Oracle Escape Quotes

We’re here to help ease you through the labor process. The mainstream media and health organizations feed you an endless supply of fear and paranoia, but the truth is that childbirth does not have to be a painful experience. Today we will start our journey to a joyful and pleasurable labor. These three classes will help you refocus your negative feelings, drawing in serenity and pushing out fear.” “Are we in a breathing class or signing up for a cult?” Tucker whispers. Cult. Definitely cult. “Partners, helpers, move into position behind the mama.” “I already hate this woman,” I hiss as he crouches behind me. “Because she called you mama or because she says it’s not a painful experience?” A man a few mats down raises his hand. “Where should we put our hands?” “Great question, Mark.” Oh God, she remembers all our names. “During labor, the appropriate position will be the lower back, but for today, we’re concentrating on relaxation, so please place your hands on your partner’s shoulders.” Next to me, one expectant mother is taking copious notes, as if Stacy in the peasant skirt is the oracle of laborhood, speaking the ten commandments of birthing. “If she says, ‘There’s nothing to fear but fear itself,’ we’re out of here,” I say a little too loudly. The gunner and her equally serious partner turn around to glare at me. A burble of laughter threatens to escape. Can we get arrested for disturbing the peace in a breathing class

She was sliding dangerously fast down a slippery slope, if she went from "no kissing" and "we'll see" to him coming over when the children were gone. She cast around in her mind for something, anything, to stop her headlong plunge. She blurted out, "Do Djinn date?" He blinked. "That is not something to which I have given much thought," he said. "Perhaps some Djinn might date some ... creatures ... some ... times. Dating has not previously been a habit of mine." She nodded, too rapidly, and forced herself to stop. "I just wondered." "Humans like to date," Khalil said thoughtfully. Then he turned decisive. "That is what we will do tomorrow. We will go on a date." Suddenly she was dying. She didn't know from what exactly: repressed laughter or mortification or perhaps a combination of both. She managed to articulate, "You don't dictate a date." "I do not see why not," said Khalil, his energy caressing hers with lazy amusement. He tapped her nose. "Humans require air. Breathe now." She did, and a snicker escaped. "If you order a date to happen, it's no longer a date. It becomes, I don't know, a meeting or kidnapping or something.

Beggar: There was a time when we didn't exist, Oedipus. That means that even the deepest desires of our heart, our blood, our moments of awakening have sprung from nothing. Even your desire to escape destiny is perhaps destiny. It isn't we who made our own blood. It's enough to feel it and live like free man, as the oracle bids us. Oedipus: Yes, so long as a man is still searching. You had the luck never to reach your goal. But the day comes when you go back to Cithaeron, you forget everything and the mountain seems to bring back your childhood. You look at it day after day and maybe you climb it. Then someone tells you that you were born up there. And everything crumbles.

Still, it took all our strength to lead him out of the trees. I was reminded of the time Hephaestus and I had to wrestle the god Hypnos back to bed after he sleepwalked into Artemis’s private chambers on Mount Olympus. It’s a wonder any of us escaped without silver arrows pincushioning our posteriors.

As in most modern narratives, a character’s fate depended on human actions, his and others. King Lear’s Gloucester may complain about human fate as “flies to wanton boys,” but it’s Lear’s vanity that sets in motion the dramatic arc of the play. From the Enlightenment onward, the individual occupied center stage. But now I lived in a different world, a more ancient one, where human action paled against superhuman forces, a world that was more Greek tragedy than Shakespeare. No amount of effort can help Oedipus and his parents escape their fates; their only access to the forces controlling their lives is through the oracles and seers, those given divine vision. What I had come for was not a treatment plan—I had read enough to know the medical ways forward—but the comfort of oracular wisdom.

He wouldn’t have understood. He wouldn’t have been able to understand in the least the desire, the pure quintessential need of my readers for escape, a thing I myself understood only too well. Life had been hard on them and they had not fought back, they’d collapsed like soufflés in a high wind. Escape wasn’t a luxury for them, it was a necessity. They had to get it somehow. And when they were too tired to invent escapes of their own, mine were available for them at the corner drugstore, neatly packaged like the other painkillers. They could be taken in capsule form, quickly and discreetly, during those moments when the hair-dryer was stiffening the curls around their plastic rollers or the bath oil in the bath was turning their skins to pink velvet, leaving a ring in the tub to be removed later with Ajax Cleanser, which would make their hands smell like a hospital and cause their husbands to remark that they were about as sexy as a dishcloth. Then they would mourn their lack of beauty, their departing youth.… I knew all about escape, I was brought up on it.

Once again, I had traversed the line from doctor to patient, from actor to acted upon, from subject to direct object. My life up until my illness could be understood as the linear sum of my choices. As in most modern narratives, a character’s fate depended on human actions, his and others. King Lear’s Gloucester may complain about human fate as “flies to wanton boys,” but it’s Lear’s vanity that sets in motion the dramatic arc of the play. From the Enlightenment onward, the individual occupied center stage. But now I lived in a different world, a more ancient one, where human action paled against superhuman forces, a world that was more Greek tragedy than Shakespeare. No amount of effort can help Oedipus and his parents escape their fates; their only access to the forces controlling their lives is through the oracles and seers, those given divine vision. What I had come for was not a treatment plan—I had read enough to know the medical ways forward—but the comfort of oracular wisdom.

I will not say my life passed before my eyes. I wish it had. That would've taken several months, giving me time to figure out an escape plan.

From the pebble and shell in your hands I deduced the shore where you grasped them, and from the shore I saw a path stretching back through mountains and cities to the house where you were born. You know now why I am an oracle. By describing your life I will escape from the trap of my own. From my station in nonentity everything existent, everything not me, looks worthwhile and splendid: even things which most folk consider commonplace or dreadful. Your past is safe with me. I can promise to be accurate.

The tears were there, waiting to make their escape. But she wouldn’t let them. Not this time. She couldn’t. Because if there was one thing she had to do now, it was be strong and brave. She just had to be strong and brave for one week. That was no time at all. And when the week was over and Milo had found his true mate, she would disappear.

Each generation produces its oracles and sages, independent thinkers whom serve as cultural bearers. Every generation produces perceptive individuals whose special radiance answers the trumpet call of the pernicious challenges bestowed by their times. These compassionate mavens provide worthy insights on humankind’s gallant attempt to escape its balmy pond of alienation and frigid sea of desolation. Conversations conducted by past and present essayist speaking in consonance between parallel times judiciously reflect the polyphonic cadence of robust jubilation wrought through living purposefully. The coruscating voices of the muses from times of yore manufacture the accordion spine of humankind’s expanding éclat anthology.

The denial of everything transcending experience means inevitably—though ways are found to hedge on this—the denial of truth. With the denial of objective truth there is no escape from the relativism of “man the measure of all things.” The witches spoke with the habitual equivocation of oracles when they told man that by this easy choice he might realize himself more fully, for they were actually initiating a course which cuts one off from reality. Thus began the “abomination of desolation” appearing today as a feeling of alienation from all fixed truth.

Beggar: There was a time when we didn't exist, Oedipus. That means that even the deepest desires of our heart, our blood, our moments of awakening have sprung from nothing. Even your desire to escape destiny is perhaps destiny. It isn't we who made our own blood. It's enough to feel it and live like free man, as the oracle bids us. Oedipus: Yes, so long as a man is still searching. You had the luck never to reach your goal. But the day comes when you go back to Cithaeron, you forget everything and the mountain seems to bring back your childhood. You look at it day after day and maybe you climb it. Then someone tells you that you were born up there. And everything crumbles.

In the imagination of two late-twentieth-century filmmakers, an unseen force of artificial intelligence has overtaken the human species, has managed to control humans in an alternate reality in which everything one sees, feels, hears, tastes, smells, touches is in actuality a program. There are programs within programs, and humans become not just programmed but are in danger of and, in fact, well on their way to becoming nothing more than programs. What is reality and what is a program morph into one. The interlocking program passes for life itself. The great quest in the film series The Matrix involves those humans who awaken to this realization as they search for a way to escape their entrapment. Those who accept their programming get to lead deadened, surface lives enslaved to a semblance of reality. They are captives, safe on the surface, as long as they are unaware of their captivity. Perhaps it is the unthinking acquiescence, the blindness to one’s imprisonment, that is the most effective way for human beings to remain captive. People who do not know that they are captive will not resist their bondage. But those who awaken to their captivity threaten the hum of the matrix. Any attempt to escape their imprisonment risks detection, signals a breach in the order, exposes the artifice of unreality that has been imposed upon human beings. The Matrix, the unseen master program fed by the survival instinct of an automated collective, does not react well to threats to its existence. In a crucial moment, a man who has only recently awakened to the program in which he and his species are ensnared consults a wise woman, the Oracle, who, it appears, could guide him. He is uncertain and wary, as he takes a seat next to her on a park bench that may or may not be real. She speaks in code and metaphor. A flock of birds alights on the pavement beyond them. “See those birds,” the Oracle says to him. “At some point a program was written to govern them.” She looks up and scans the horizon. “A program was written to watch over the trees and the wind, the sunrise and sunset. There are programs running all over the place.” Some of these programs go without notice, so perfectly attuned they are to their task, so deeply embedded in the drone of existence. “The ones doing their job,” she tells him, “doing what they were meant to do are invisible. You’d never even know they were here.” So, too, with the caste system as it goes about its work in silence, the string of a puppet master unseen by those whose subconscious it directs, its instructions an intravenous drip to the mind, caste in the guise of normalcy, injustice looking just, atrocities looking unavoidable to keep the machinery humming, the matrix of caste as a facsimile for life itself and whose purpose is maintaining the primacy of those hoarding and holding tight to power.

By this maxim they refer to the action of a witch when he blows from his mouth a spray ofwater on the fowl's wing which has been placed at his feet by the messenger ofa deputy. When the witch blows water on the wing he 'cools' his witchcraft. By performing this simple rite he ensures that the sick man will recover and also that he will himself escape vengeance.

It was ironic how much she had always yearned for escape, and yet here she was finding that gentle tug of wanting at her heart, pulling her to go back.

She expect a lot from him because he deserves to reach the top of his dreams. And she offer him all the Love and admiration regardless because it’s his. She pushed him from a place of giving not demand. She offered him unconditional love and completly acceptance of him, and deep down he tought that he didn't deserve this. He wanted her within him bound and silent and invisible 24/7 and she is far too powerful to ever accept that. She, like water, escape him grip and destroy his life from within. Because his inner feminine is seeking his freedom. His Love. True love breathed salvation back into them. With every tear came redemption. And their torturer became their remedy. She was not holding the broken mirror for him no more, gave up her sword and let thim alone with his demons. She had to. By enabling him she was not loving him. He craves to build something that is his alone. He needed to see manifested transformation. So she had to, and by loving him this way she was forever transformed too. It was magnificent. They saw.