Pearl Symbolism Quotes

...empty women, who strive for no good but exist to adorn themselves...These women of majestic pride, fantastic coiffures, outlandish ornament, and necks bound with gold or pearls bear the glittering symbols of their captivity to men.

Jace looked around uneasily at the walls hung with veils, fans, tiaras, and seed-pearl-encrusted trains. “Everything is .. .so white.” “Of course it’s white,” said Simon. “It’s a wedding.” “White for Shadowhunters is the color of funerals,” Luke explained. “But for mundanes, Jace, it’s the color of weddings. Brides wear white to symbolize their purity.” “I thought Jocelyn said her dress wasn’t white,” Simon said. “Well,” said Jace, “I suppose that ship has sailed.

my teacher read me "The Chambered Nautilus," and showed me that the shell-building process of the mollusks is symbolical of the development of the mind. Just as the wonder-working mantle of the Nautilus changes the material it absorbs from the water and makes it a part of itself, so the bits of knowledge one gathers undergo a similar change and become pearls of thought.

In the loudest voice I could muster, I shouted, "As of this moment, you are no longer the armies of China, Macedonia, Myanmar, Tibet or India. You are now warriors of Durga! We have already fought and overcome many fierce creatures. Now we give you the symbol of their power." I borrowed the Scarf and touched it to my Pearl Necklace. The silken material sped down each and every soldier to cloak them in the most brilliant red, blue, green, gold and white. Even the flag bearers were not left out and now held banners depicting Durga riding her tiger into battle. "Red for the heart of a Phoenix that sees through falsehood!" I cheered and raided the trident. "Blue for the Monsters of the Deep that rip apart those who dare to cross their domain! Gold for Metal Birds that cut their enemies with razor beaks! Green for the Horde of Hanuman that comes alive to protect that which is most precious! And white for the Dragons of the Five Oceans, whose cunning and power has no equal!

They had paused before the table on which the bride’s jewel were displayed, and Lily’s heart gave an envious throb as she caught the refraction of light from their surfaces – the milky gleam of perfectly matched pearls, the flash of rubies relieved against contrasting velvet, the intense blue rays of sapphires kindled into light by surrounding diamonds: all these precious tints enhanced and deepened by the varied art of their setting. The glow of the stones warmed Lily’s veins like wine. More completely than any other expression of wealth they symbolized the life she longed to lead, the life of fastidious aloofness and refinement in which every detail should have the finish of a jewel, and the whole form a harmonious setting to her own jewel-like rareness.

Red and white, the Tudor rose that symbolized the union between the Red Rose of Lancaster and the White Rose of York, blood and snow, passion and purity, fire and ice, hell and heaven, sinner and saint, conquest and surrender, whore and virgin, the red dazzle of rubies and the nacreous lustrous shimmer of pearls, innocence born from a bloody womb, the blood is the life, the cold white marble of death—a tomb effigy; red roses for the blood of martyrs.

The model provided by biblical parables is strongly influential in the following story, from Scivias I, 2, 32, in which Hildegard develops her motif of the ‘pearl’ as a symbol for humanity: The same lord who lost his sheep but so gloriously restored it to its life, also owned a costly pearl. The same happened again: the pearl was lost, and it fell into the ugly dirt. But he did not leave it lying in the dirt. He lifted it out carefully, and he cleaned it of the mud into which it had fallen, like gold purified in the furnace. He restored it to its former beauty till it gleamed even brighter than before. The probable sources of this story reveal something of Hildegard’s methods as a maker of new narratives. The basic message is the same as that of the parable of the Lost Sheep (Matthew 18:12–14), but she draws on other New Testament passages such as the parable of the Costly Pearl for which a merchant sold everything he had (Matthew 13:45–6). There is perhaps also an echo of the command not to ‘cast your pearls before swine’ (Matthew 7:6), since if they lie in the mud they are useless. Taken together these echoes of Hildegard’s biblical reading blend into a new motif which she can add to the storehouse of her memory and bring out for use when appropriate.18

My teacher read me "The Chambered Nautilus" [a nature poem], and showed me that the shell-building process of the mollusks is symbolical of the development of the mind. Just as the wonder-working mantle of the nautilus changes the material it absorbs from the water and makes it a part of itself, so the bits of knowledge one gathers undergo a similar change and become pearls of thought.

One version of the Austen scenario holds that it is all about stalking and bringing down your man, but Jane Austen is not the editor of Cosmopolitan. The point is not to achieve the man at any cost. He is not the prey or the prize but the symbol of merit. The possibility that there may be no such man is always present. Part of our gratified surprise at the Austen happy ending is that there was a man around with the good sense to see that a woman without rich and powerful connections might be a pearl beyond price, a woman whose company was reward in itself. We know that she is good company because we have been seeing the world through her disabused eyes. We go on reading and watching Jane Austen because she is good for us.

Though in many natural objects, whiteness refiningly enhances beauty, as if imparting some special virtue of its own, as in marbles, japonicas, and pearls; and though various nations have in some way recognised a certain royal preeminence in this hue; even the barbaric, grand old kings of Pegu placing the title “Lord of the White Elephants” above all their other magniloquent ascriptions of dominion; and the modern kings of Siam unfurling the same snow-white quadruped in the royal standard; and the Hanoverian flag bearing the one figure of a snow-white charger; and the great Austrian Empire, Caesarian, heir to overlording Rome, having for the imperial color the same imperial hue; and though this pre-eminence in it applies to the human race itself, giving the white man ideal mastership over every dusky tribe; and though, besides, all this, whiteness has been even made significant of gladness, for among the Romans a white stone marked a joyful day; and though in other mortal sympathies and symbolizings, this same hue is made the emblem of many touching, noble things— the innocence of brides, the benignity of age; though among the Red Men of America the giving of the white belt of wampum was the deepest pledge of honor; though in many climes, whiteness typifies the majesty of Justice in the ermine of the Judge, and contributes to the daily state of kings and queens drawn by milk-white steeds; though even in the higher mysteries of the most august religions it has been made the symbol of the divine spotlessness and power; by the Persian fire worshippers, the white forked flame being held the holiest on the altar; and in the Greek mythologies, Great Jove himself being made incarnate in a snow-white bull; and though to the noble Iroquois, the midwinter sacrifice of the sacred White Dog was by far the holiest festival of their theology, that spotless, faithful creature being held the purest envoy they could send to the Great Spirit with the annual tidings of their own fidelity; and though directly from the Latin word for white, all Christian priests derive the name of one part of their sacred vesture, the alb or tunic, worn beneath the cassock; and though among the holy pomps of the Romish faith, white is specially employed in the celebration of the Passion of our Lord; though in the Vision of St. John, white robes are given to the redeemed, and the four-and-twenty elders stand clothed in white before the great-white throne, and the Holy One that sitteth there white like wool; yet for all these accumulated associations, with whatever is sweet, and honorable, and sublime, there yet lurks an elusive something in the innermost idea of this hue, which strikes more of panic to the soul than that redness which affrights in blood.

The show is said to have originated on WCAU, Philadelphia, the sponsor’s home city, in 1927. Its arrival in New York in 1931 kicked off an unusual commercial identity—a children’s song-dance-and-story hour sponsored by one of the strongest symbols of New York city life, the automat (where nickel coffee and a piece of pie was a Broadway tradition). With its first New York broadcast, Horn and Hardart admitted it had nothing to sell to kids but reasoned that a strong appeal to children would reach adults as well. A sample of its fare was the show of Dec. 7, 1941, a few hours before Pearl Harbor. The entire hour was a tribute to ailing George M. Cohan, with the kids singing such favorites as Give My Regards to Broadway, Yankee Doodle Dandy, and Harrigan.

From these citations we can see how Christ was assimilated to symbols that also meant the kingdom of God, for instance the grain of mustard-seed, the hidden treasure, and the pearl of great price. He and his kingdom have the same meaning. Objections have always been made to this dissolution of Christ’s personality, but what has not been realized is that it represents at the same time an assimilation and integration of Christ into the human psyche.157 The result is seen in the growth of the human personality and in the development of consciousness. These specific attainments are now gravely threatened in our antichristian age, not only by the sociopolitical delusional systems, but above all by the rationalistic hybris which is tearing our consciousness from its transcendent roots and holding before it immanent goals.

Lady Isabeau was tall for a woman, nearly as tall as Molly, but slender where Molly was stout, with a smooth immobile face that looked as if it had been carved from ivory, pale and serene. Hob stared at her: glossy black hair bound about the brows with a broad white linen fillet and partly concealed by a veil that draped down her neck; dark eyes beneath dark brows plucked thin; unsmiling lips, full and well-shaped. There was so little expression on her face, and its beauty was so unworldly, that Hob had a moment when he thought her an apparition, or a graven figure. “Blanche comme la neige,” came to his mind, a song Molly had taught him, “belle comme le jour.” The thinnest of scars ran from her hairline down her forehead, divided her left eyebrow, and curved along her cheek to the corner of her mouth, and seemed at once to augment her beauty and to reinforce its carven stillness, as if some wright's chisel had slipped in the course of fashioning her visage. A linen band of the sort known as a barbette ran down from the fillet at her temples and passed under her chin, framing her face, and rendering her features all the more austere. Her gown was a muted purple; heavy embroidery of red and blue circled its neckline, and it was gathered by a zone of gray silk, sewn with pearls, that circled her hips. From this belt depended a silver ring, as wide around as a big man's fist. On the ring was a bunch of black iron keys, of varying sizes: the symbol and reality of her standing as administrator of the household. As she spoke, she fiddled with the keys as though they were prayer beads; they gave off a continual muted clink, just barely audible to Hob above the rumble of voices, the thuds and thumps of plank tabletops settling onto their trestles.

Metaphor is invariably more meaning, not less. Literalism is the lowest and least level of meaning. We must never be too tied to our own metaphors as the only possible way to speak the truth, and yet we also need good metaphors to go deep. That is the inherent tension and conflict: only the right symbol dives deep into the good, the true, and the beautiful and retrieves these like pearls from the ocean depths. The right symbol at the right time allows us to move beyond complexity and illusion. Often that which looks like mere symbol is indeed the doorway to all that you really need to know—if you approach it humbly and respectfully. How else could an always available God be always available? It cannot depend on having a college education or even a common education, but on a simple ability to read the symbolic universe, which some ancients seem to have done much better than we do.2

The graceful lines of pearl on the bodice transported her to her father’s study, to the newspaper photo of the Brooklyn Bridge. Today, tonight, she was crossing a bridge into another sense of self, an unknown, unexplored woman, a woman incognito, even to herself. And holding those lines of strength was the dove, Analee’s handiwork, the strength of peace holding everything, there on the gown, there at her heart, again on her face, beneath her eyes, allowing her a new vision, though she herself would not be seen. Constance fingered the smooth finish of the silk, this fine fabric given to her by someone who believed in her, who mentored and cared for her, whoever she was as a woman, without the constraints of convention. She turned the gown and gazed at its train, centered with the Gothic arch of the bridge, now converted into a torch of liberty. Everything in this gown spoke of strength and transformation, nothing left behind. There were her children, the girls as shimmering fish swimming freely, even her dead son transformed into light, the light of the bridge into the unknown.

She opened the satchel. And honestly, fate couldn't have provided a better prize at the end of a scavenger hunt. She pulled out a beautiful, sparkling crown. Her large green eyes grew even larger. Despite the hour and lack of sunlight, its jewels still managed to shimmer and twinkle in a magical, expensive way. Rapunzel might not have had much experience with royal gems or any kind of precious stone, but it was very clear that these were those. The thing was straight out of a fairy tale, what a princess would be wearing when she was turned back from a swan. The giant diamonds were even shaped like swans' eggs. Under each was a round pink ruby, and threading between them was a strand of perfectly round pearls. She turned it over in her hands, tracing the tiny, intricately wound gold wire that held it all together. And there, in a small flat patch of smooth metal, was the artist's mark-- and a multi-rayed sun symbol. The same one on her bracelet clasp. The same one that she constantly painted and dreamed of. The one that meant life and happiness and energy in the personal vocabulary of Rapunzel's soul.

1. In the tabernacle there was acacia wood overlaid with gold and also linen embroidered with gold thread; both the acacia wood and the linen signify humanity, and the gold signifies divinity (Exo. 25:10-11; 26:15, 29; 36:34; 37:1-2; 28:6; 39:3). 2. In Exodus 3 God’s dwelling was a thornbush, but in Exodus 40 His dwelling was the tabernacle made of humanity overlaid by and interwoven with divinity; such an overlaid and embroidered humanity is a transformed humanity. ‹‹    DAY 3    ›› F. Both the thornbush and the tabernacle are symbols; God’s actual dwelling place was neither the physical thornbush nor the tabernacle; it was His people: 1. After the children of Israel had been dealt with by God, they became acacia wood overlaid with gold and also linen embroidered with gold thread; the church today is the fulfillment of this type. 2. At present, the church may be a redeemed thornbush; however, the day is coming when we shall be gold, pearl, and precious stone (Rev. 21:18-21). 3. Praise the Lord for this marvelous vision of God’s dwelling place! This vision covers God’s habitation from the initial stage, the stage of the thornbush, to the consummate stage, the stage of the New Jerusalem.

Only Father observed this tradition to the letter. Mother and we, the children just made the blessing over the etrog - a perfect lemon from Palestine - and the lulav - a palm branch, a sprig of willow and myrtle - every morning for eight days. Father went to the synagogue every day and made those prayers there. Sukkoth being a harvest festival, we blessed these symbolic fruits and grains of the land of Israel.

The play was performed often in Fürth, then at a film festival in Munich, and in 2002 in Zurich. And then in Czernowitz. On the anniversary of the world premiere the cast travelled to Selma's hometown, where it was put on in a theater very similar to the one in Fürth. As Jutta Czurda reported in a letter to me, both performances were almost sold out and the audiences were very enthusiastic: "Almost 1,000 people saw Selma …After the play we all signed countless programs and answered questions. And so for us, you, too, returned symbolically to Czernowitz with your voice, and built a direct bridge to Selma for the audience." She is right. Although German is not spoken in Czernowitz today, Selma and I came home somehow.

After the ceremony, all of us walked over, about one block, to Sonia's and Nachman's apartment, where Grandmother, who was bed-ridden was anxiously waiting for the young marrieds and the wedding guests. We ate a well-prepared, festive meal and talked and joked. I met Yuda's Tel Aviv family for the first time and we all became acquainted with my two cousins. Mr. Schleien, the cousin from Nahalal, a veteran settler, a farmer, brought as a wedding gift ten eggs. There was no symbolism intended, it was a practical present of a rare and precious food for city dwellers.

Whether in a white dinner jacket or in a trench coat and a snap-brim fedora, he became a new and timely symbol of the post-Pearl Harbor American: tough but compassionate, skeptical yet idealistic, betrayed yet ready to believe again, and above all, a potentially deadly opponent.

Whether in a white dinner jacket or in a trench coat and a snap-brim fedora, he became a new and timely symbol of the post-Pearl Harbor American: tough but compassionate, skeptical yet idealistic, betrayed yet ready to believe again, and above all, a potentially deadly opponent.

Goliath symbolizes the vanity and the illusions of this world. They disappear in a puff

Pearls symbolize purity, love, and commitment;

I is not just I, I is also One, which is the very symbol of a united humanity, and that united humanity begins with I - that is, it begins with the individual.

But let’s be clear: the madness of everyday life was its own issue. It didn’t have any relationship to whether or not Christianity was bullshit. Obviously, Christianity was total bullshit. It was the most insane bullshit! But it was impossible to make an argument against superstition and magical nonsense, and have it stick, when that argument was delivered from a society where every citizen was a magician. And yes, reader, that includes you. You too are a magician. Your life is dominated by one of the oldest and most perverse forms of magic, one with less interior cohesion than the Christian faith, and you invest its empty symbolism with a level of belief that far outpaces that of any Christian. Here are some strips of paper and bits of metal! Watch as I transform these strips of paper and bits of metal into: (a) sex (b) food (c) clothing (d) shelter (e) transportation that allows me to acquire strips of paper and bits of money (f) intoxicants that distract me from my endless pursuit of strips of paper and bits of metal (g) leisure items that distract me from my endless pursuit of strips of paper and bits of metal (h) pointless vacations to exotic locales where I will replicate the brutish behavior that I display in my point of origin as a brief respite from my endless pursuit of strips of paper and bits of metal (i) unfair social advantages that allow my rotten children to undertake their own moronic pursuits of strips of paper and bits of metal. Humiliate yourself for strips of paper. Murder for the strips of paper. Humiliate others for the strips of paper. Worship the people who’ve accumulated such vast quantities of strips of paper that their strips of paper no longer have any physical existence and are now represented by binary notation. Treat the vast accumulators like gods. Free blowies for the moldering corpse of Steve Jobs! Fawning profile pieces for Jay-Z! The Presidency for billionaire socialite and real-estate developer Donald J. Trump! Kill! Kill! Kill! Work! Work! Work! Die! Die! Die! Go on. Pretend this is not the most magical thing that has ever happened. Historical arguments against Christianity tended to be delivered in tones of pearl-clutching horror, usually by subpar British intellectuals pimping their accent in America, a country where sounding like an Oxbridge twat conferred an unearned credibility. Yes, the Crusades were horrible. Yes, the Inquisition was awful. Yes, they shouldn’t have burned witches in Salem. Yes, there is an unfathomable amount of sexually abused walking wounded. Yes, every Christian country has oriented itself around the rich and done nothing but abuse the fuck out of its poor. But it’s not like the secular conversion of the industrialized world has alleviated any of the horror. Read the news. Murder, rape, murder, rape, murder, rape, murder, rape, murder, rape, murder, rape...Despair. All secularism has done, really, is remove a yoke from the rich. They’d always been horrible, but at least when they still paid lip service to Christian virtues, they could be shamed into philanthropy. Now they use market forces to slide the whole thing into feudalism. New York University built a campus [in Abu Dhabi] with slave labor! In the Twenty-First Century AD! And has suffered no rebuke! Applications are at an all-time high! The historical arguments against Christianity are as facile as reviews on Goodreads.com, and come down to this: Why do you organize around bad people who tell you that a Skyman wants you to be good? To which the rejoinder is: yes, the clergy sucks, but who cares how normal people are delivered into goodness?

Autonomy becomes one of the most critical characteristics of digital organizations to thrive as well as the symbol of achieving high-level digital maturity.

Connectivity is the “nature” of today’s organization, and hyperconnectivity is the symbol of the digital maturity.

High level of autonomy is the symbol of the digital maturity.

The Japanese did not think in terms of maximizing the physical damage to the Pacific Fleet as a whole, but maximizing the damage against the popular symbols of American naval power.

I am not a symbol of authority, I am a symbol of life.

having our fleet in Hawaii is a cautionary symbol, reminding the Japanese that they simply can’t gallop all over the Pacific as they please.

The Krishna Consciousness has nothing to do with the protagonist Krishna of Mahabharata. However, here the term Krishna is only a symbolic representation of utter divinity in the psyche of the Hindus. The Krishna Consciousness is basically, a mental state of transcendence, which can similarly be called as “the Christ Consciousness” or “the Buddha Consciousness” or even “the Naskar Consciousness”. Buddha hailed it as Nirvana, while Christ, upon experiencing it, said to his pupils, “I and the Father are one.” Upon emerging from this extraordinary state of Absolute Oneness, the Self turns into Krishna – it turns into Christ – it turns into Buddha.

All over the gold silk lining of the brocade cloak, Amah had embroidered a secret; a map of Feng Lu, rendered in rich jewel tones and surrounded by a border of pearl-white lanterns. The five kingdoms nestled in a sea of turquoise thread representing the oceans. Symbols and images had been stitched all around the border: moon-colored cranes taking flight, red roses burning in the desert sand, a phoenix rampant in tree branches, a silvery fish, a shining sword of steel.

as a futurist in my college days, the pretense of consistent literalism was challenged by Revelation’s wild imagery. In any given verse, we might pivot from literal to figurative interpretations and back again. Using the Church in Revelation again as our example, it was easy to discern that the collective billions who constitute the Bride of Christ are not one literal female colossus in a humongous wedding dress waiting to consummate union with Jesus in actual lovemaking. We knew this was symbolic. Yet in the very same verse, we stumbled over our literalism into the New Jerusalem. Some of the popular futurist commentaries of the day quibbled over the Holy City’s dimensions—whether it will be a pyramid or a cube and what the rooms, streets, and transportation will be like.4 I tried to picture a city that was fifteen hundred miles tall and wondered what that would do to the earth’s rotation. I also wondered what kind of oysters could produce pearls large enough to become the city’s twelve gates (Rev 21:21).