Mosque Beauty Quotes

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, the only fact we have. It seems to me that one ought to rejoice in the fact of death--ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible for life: It is the small beacon in that terrifying darkness from which we come and to which we shall return.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have.

Life is tragic simply because the earth turns, and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death – ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.

Truth has no path, and that is the beauty of truth, it is living. A dead thing has a path to it because it is static, but when you see that the truth is something living, moving, which has no resting place, which is in no temple, mosque or church, which no religion, no teacher, no philosopher, nobody can lead you to - then you will also see that this living thing is what you actually are.

Mogadishu the beautiful - your white-turbaned mosques, baskets of anchovies as bright as mercury, jazz and shuffling feet, bird-boned servant girls with slow smiles, the blind white of your homes against the sapphire blue of the ocean - you are missed, her dreams seem to say.

I challenge anyone to understand Islam, its spirit, and not to love it. It is a beautiful religion of brotherhood and devotion. The mosque was truly an open construction, to God and to breeze. We sat cross-legged listening to the imam until the time came to pray. Then the random pattern of sitters disappeared as we stood and arranged ourselves shoulder to shoulder in rows, every space ahead being filled by someone from behind until every line was solid and we were row after row of worshippers. It felt good to bring my forehead to the ground. Immediately it felt like a deeply religious contact.

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.

Life is tragic simply because the earth turns, and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. —James Baldwin, The Fire Next Time

Festivals and fasts are unhinged, traveling backward at a rate of ten days per year, attached to no season. Even Laylat ul Qadr, the holiest night in Ramadan, drifts--its precise date is unknown. The iconclasm laid down by Muhammed was absolute: you must resist attachment not only to painted images, but to natural ones. Ramadan, Muharram, the Eids; you associate no religious event with the tang of snow in the air, or spring thaw, or the advent of summer. God permeates these things--as the saying goes, Allah is beautiful, and He loves beauty--but they are transient. Forced to concentrate on the eternal, you begin to see, or think you see, the bones and sinews of the world beneath its seasonal flesh. The sun and moon become formidable clockwork. They are transient also, but hint at the dark planes that stretch beyond the earth in every direction, full of stars and dust, toward a retreating, incomprehensible edge

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have.

Beauty, it seemed to Amineh, did not have to be extraordinary to be cherished. Maybe that was its secret, that it lived in the most common expressions of man and nature. The artisan had discovered it in a block of wood, which he had carved into a scene of a young woman sitting at a window. The locals had created it through the colorful geraniums they placed on small protrusions covering every square meter of their adobe walls. Even the animals were not immune. Who could doubt the starlings’ ecstatic flight around the minarets of the mosque was inspired by the symmetry of that aging structure.

Mumbai is the sweet, sweaty smell of hope, which is the opposite of hate; and it's the sour, stifled smell of greed, which is the opposite of love. It's the smell of Gods, demons, empires, and civilizations in resurrection and decay. Its the blue skin-smell of the sea, no matter where you are in the island city, and the blood metal smell of machines. It smells of the stir and sleep and the waste of sixty million animals, more than half of them humans and rats. It smells of heartbreak, and the struggle to live, and of the crucial failures and love that produces courage. It smells of ten thousand restaurants, five thousand temples, shrines, churches and mosques, and of hunderd bazaar devoted exclusively to perfume, spices, incense, and freshly cut flowers. That smell, above all things - is that what welcomes me and tells me that I have come home. Then there were people. Assamese, Jats, and Punjabis; people from Rajasthan, Bengal, and Tamil Nadu; from Pushkar, Cochin, and Konark; warrior caste, Brahmin, and untouchable; Hindi, Muslim, Christian, Buddhist, Jain, Parsee, Animist; fair skin and dark, green eyes and golden brown and black; every different face and form of that extravagant variety, that incoparable beauty, India.

Our Butkara ruins were a magical place to play hide-and-seek. Once some foreign archaeologists arrived to do some work there and told us that in times gone by it was a place of pilgrimage, full of beautiful temples domed with gold where Buddhist kings lay buried. My father wrote a poem, “The Relics of Butkara,” which summed up perfectly how temple and mosque could exist side by side: “When the voice of truth rises from the minarets, / The Buddha smiles, / And the broken chain of history reconnects.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have

The Fire Next Time, James Baldwin wonders if “the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death.

Biju stepped out of the airport into the Calcutta night, warm, mammalian. His feet sank into dust winnowed to softness at his feet, ad he felt an unbearable feeling, sad and tender, old and sweet like the memory of falling asleep, a baby on his mother's lap. Thousands of people were out though it was almost eleven. He saw a pair of elegant bearded goats in a rickshaw, riding to slaughter. A conference of old men with elegant goat faces, smoking bidis. A mosque and minarets lit magic green in the night with a group of women rushing by in burkas, bangles clinking under the black and a big psychedelic mess of colour from a sweet shop. Rotis flew through the air as in a juggling act, polka-dotting the sky high over a restaurant that bore the slogan "Good food makes good mood". Biju stood there in that dusty tepid soft sari night. Sweet drabness of home - he felt everything shifting and clicking into place around him, felt himself slowly shrink back to size, the enormous anxiety of being a foreigner ebbing - that unbearable arrogance and shame of the immigrant. Nobody paid attention to him here, and if they said anything at all, their words were easy, unconcerned. He looked about and for the first time in God knows how long, his vision unblurred and he found that he could see clearly.

I didn’t believe in spiritual homelands, and found God as readily in a strip mall as in a mosque. My faith did not require beauty or belonging--the deeper I went into my practice, the less it required at all.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life.

The sun appeared between the twin spires of the cathedral as its light reflected off the crescent and star that rose out of the dome on top of the mosque. It was beautiful, and surreal. In one instant, the bells rang out from the cathedral and if I closed my eyes then I could easily imagine that I was back home in Europe, but in the next, the call to morning prayer sounded from the mosque, and it was a stark reminder of how far away I actually was from my true home.

Melling’s is an insider’s eye. But because the İstanbullus of his time did not know how to paint themselves or their city—indeed, had no interest in doing so—the techniques he brought with him from the West still give these candid paintings a foreign air. Because he saw the city like an İstanbullu but painted it like a clear-eyed Westerner, Melling’s Istanbul is not only a place graced by hills, mosques, and landmarks we can recognize, it is a place of sublime beauty.

On behalf of those you killed, imprisoned, tortured, you are not welcome, Erdogan! No, Erdogan, you’re not welcome in Algeria. We are a country which has already paid its price of blood and tears to those who wanted to impose their caliphate on us, those who put their ideas before our bodies, those who took our children hostage and who attempted to kill our hopes for a better future. The notorious family that claims to act in the name of the God and religion—you’re a member of it—you fund it, you support it, you desire to become its international leader. Islamism is your livelihood Islamism, which is your livelihood, is our misfortune. We will not forget about it, and you are a reminder of it today. You offer your shadow and your wings to those who work to make our country kneel down before your “Sublime Door.” You embody and represent what we loathe. You hate freedom, the free spirit. But you love parades. You use religion for business. You dream of a caliphate and hope to return to our lands. But you do it behind the closed doors, by supporting Islamist parties, by offering gifts through your companies, by infiltrating the life of the community, by controlling the mosques. These are the old methods of your “Muslim Brothers” in this country, who used to show us God’s Heaven with one hand while digging our graves with the other. No, Mr. Erdogan, you are not a man of help; you do not fight for freedom or principles; you do not defend the right of peoples to self-determination. You know only how to subject the Kurds to the fires of death; you know only how to subject your opponents to your dictatorship. You cry with the victims in the Middle East, yet sign contracts with their executioners. You do not dream of a dignified future for us, but of a caliphate for yourself. We are aware of your institutionalized persecution, your list of Turks to track down, your sinister prisons filled with the innocent, your dictatorial justice palaces, your insolence and boastful nature. You do not dream of a humanity that shares common values and principles, but are interested only in the remaking of the Ottoman Empire and its bloodthirsty warlords. Islam, for you, is a footstool; God is a business sign; modernity is an enemy; Palestine is a showcase; and local Islamists are your stunned courtesans. Humanity will not remember you with good deeds Humanity will remember you for your machinations, your secret coups d’état, and your manhunts. History will remember you for your bombings, your vengeful wars, and your inability to engage in constructive dialogue with others. The UN vote for Al-Quds is only an instrument in your service. Let us laugh at this with the Palestinians. We know that the Palestinian issue is your political capital, as it is for many others. You know well how to make a political fortune by exploiting others’ emotions. In Algeria, we suffered, and still suffer, from those who pretend to be God and act as takers and givers of life. They applaud your coming, but not us. You are the idol of Algerian Islamists and Populists, those who are unable to imagine a political structure beyond a caliphate for Muslim-majority societies. We aspire to become a country of freedom and dignity. This is not your ambition, nor your virtue. You are an illusion You have made beautiful Turkey an open prison and a bazaar for your business and loved ones. I hope that this beautiful nation rises above your ambitions. I hope that justice will be restored and flourish there once again, at least for those who have been imprisoned, tortured, bombed, and killed. You are an illusion, Erdogan—you know it and we know it. You play on the history of our humiliation, on our emotions, on our beliefs, and introduce yourself as a savior. However, you are a gravedigger, both for your own country and for your neighbors. Turkey is a political miracle, but it owes you nothing. The best thing you can do

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life.

People were patient with each other in the Grand Mosque, and communal—everyone washing his or her feet in the same fountain, with no shoving or prejudice. We were all Muslims in God’s house, and it was beautiful. It had a quality of timelessness. I think this is one reason Muslims believe that Islam means peace: because in a large, cool place full of kindness you do feel peaceful. But as soon as we left the mosque, Saudi Arabia meant intense heat and filth and cruelty. People had their heads cut off in public squares. Adults spoke of it. It was a normal, routine thing: after the Friday noon prayer you could go home for lunch, or you could go and watch the executions. Hands were cut off. Men were flogged. Women were stoned.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have... One... ought to earn one's death by confronting with passion the conundrum of life.

I’ve been around the world, and I thought I’d seen everything it had to offer until that night, until I saw you. In all my life, I’ve never seen anything so beautiful, not standing in the Blue Mosque or the Taj Mahal. Not in the streets of Rome or canals of Venice. Making you smile gives me life. Making you laugh gives me hope. Making you happy is all I want, other than to keep you

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. . . . One . . . ought to earn one's death by confronting with passion the conundrum of life.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death- ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death — ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death - ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life.

Life is tragic simply because the earth turns & the sun inexorably rises & sets, & one day, or each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death which is the only fact we have. It seems to me that one ought to rejoice in the fact of death by confronting with passion the conundrum of life.

What white Americans do not face when they regard a Negro reality- the fact that life is tragic. Life is tragic simply because he earth turn and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps, the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves all he beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, race, armies, flags, nations, in order to deny the fact of death, which us rye inly fact we have.

On August 10, 1984, my plane landed in Kabul, the capital of Afghanistan. There were no skyscrapers here. The blue domes of the mosques and the faded mountains were the only things rising above the adobe duvals (the houses). The mosques came alive in the evening with multivoiced wailing: the mullahs were calling the faithful to evening prayer. It was such an unusual spectacle that, in the beginning, I used to leave the barracks to listen – the same way that, in Russia, on spring nights, people go outside to listen to the nightingales sing. For me, a nineteen-year-old boy who had lived his whole life in Leningrad, everything about Kabul was exotic: enormous skies – uncommonly starry – occasionally punctured by the blazing lines of tracers. And spread out before you, the mysterious Asian capital where strange people were bustling about like ants on an anthill: bearded men, faces darkend by the sun, in solid-colored wide cotton trousers and long shirts. Their modern jackets, worn over those outfits, looked completely unnatural. And women, hidden under plain dull garments that covered them from head to toe: only their hands visible, holding bulging shopping bags, and their feet, in worn-out shoes or sneakers, sticking out from under the hems. And somewhere between this odd city and the deep black southern sky, the wailing, beautifully incomprehensible songs of the mullahs. The sounds didn't contradict each other, but rather, in a polyphonic echo, melted away among the narrow streets. The only thing missing was Scheherazade with her tales of A Thousand and One Arabian Nights ... A few days later I saw my first missile attack on Kabul. This country was at war.

Islamic art in its many forms is of the greatest import for the understanding of the essence of Islam and a central means of transmitting its message to the contemporary world. When one thinks of Islam, one should go beyond the repetitive scenes on television of wars and battles, which unfortunately abound in today’s world, to behold the peace and harmony of Islamic art seen in the great mosques, traditional urban settings and gardens, and the rhythm and geometry of calligraphy and arabesque designs; read in the poems that sing of the love that permeates all of God’s creation and binds creatures to God; and heard in the strains of melodies that echo what we had experienced in that primordial morn preceding creation and our descent into this lowly world. Today more than ever before, the understanding of Islamic art is an indispensable key for the comprehension of Islam itself. Those who are sensitive to the language of traditional art and the beauty of a paradisal order that emanates from it as well as the intellectual principles conveyed through it can learn much from this art.

The person who makes God his Beloved, what more does he want? His heart becomes awakened to all the beauty there is within and without. To him all things appeal, everything unfolds itself, and it is beauty to his eyes, because God is all-pervading, in all names and all forms; therefore his Beloved is never absent. How happy therefore is the one whose Beloved is never absent, because the whole tragedy of life is the absence of the Beloved, and to one whose Beloved is always there, when he has closed his eyes the Beloved is within, when he has opened his eyes the Beloved is without. His every sense perceives the Beloved; his eyes see Him, his ears hear His voice. When a person arrives at this realization, then he, so to speak, lives in the presence of God; then to him the different forms and beliefs, faiths and communities do not count. To him God is all-in-all; to him God is everywhere. If he goes to the Christian church or to the synagogue, to the Buddhist temple, to the Hindu shrine, or to the mosque of the Muslim, there is God. In the wilderness, in the forest, in the crowd, everywhere he sees God.

The night skyline was stunning. I could see the Monas and Istiqlal Mosque bathed in brilliant white lights and a dozen other places of cultural and historical significance. It’s an amazing, beautiful world we live in … despite Uncle Google’s abysmal view of American schools, the security checkpoints and vehicle inspections that seem to be everywhere, and the need to be vigilant because of the things we do to each other.

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.” —JAMES BALDWIN,

My dear friend, if you ask me which is the most beautiful temple, the most beautiful mosque, the most beautiful church, the most beautiful synagogue, I will say to you: Whichever was demolished and built as a house and given as a gift to the homeless, I would say that is the most beautiful!

I looked at a photo of the Dome of the Rock, its intricate blue tiles and beaming golden dome. Qubbat As-Sakhrah: Seventh-century Islamic edifice enshrining the rock from which Muhammad is said to have ascended to heaven, read the caption. I thought about my grandparents, and I wondered how they felt about this beautiful old mosque. Did they love it like they loved the rest of Israel? Probably not.

The Egyptian populace lived outdoors, in a state of excitement and nonchalance. Every one of life’s scenes was an excuse for communication. Butchers cut their meat on the sidewalk, women peeled vegetables in front of their houses, bread was sold in the street, right from the ground. Sharko felt like he was moving through a living tableau when, in the midst of the chaotic traffic, he was dazzled by the perfect movement of a cotton galabia, swaying to its owner’s regal gait. He felt the breath of Islam in the overheated streets; the mosques were ablaze with beauty, and in their excess they aimed an eye at their single god. There is no other god than God.

A blessed deed is saying hello with a smile to someone you meet on the street, in the shop, in the bus, in the office, in the church, in the holy places, in the mosque, at the park, at the school, at the university…..’ This is the greatest action of belonging to one another.

Of what use is my going to church every day and still come home and remain the same? Of what use is my attending the mosques and the next day I enter the mall with knives and start slaughtering people in the name of religion. God is a God of variety. He was not stupid creating all of us different with our uniqueness. His creating us different shows the level of His creativity. He didn't make you white to hate black or vice versa. He made it so that we can cherish and love each other irrespective of our differences just as He loved us with all our flaws and our short comings. Can we forgive those who have offended us? Yes and some will say no but never forget that you are not worthy but God still forgives you even till the last hour of your life. If God can love us against all our atrocities why can't we learn to love one another. Take a look around you, you can only see sad faces. Was that really God's intention for us on earth? Absolutely not. But we have remoulded God's creativity to suit our taste and lifestyles and now we are reaping the fruit of our labour. You should not expect to reap love when you sowed the seed of hatred. What a man sows that he reaps. We sowed on weapons of war and we are yielding war in return. We have sowed on weapons of destruction so why are we asking for peace. If you ask me....I will say let's go back to our source. He has never lost any battle. I am a living witness.

Al-Azhar mosque in El Hussein Square. One of Cairo’s oldest houses of worship, it once doubled as a university, renowned in Europe and throughout the Arab world for its scholarship. Standing on the footpath, Alex took a moment to admire the structure, named after Fatima al-Zahra, daughter of the Prophet Muhammad. Five minarets stretched toward the sky, each with balconies and intricately carved columns. There were six entrances. The main one now before him was built in the eighteenth century and known as Bab El Muzayini, the barber’s gate. Students had once been shaved there. The mosque was a potpourri of architectural styles, built piecemeal over its thousand-year history. But the overall effect was quite beautiful.

Down the road the voice of a child called out the adhan from the megaphone of a mosque’s citadel, and even with the static and the echo and the cracking of his pitch, it sounded so sweet in the fading light, with the fields darkening, and the crickets chirping their songs.

Nothing can exceed in beauty and in vision-inducing power the mosaics of gardens and buildings in the great Omayyad mosque at Damascus.

Rules or laws are only beautiful if they don't apply to you.

He was walking unnoticed past a Mosque, And the shouts of God's lovers Happened to fill the air, calling, "Allah, Allah! Where are you? Where are You, Beautiful One?" And the child in the womb of the Master Could not remain silent and shouted back In an astounding voice, I am Here! I am Here-dear world! The crowd in the mosque became frantic, And they picked up shoes, clubs, and stones. You know what then happened= The story becomes grim. But the moon cannot hold a grudge. It still stops by some nights And leans over this gentle earth, as over a crib, And gives a full, wet kiss. For the moon knows That God is always amorous- He will never stop making Love, For the Truth has been Divinely Conceived Deeply within each of us.

And from the air, the British forces dropped leaflets giving us a day to evacuate our houses. Before we knew it, all hell had broken loose. Like ants, thousands and thousands of British soldiers filled the streets and the narrow alleys of the old city where we lived. And in no time, they sealed off the whole area and started blowing the houses up - one after another. Like cards, they fell. The British soldiers started from the East and kept dynamiting until they reached the sea. Gone were the beautiful houses. Gone was the mosque. Gone were the holy shines. The schools. And gone were the alleys, the shops, the people… We called it a massacre while the British claimed it was a face-lift.

The coast at the point at which he reached it seemed specially designed by nature for his favorable and auspicious reception. There lay before him what seemed the estuary of a large and beautiful river, free from rocks or other impediments, and with a very gentle current. It had an ample depth of water for his vessels, and was sufficiently broad, even at a considerable distance inland, for them to beat about in. It was encircled by lofty and picturesque hills, the aspect of which reminded him of the "Pena de los Enamorados" near Granada, in Spain; and upon the summit of one of them was what he described as another little hill, shaped like a graceful mosque.

More red lights on top of the cars than on roads. Glamorous lifestyle coexisting with some underprivileged lives. Big showrooms on the left, begging kids on the right. Azaan from the mosque blending smoothly with the pleasant sound of temple bells. The modern travel miracle Delhi Metro passes by the ancient temples and monuments. Crowded streets coexist with lonely hearts. This city is like the most beautiful girl in a college. That is what I know about Delhi, the capital city of the nation.