to mix and coagulate the “rose-coloured blood from the Lion” and “the gluten from the Eagle,” by which he probably meant that we must combine “philosophical sulphur” with “philosophical mercury.” This opinion, that the Philosopher’s Stone consists of “philosophical sulphur and mercury” combined so as to constitute a perfect unity, was commonly held by the alchemists, and they frequently likened this union to the conjunction of the sexes in marriage.

Brownies in Ernakulam One of Ernakulam's best bakeries, Rising Loaf, provides handcrafted premium made-to-order baked treats that are free of preservatives and additives. Custom cakes, delicacies, and gourmet sweets are available. Our blends are one-of-a-kind because they mix a great deal of skill and expertise with natural baking ingredients to provide you with the best sweetness and taste. We take pride in giving every one of our clients, big and small, an amazing experience. Brownies in Ernakulam is committed to making high-quality bread devoid of artificial preservatives, colours, or flavours. All of our bread loaves, cakes, cookies, doughnuts and muffins, and cupcakes are lovingly created in Ernakulam's cleanest environment. The fullness of our clients' grins when they try our exquisite items and return for more is how we define success at Rising Loaf. They're the cherry on top of our cake, the driving force behind our efforts to improve our baking and customer service. To maintain the authentic taste and fresh flavours, we are captivated by using only high-quality and fresh ingredients in our confectioneries. The fullness of our clients' grins when they try our exquisite items and return for more is how we define success at Rising Loaf. They're the cherry on top of our cake, the driving force behind our efforts to improve our baking and customer service. Rising Loaf, one of Ernakulam's best bakeries, was created by friends with a passion for baking with the purpose of making handcrafted premium baked products that are completely free of harmful food preservatives and additives and delivering them to your door.

Drinking games were also part of the gig experience including a live favourite which would follow later in the band’s career, the infamous “Wheel of Misfortune,” a huge wheel to which punters were strapped to and spun after being fed a bucket of booze through a hose. This often resulted in the victim being left in an unconscious stupor or forced them to let go a multi-coloured fountain of puke. Snakebite [beer mixed with cider] was the supposed content of the bucket but many would shudder to think what foul potions were also added to the receptacle.

My Order emerged,” he breathed and the terror in his voice told me all I needed to about what had happened. “You’re not a Dragon?” I asked, my own voice cracking with fear for him. Father would have been more than furious to discover that his son was anything other than a full blooded Dragon Shifter. It was a matter of pride and respect; he ridiculed families with mixed blood, he believed wholeheartedly in the superiority of our kind. One of his sons being anything other was totally unthinkable. Xavier shook his head slowly, trying to withdraw his hand from mine as footsteps sounded on the stairs behind me but I refused to release him. “It doesn’t change anything for me,” I growled. “You’re still my brother, I don’t care if you’re a Werewolf or a Vampire or a-” “So he told you, did he?” Father’s cold voice came from the doorway behind me and the hairs along the back of my neck stood to attention in warning. Xavier snatched his hand out of mine, blinking away the evidence of the tears which hadn’t even fallen. I stood before him, placing myself between him and Father. “It doesn’t matter,” I said firmly, though the simmering rage in my father’s eyes told a very different story. “I’m the oldest. I’m the first in line anyway, Xavier never wanted to challenge me for that role so-” “Yes, I still have my Heir but I’ve lost the spare. Did he tell you exactly what Order he is?” Father snarled, his eyes changing to their Dragon form and a trail of smoke leaving his nostrils. He was so angry about this that he was battling against the urge to shift. I didn’t think I’d ever seen him look so close to the edge before. “Not yet. But surely it’s not the end of the world if-” “Shift,” Father commanded, his gaze passing me to land on my brother. Xavier got out of his chair and backed up, shaking his head in panic. His skin looked odd though, like there was light shining from within it, trying to break free. “I told you, I’ll get control of it; I won’t shift ever,” he said anxiously. “No one will ever find out that I’m-” “SHIFT!” Father bellowed, using fear to force the change on him. Xavier cried out in panic as the light beneath his skin grew to a powerful glow and he bucked forward as his Order form took over. I backed up as his form changed, giving him room to become- “Fucking hell,” I breathed, my eyes widening in panic. “My thoughts precisely,” Father hissed venomously. Xavier had transformed into a lilac Pegasus complete with golden horn and rainbow patterned wings. His coat shone with glitter in the light of my magical orbs and his wide, horsey eyes looked back at us fearfully. I stared at him with my mouth hanging open, scrambling for something, anything to say. “I... didn’t know we had any recessive Pegasus genes in the bloodline...maybe he's linked to the constellation,” I muttered, unsure what else I could say. Father hated the weaker, more common Orders. He was a Dragon through and through; he loved power, invoking fear and breathing fire. A Pegasus was about as far as you could get to the opposite end of the Order spectrum. They were flying horses who pooped glitter, granted wishes and were... cute. Xavier hadn’t even been lucky enough to have a dark coloured coat, it was lilac. Lilac! (DARIUS POV)

Soul and body Different souls walk in this world. Souls are dressed in bodies so that nobody could see the souls naked. Coloured souls cannot be mixed with each other. It is a lone walk along the road of life. People mix their bodies. It is easy. It gives the hope of understanding. But lone souls walk in the world.

Every select man strives instinctively for a citadel and a privacy, where he is FREE from the crowd, the many, the majority—where he may forget "men who are the rule," as their exception;—exclusive only of the case in which he is pushed straight to such men by a still stronger instinct, as a discerner in the great and exceptional sense. Whoever, in intercourse with men, does not occasionally glisten in all the green and grey colours of distress, owing to disgust, satiety, sympathy, gloominess, and solitariness, is assuredly not a man of elevated tastes; supposing, however, that he does not voluntarily take all this burden and disgust upon himself, that he persistently avoids it, and remains, as I said, quietly and proudly hidden in his citadel, one thing is then certain: he was not made, he was not predestined for knowledge. For as such, he would one day have to say to himself: "The devil take my good taste! but 'the rule' is more interesting than the exception—than myself, the exception!" And he would go DOWN, and above all, he would go "inside." The long and serious study of the AVERAGE man—and consequently much disguise, self-overcoming, familiarity, and bad intercourse (all intercourse is bad intercourse except with one's equals):—that constitutes a necessary part of the life-history of every philosopher; perhaps the most disagreeable, odious, and disappointing part. If he is fortunate, however, as a favourite child of knowledge should be, he will meet with suitable auxiliaries who will shorten and lighten his task; I mean so-called cynics, those who simply recognize the animal, the commonplace and "the rule" in themselves, and at the same time have so much spirituality and ticklishness as to make them talk of themselves and their like BEFORE WITNESSES—sometimes they wallow, even in books, as on their own dung-hill. Cynicism is the only form in which base souls approach what is called honesty; and the higher man must open his ears to all the coarser or finer cynicism, and congratulate himself when the clown becomes shameless right before him, or the scientific satyr speaks out. There are even cases where enchantment mixes with the disgust—namely, where by a freak of nature, genius is bound to some such indiscreet billy-goat and ape, as in the case of the Abbe Galiani, the profoundest, acutest, and perhaps also filthiest man of his century—he was far profounder than Voltaire, and consequently also, a good deal more silent. It happens more frequently, as has been hinted, that a scientific head is placed on an ape's body, a fine exceptional understanding in a base soul, an occurrence by no means rare, especially among doctors and moral physiologists. And whenever anyone speaks without bitterness, or rather quite innocently, of man as a belly with two requirements, and a head with one; whenever any one sees, seeks, and WANTS to see only hunger, sexual instinct, and vanity as the real and only motives of human actions; in short, when any one speaks "badly"—and not even "ill"—of man, then ought the lover of knowledge to hearken attentively and diligently; he ought, in general, to have an open ear wherever there is talk without indignation. For the indignant man, and he who perpetually tears and lacerates himself with his own teeth (or, in place of himself, the world, God, or society), may indeed, morally speaking, stand higher than the laughing and self-satisfied satyr, but in every other sense he is the more ordinary, more indifferent, and less instructive case. And no one is such a LIAR as the indignant man.

Yes. All the worth-while things in life. All mixed up. Rooms in candle-light. Leisure. Colour. Travel. Books. Music. Pictures. People—all kinds of people. Work that you love. And growth—growth and watching people grow. Feeling very strongly about things and then developing that feeling to—to make something fine come of it.

All atomic nuclei are composed of two types of particles: protons and their electrically neutral partners, neutrons. If a nucleus has too many of one type or the other, then the rules of quantum mechanics dictate that the balance has to be redressed and those excess particles will change into the other form: protons will become neutrons, or neutrons protons, via a process called beta-decay. This is precisely what happens when two protons come together: a composite of two protons cannot exist and one of them will beta-decay into a neutron. The remaining proton and the newly transformed neutron can then bind together to form an object called a deuteron (the nucleus of an atom of the heavy hydrogen isotopefn3 called deuterium), after which further nuclear reactions enable the building of the more complex nuclei of other elements heavier than hydrogen, from helium (with two protons and either one or two neutrons) through to carbon, nitrogen, oxygen, and so on. The key point is that the deuteron owes its existence to its ability to exist in two states simultaneously, by virtue of quantum superposition. This is because the proton and neutron can stick together in two different ways that are distinguished by how they spin. We will see later how this concept of ‘quantum spin’ is actually very different from the familiar spin of a big object, such as a tennis ball; but for now we will go with our classical intuition of a spinning particle and imagine both the proton and the neutron spinning together within the deuteron in a carefully choreographed combination of a slow, intimate waltz and a faster jive. It was discovered back in the late 1930s that within the deuteron these two particles are not dancing together in either one or the other of these two states, but in both states at the same time – they are in a blur of waltz and jive simultaneously – and it is this that enables them to bind together.fn4 An obvious response to this statement is: ‘How do we know?’ Surely, atomic nuclei are far too small to be seen, so might it not be more reasonable to assume that there is something missing in our understanding of nuclear forces? The answer is no, for it has been confirmed in many laboratories over and over again that if the proton and neutron were performing the equivalent of either a quantum waltz or a quantum jive, then the nuclear ‘glue’ between them would not be quite strong enough to bind them together; it is only when these two states are superimposed on top of each other – the two realities existing at the same time – that the binding force is strong enough. Think of the two superposed realities as a little like mixing two coloured paints, blue and yellow, to make a combined resultant colour, green. Although you know the green is made up of the two primary constituent colours, it is neither one nor the other. And different ratios of blue and yellow will make different shades of green. Likewise, the deuteron binds when the proton and neutron are mostly locked in a waltz, with just a tiny amount of jive thrown in. So

in South Africa. On 1 July 1949 the Prohibition of Mixed Marriages Act was passed, which

You'll find more emotions of words in those crumpled & rolled papers thrown in the dustbin than the edited script you jolted down last night in your folder. More splashes of paints lay scattered around your drawing paint-plate, the brushes equally messed up with their romance with the colours before the actual finishing of a fine portrait. Your draft box breathes more words than the real, grammatically -groomed post on your blog. The room smells more of the combined samples of vividly used tropical, musky, floral essences mixed in different ratios to get the exotic cologne at the end. Gist is spending that extra cent to obtain a perfect blend. That extra counts to the journey of a masterpiece which later finds itself an identity of an extra-ordinary creation. You're that 'extra' to me who glorifies my existence and makes me feel like a clone-sister of masterpiece or rather a mistress-piece!!! ❤ - Shonali Dey (Shon Alley)

But if mixed-race people in the United States in the late nineteenth century found themselves legally classed as “black,” mixed-race people in the West Indies more often found themselves classed with “whites.” In the 1855 census of Grand Cayman Island, for example, “blacks” constituted one category; “white and coloured” another. “It was found impracticable to distinguish between the white and coloured population,” explained the missionary census takers. “The greater proportion of these…are persons of colour, but, of course, of various shades of complexion.”15

the wafer in prayer to God, Jesus, Mary and the saints and declares it to have physically changed into human flesh and blood he makes an idol out of it. Even in the case of consubstantiation, which says it does not physically change but God is spiritually present in the wafer, it is still an idol. The idea of God entering the communion bread came about from a Gnostic heretic named Marcus in the first century. Marcus taught that when he blessed the cup of wine, the Holy Spirit would enter the cup and anyone who drank from it would be filled with the Holy Spirit. In this case, the transmuted communion would impart the Holy Spirit. Today the idea is that the transmuted communion will impart a grace that forgives some sins. About transubstantiation, ancient church father Irenaeus said clearly:   “Pretending to consecrate cups mixed with wine, he contrives to give them a purple and reddish colour, so that Charis [the Holy Spirit], should be thought to drop her own blood into that cup through means of his invocation… the church has never taught such a thing… all who follow such a demonic teaching are crack-brained.” Irenaeus Against Heresies 1.13

The very same spices, powders, and mixing methods that were used in medieval medicine and cosmetics were useful in making pigments, too, so apothecaries also sold ink. This saved scribes and illuminators who could afford it the trouble of making their own inks, and the apothecary’s long practice and skill with mixtures gave them a better chance at having regular colours and consistency, as well. As a complementary skill, apothecaries’ proficiency with wax as a binding and mixing agent led them to create and sell wax products alongside their other wares, such as candles, votives (as seen above), and sealing wax. The combination of ink and sealing wax made it a logical step for apothecaries to sell parchment, and other stationery items, too. Our modern habit of heading to the pharmacy for a headache cure, grooming products, and stationery is part of a long tradition, indeed.

Whitewash, a solution of lime and chalk mixed with other additives, was brushed on interior and exterior walls like paint. It took several days to set, forming a white surface that could be coloured with other substances; in some areas animal blood or vegetable dye was added to give exterior walls a pink colour. Whitewash was a cheap way of decorating rooms. More expensive options included textile hangings, wallpaper, painting and wainscoting. In 1817 William Holland was decorating parts of the vicarage at Over Stowey. His daughter’s bedroom had wallpaper, but he hired a painter for some of the woodwork, inside and out:

Let us live by dreams and for dreams, undoing the Universe and remaking it, distractedly, as best suits our moment to dream. Let us do this conscious of its utter futility. Let us ignore life with every pore of our body, stray from reality with all of our senses, and abdicate from love with all our soul. Let us fill with useless sand the pitchers we take to the well, then empty them out, only to refill them and empty them again; the more futile the better. Let us weave garlands and, once they're finished, carefully, meticulously unpick them. Let us choose paints and mix them on the palette with no canvas before us to paint. Let us send for stone to chisel when we have no chisel and we are not sculptors. Let us render everything absurd and adorn our sterile hours with more utilities. Let us play hide and seek with our consciousness of being alive. Let us, with an amused, incredulous smile on our lips, listen to God telling us that we exist. Let us watch Time painting the world and finding the resulting picture not only false but hollow. Let us think with sentences that contradict one another, speaking out loud in sounds that aren’t colours. Let us affirm - and grasp, which would be impossible - that we are conscious of not being conscious, and that we are not what we are. Let us explain all this in an obscure, paradoxical way, saying that things have a divine, othersidedness to them, and let us not believe too much in that explanation so that we do not have to discard it. Let us carve out of empty silence all our dreams of speaking. Let us allow all our thoughts of action to slide into stagnant torpor. Yet dreamed landscapes are merely the smoke from known landscapes and the tedium of dreaming them is almost as great as the tedium of looking at the world. And hovering distractedly above all this, like a vast blue sky, the horror of living.

Every select man strives instinctively for a citadel and a privacy, where he is FREE from the crowd, the many, the majority—where he may forget "men who are the rule," as their exception;—exclusive only of the case in which he is pushed straight to such men by a still stronger instinct, as a discerner in the great and exceptional sense. Whoever, in intercourse with men, does not occasionally glisten in all the green and grey colours of distress, owing to disgust, satiety, sympathy, gloominess, and solitariness, is assuredly not a man of elevated tastes; supposing, however, that he does not voluntarily take all this burden and disgust upon himself, that he persistently avoids it, and remains, as I said, quietly and proudly hidden in his citadel, one thing is then certain: he was not made, he was not predestined for knowledge. For as such, he would one day have to say to himself: "The devil take my good taste! but 'the rule' is more interesting than the exception—than myself, the exception!" And he would go DOWN, and above all, he would go "inside." The long and serious study of the AVERAGE man—and consequently much disguise, self-overcoming, familiarity, and bad intercourse (all intercourse is bad intercourse except with one's equals):—that constitutes a necessary part of the life-history of every philosopher; perhaps the most disagreeable, odious, and disappointing part. If he is fortunate, however, as a favourite child of knowledge should be, he will meet with suitable auxiliaries who will shorten and lighten his task; I mean so-called cynics, those who simply recognize the animal, the commonplace and "the rule" in themselves, and at the same time have so much spirituality and ticklishness as to make them talk of themselves and their like BEFORE WITNESSES—sometimes they wallow, even in books, as on their own dung-hill. Cynicism is the only form in which base souls approach what is called honesty; and the higher man must open his ears to all the coarser or finer cynicism, and congratulate himself when the clown becomes shameless right before him, or the scientific satyr speaks out. There are even cases where enchantment mixes with the disgust—namely, whereby a freak of nature, genius is bound to some such indiscreet billy-goat and ape, as in the case of the Abbe Galiani, the profoundest, acutest, and perhaps also filthiest man of his century—he was far profounder than Voltaire, and consequently also, a good deal more silent. It happens more frequently, as has been hinted, that a scientific head is placed on an ape's body, a fine exceptional understanding in a base soul, an occurrence by no means rare, especially among doctors and moral physiologists. And whenever anyone speaks without bitterness, or rather quite innocently, of man as a belly with two requirements, and a head with one; whenever anyone sees, seeks, and WANTS to see only hunger, sexual instinct, and vanity as the real and only motives of human actions; in short, when any one speaks "badly"—and not even "ill"—of man, then ought the lover of knowledge to hearken attentively and diligently; he ought, in general, to have an open ear wherever there is talk without indignation. For the indignant man, and he who perpetually tears and lacerates himself with his own teeth (or, in place of himself, the world, God, or society), may indeed, morally speaking, stand higher than the laughing and self-satisfied satyr, but in every other sense he is the more ordinary, more indifferent, and less instructive case. And no one is such a LIAR as the indignant man.

White is a pure colour of mixed origins.

3. MIGRATE YOUR DNA New products require new capabilities. Equally, new products can result from the unique character and living expansion of your firm. No two species are identical. Neither are two ventures. The mix of founders and early employees is unique. Nobody will ever do things quite the way you do. The more different you can make your firm, the better. Intelligently, of course, ★ hire and promote people who have similar attitudes to the target market; ★ hire people who get on well with each other and go the extra mile for customers and colleagues; ★ hire people who have a high ratio of smarts to cost - younger or from neglected talent pools; ★ hire risk-takers, experimenters, explorers, oddballs, and those with a restless spirit; ★ train on the job; team novices with senior role models; concentrate on the few things customers like most, that can be done with least effort and cost; ★ make your venture bright, quirky, colourful, distinctive, fun and highly commercial - thrilling customers at a high profit for the firm. Encourage smart experiments at every level, in every way, at every time. Make it a way of life in your firm. Then, sooner or later, your star will emerge. LEK did not start by migrating its product. First we migrated its DNA, then we created products we were uniquely able to sell. This goes against the grain, but it works!

While a star is on the main sequence, it makes only helium. A star leaves the main sequence when it exhausts the supply of available hydrogen in its core. The post-main sequence fate of the star, and the range of elements produced, depends on the mass of the star. The lowest mass M stars, roughly below .2 Solar masses, are well mixed and can always bring hydrogen from outer layers to the core to sustain fusion. Such stars become gradually more luminous over trillions of years as they convert their hydrogen into helium, until they exhaust their fuel and fade away as white dwarf stars. White dwarf stars are no longer producing energy by fusion. Because of contraction, their surface temperatures are high (hence their bluish-white colour), but they have low luminosity because they are very small. White dwarfs are a common form of stellar remnant. All white dwarfs eventually cool down and go dark, but this process takes many times the current age of the Universe.

We used to sit on the sand, our shoulders grazing for the warmth that beat the chillness of the early morning. The skies would change colours constantly. From dark black to dense grey to dreamy pink to descending blue to a definite yellow to a destined mix of colours where the metamorphosis is more than that of a butterfly. There is no hurry. There are no stop clocks. Slow and steady, everything falls into place. Nature doesn’t rush at all, but still makes the most beautiful pieces of art in the blink of our eyes. That high when the first ray of sunlight hits our face through the creek of the cloud is inexplicable. A lot of things in life, especially love, are so.

Suzanne always mixed her own colours

I was in love with Feyre,' Rhys said quietly, 'long before she ever returned the feeling.' Lucien crossed his arms. 'How fortunate that you got what you wanted in the end.' I closed my eyes for a heartbeat. Cassian and Azriel stilled, waiting for the order. 'I will only say this once,' warned the High Lord of the Night Court. Even Lucien flinched. 'I suspected Feyre was my mate before I ever knew she was involved with Tamlin. And when I learned of it... If it made her happy, I was willing to step back.' 'You came to our house and stole her away on her wedding day.' 'I was going to call the wedding off,' I cut in, taking a step toward Lucien. 'You knew it.' Rhysand went on before Lucien could snap a reply. 'I was willing to lose my mate to another male. I as willing to let them marry, if it brought her joy. But what I was not willing to do was let her suffer. To let her fade away into a shadow. And the moment that piece of shit blew apart his study, the moment he locked her in that house...' His wings ripped from him, and Lucien started. Rhys bared his teeth. My limbs turned light, trembling at the dark power curling in the corners of the room. Not fear- never fear of him. But at the shattered control as Rhys snarled at Lucien. 'My mate may one day find it in herself to forgive him. Forgive you. But I will never forget how it felt to sense her terror in those moments.' My cheeks heated, especially as Cassian and Azriel stalked closer, those hazel eyes now filled with a mix of sympathy and wrath. I had never talked about it to them- what had gone on that day Tamlin had destroyed his study, or the day he'd sealed me inside the manor. I'd never asked Rhys if he'd informed them. From the fury rippling from Cassian, the cold rage seeping from Azriel... I didn't think so. Lucien, to his credit, didn't back away a step. From Rhys, or me, or the Illyrians. The Clever Fox Stares Down Winged Death. The painting flashed in my mind. 'So, again, I will say this only once,' Rhys went on, his expression smoothing into lethal calm, dragging me from the colours and light and shadows gathering in my mind. 'Feyre did not dishonour or betray Tamlin. I revealed the mating bond months later- and she gave me hell for it, don't worry. But now that you've found your mate in a similar situation, perhaps you will try to understand how it felt. And if you can't be bothered, then I hope you're wise enough to keep your mouth shut, because the next time you look at my mate with that disdain and disgust, I won't bother to explain it again, and I will rip out your fucking throat.' Rhys said is so mildly that the threat took a second to register. To settle in me like a stone plunked into a pool. Lucien only shifted on his feet. Wary. Considering. I counted the heartbeats, debating how much I'd interfere if he said something truly stupid, when he at last murmured, 'There is a longer story to be told, it seems.

Colour and darkness whirled, eddying in my vision, mixing with the snow.

PEPPER COOKIES WITH ICING SUGAR The baking of pepper cookies in close collaboration with a child is a permanent feature in any household with a kid in the lead-up to Christmas. 150 grams of sugar, 250 grams of syrup, ½ teaspoon of pepper, 2 teaspoons of ginger, 2 teaspoons of cinnamon, ½ teaspoon of cloves, 125 grams of butter, 1 egg, 2 teaspoons of baking soda, 400 grams of flour. Mix the sugar, syrup and butter and bring to simmering point. Mix in the baking soda with all the spices, pepper, ginger, cinnamon and cloves. Then add the egg and flour. Keep 1–2 cups of flour to knead the dough. Knead the dough on the table with the child. Roll out the dough and let the child cut out the shapes him/herself (Santa Clauses, Christmas trees, bells, angels and reindeer) and decorate the cookies with the icing. Icing: 125 grams of icing sugar and 1–1½ egg whites mixed well together. Colour according to taste.

The Ancient Britons’ secret weapon? Woad could be mixed with yellow from the meadow plant weld, or from another native plant, dyer’s greenweed (genista tinctoria; despite its English name it dyed yellow), to give the green that Robin Hood and his merry men famously wore. Red, another favourite medieval colour, could be obtained from the roots of another native plant, madder. Mixed with woad it produced a soft purple. A deeper purple came from a lichen, orchil, imported from Norway, or ‘brasil’, a wood imported from the East Indies and correspondingly expensive. The deepest purple came from kermes, derived from insects from the Mediterranean basin called by the Italians ‘vermilium’ (‘little worms’, hence vermilion) and by the English ‘grains’. Its cost limited it to the most luxurious textiles. A good pink could be had from the resin of dragon’s blood trees, although some medieval authorities traced it to the product of a battle between elephants and dragons in which both protagonists died. Most of these dyestuffs needed a mordant to give some degree of light-fastness – usually alum, imported from Turkey and Greece.

There is a small worm in a dog’s tongue…: if this is removed from the animal while a pup, it will never become mad or lose its appetite. This worm, after being carried thrice round a fire, is given to persons who have been bitten by a mad dog, to prevent them from becoming mad. This madness, too, is prevented by eating a cock’s brains; but the virtue of these brains lasts for one year only, and no more. They say, too, that a cock’s comb, pounded, is highly efficacious as an application to the wound; as also, goose-grease, mixed with honey. The flesh also of a mad dog is sometimes salted, and taken with the food, as a remedy for this disease. In addition to this, young puppies of the same sex as the dog that has inflicted the injury, are drowned in water, and the person who has been bitten eats their liver raw. The dung of poultry, provided it is of a red colour, is very useful, applied with vinegar; the ashes, too, of the tail of a shrew-mouse, if the animal has survived and been set at liberty; a clod from a swallow’s nest, applied with vinegar; the young of a swallow, reduced to ashes; or the skin or old slough of a serpent that has been cast in spring, beaten up with a male crab in wine.

rangoli on the floor; made of powdered colours, it was an ethereal mix of fractals, mathematics, philosophy, and spiritual symbolism.

Without Sally the Sleuth, there would be no Superman. In fact, without the pulp heroine with a penchant for solving crimes in a state of undress, there would be no Batman either. Or Wonder Woman. Or even the Avengers. This statement reeks of hyperbole, clearly. From her black and white pulp origins in 1934 to her full colour comic books outings in the 1950s, Sally spent the bulk of her time fighting off goons and cracking cases in a series of adventures that were an odd mix of heroism and hedonism. She’s a fascinating figure in the history of comic books in her own right, but an unusual and little known one, especially in comparison to globally beloved superhero icons. Nonetheless, not only does the superhero industry owe its existence to Sally the Sleuth, it owes it twice over.

Take all your overgrown infants away, somewhere And build them a home, a little place of their own The Fletcher Memorial Home For incurable tyrants and kings They can appear to themselves every day On closed circuit TV To make sure they're still real It's the only connection they feel Ladies and gentlemen, please welcome, Reagan and Haig Mr. Began and friend, Mrs. Thatcher, the Paisly (Hello Maggie!) Mr. Brezhnev and party, the Ghost of McCarthy And the memories have mixed and now adding colour (Who's the bald chap?) A group of anonymous Latin American meat packing glitterati Did they expect us to treat them with any respect? They can polish their medals and sharpen their smiles And please themselves by playing games for a while Boom boom, bang bang, lie down you're dead Safe in the permanent gaze of a cold glass eye With their favourite toy There'll be good girls 'n' boys In the Fletcher Memorial Home for colonial Wasters of life and limb Is everyone in? Are you having English time? (Big guy) Now final solution can be applied

All joking aside, these diagrams do suffer from one or more of the following problems: • Notation (e.g. colour coding, shapes, etc) is not explained or is inconsistent. • The purpose and meaning of elements is ambiguous. • Relationships between elements are missing or ambiguous. • Generic terms such as “business logic” are used. • Technology choices (or options, if doing up front design) are omitted. • Levels of abstraction are mixed. • Too much or too little detail. • No context or a logical starting point.

Know your miso Miso is a salty paste made of fermented soybeans. The most common kind is shiro-miso (‘white’ miso, though the colour is usually golden or light brown) made from boiled soybeans and rice. Lighter and sweeter than other varieties, white miso is the most versatile and therefore the go-to miso for most recipes. Aka-miso (‘red’ miso), darker in colour and deeper in flavour, is made from steamed soybeans, less rice and aged for over a year. It can be used to make a particularly pungent miso soup, but is more commonly used in bastes and marinades. Rich, earthy hatcho miso is made purely from soybeans and aged over two years. Hatcho miso is the signature miso of the Nagoya area. In Japan, it is perfectly acceptable to custom mix your own to make chogo-miso, ‘blended’ miso.

The white man's ideals and values together with the patterns of society to which they gave rise had not been evolved for racially or culturally mixed societies. They came under increasing strain or cracked in proportion as the area of white influence widened on the globe. In the resulting conflicts, the peoples of colour developed syncretic cultures to adapt to the demands of survival in the conditions created by white domination. In time the colonial peoples of Africa, the Americas and Asia found themselves divided into the traditionalists and the syncretists. . . . English is the link which binds this vast conglomerate of races and cultures. It assumes different forms in each racio-cultural milieu and develops different perspectives. the common differences create the peculiar consensus and identity which distinguish the English-speaking world from the others.

nonchalant charminar ma, i can’t smile well-scrubbed twisted-smirks in your noble society anymore in the godly dense ocean of kindness with krishna’s duffed up white teeth with studious eyes of the devil i can’t anymore in a ramakrishnian posture use my wife according to the matriarchal customs substitute sugar for saccharine and dread diabetes no more i can’t no more with my unhappy organ do a devdas again in khalashitola on the registry day of a former fling. my liver is getting rancid by the day my grandfather had cirrhosis don’t understand heredity i drink alcohol read poetry my father for the sake of puja etc used to fast venerable dadas in our para swearing by dharma gently press ripe breasts of sisters-born-of-the-locality on holi on the day ma left for trips abroad many in your noble society had vodka i will nonchalantly from your funeral pyre light up a charminar thinking of your death my eyes tear up then i don’t think of earthquakes by the banks or of floodwater didn’t put my hand on the string of the petticoat of an unmarried lover and didn’t think of baishnab padavali ma, even i’ll die one day. at belur mandir on seeing foreign woman pray with her international python-bum veiled in a skirt my limitless libido rose up ma because your libido will be tied up to father’s memories even beyond death i this fucked up drunk am envying you carrying dirt of the humblest kind looking at my organ i feel as if i’m an organism from another planet now the rays of the setting sun is touching my face on a tangent and after mixing the colour of the setting sun on their wings a flock of non-family-planning birds is going back towards bonolata sen’s eyes peaceful as a nest – it’s time for them to warm the eggs –

120 stunning color combination ideas - We take you through the basics of combining colors and offer 120 stunning color combinations inspired by nature, wildlife, food & drink, and travel. Your choice of colors can set the tone of your entire project, so choosing wisely is crucial. After all, you don’t want your colors conveying a mood that is opposite to what the project calls for and you certainly don’t want a color combination that is off-putting or confusing to the eye. We briefly explain the science behind choosing the right mix of colors, and then give you 120 beautiful color combinations that you can start using immediately. Let’s jump right in! The science of combining colors Believe it or not, there’s a science to creating color combinations and it’s actually not complicated to grasp. All you need is the color wheel, and an understanding of five different combination styles that each has its own place in your bag of tricks. Complementary color combination Complementary refers to a 2-color combination where the colors are opposite from each other on the color wheel. The two colors complement each other through their contrast, which allows each color to stand out. Monochromatic color combination Monochromatic refers to a combination of different shades, tones and tints of the same color, by adding black, white or grey to the original color. A monochromatic color combination is traditional and subtle. Triadic color combination Triadic colors refers to a 3-color combination that forms a perfect triangle on the color wheel. There’s not as much contrast as there is with complementary colors, but there’s enough to let each color do its thing. Analogous color combination Analogous is another 3-color combination, this time colors that are adjacent to each other on the colour wheel. With this color combination, it’s best to make one color dominant and use the others as accents. Tetradic color combination Tetradic refers to a 4-color combination where the colors are placed in a perfect square around the color wheel (essentially two pairs of complementary colors). To achieve balance with so many colors, it’s best to keep one color dominant and use the rest as accents. Color combination based on nature Sometimes nature knows best. If you find a color combination that appears somewhere in nature, chances are it’s a winning combination, as you can see from the examples in many of the examples that follow.

Painters sometimes come to Cairn; they set up their easels and mix their colours and paint strange pictures of the place—pictures which, as far as the villagers can see, bear little or no resemblance to the scene.

What's that, mister?" "That's the green for the gentleman's coat. No--don't pinch it, or you'll get it all over you. Yes, you can put the cap on. Yes, that's to keep it from drying up. Yes, put it back in the box.... That's yellow. No, I know there isn't any yellow in the picture, but I want it to mix with the green to make it brighter. You'll see. Don't forget the cap. What? Oh, anywhere in the box. White--yes, it's a big tube, isn't it? You see, you have to put a little white into most of the colours--why? Well, they wouldn't come right without it. You'll see when I do the sky. What's that? You want the dog made white all over? No, I can't make it a picture of Scruggs. Why not? Well, Scruggs isn't the right sort of dog to take out shooting. Well, he's not, that's why. This has got to be a retriever. All right, well, I'll put in a liver-and-white spaniel. Oh, well, it's rather a pretty dog with long ears. Yes, I daresay it is like Colonel Amery's. No, I don't know Colonel Amery. Did you put the cap on that white paint? Dash it! if you go losing things like that I'll send you back to Mother and she'll spank you. What? Well, the gentleman has a green coat because he's a gamekeeper. Possibly Colonel Amery's gamekeeper doesn't, but this one does. No, I don't know why gamekeepers wear green coats--to keep them warm, I expect. No, I haven't got any brown paint same as that tree-trunk. I get that by mixing other colours. No, I've got all the colours I want now. You can put 'em away and shut the box. Yes, I can tell pretty well how much I want before I start. That's called a palette knife. No, it isn't meant to be sharp. It's meant for cleaning your palette and so on. Some people use a knife to paint with. Yes, it's nice and wiggly, but it won't stand too much of that kind of treatment, my lad. Yes, of course you can paint with a knife if you want to. You can paint with your fingers if it comes to that. No, I shouldn't advise you to try. Yes, well, it makes a rougher kind of surface, all blobs and chunks of paint. All right, I'll show you presently. Yes, I'm going to begin with the sky. Why? Well, why do you think? Yes, because it's at the top. Yes, of course that blue's too dark, but I'm going to put some white in it. Yes, and some green. You didn't know there was any green in the sky? Well, there is. And sometimes there's purple and pink too. No, I'm not going to paint a purple and pink sky. The gentleman and the dogs have only just started out. It's morning in this picture. Yes, I know, on the other side they're coming home with a lot of birds and things. I'll put a pink and purple sunset into that if you're good and don't ask too many questions. No, be a good girl and don't joggle my arm. Oh, Lord!