Symbol Double Quotes

Whatever is deeply, essentially female--the life in a woman's expression, the feel of her flesh, the shape of her breasts, the transformations after childbirth of her skin--is being reclassified as ugly, and ugliness as disease. These qualities are about an intensification of female power, which explains why they are being recast as a diminution of power. At least a third of a woman's life is marked with aging; about a third of her body is made of fat. Both symbols are being transformed into operable condition--so that women will only feel healthy if we are two thirds of the women we could be. How can an "ideal" be about women if it is defined as how much of a female sexual characteristic does not exist on the woman's body, and how much of a female life does not show on her face?

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

On the blank leaf glued to the inner back cover I drew the double curve within the circle, and blacked the yin half of the symbol, then pushed it back to my companion. 'Do you know that sign?' He looked at it a long time with a strange look, but he said, 'No.' 'It's found on Earth, and on Hain-Davenant, and on Chiffewar. It is yin and yang. Light is the left hand of darkness... how did it go? Light, dark. Fear, courage. Cold, warmth. Female, male. It is yourself, Therem. Both and one. A shadow on snow.'

Will we turn our backs on science because it is perceived as a threat to God, abandoning all the promise of advancing our understanding of nature and applying that to the alleviation of suffering and the betterment of humankind? Alternatively, will we turn our backs on faith, concluding that science has rendered the spiritual life no longer necessary, and that traditional religious symbols can now be replaced by engravings of the double helix on our alters? Both of these choices are profoundly dangerous. Both deny truth. Both will diminish the nobility of humankind. Both will be devastating to our future. And both are unnecessary. The God of the Bible is also the God of the genome. He can be worshipped in the cathedral or in the laboratory. His creation is majestic, awesome, intricate and beautiful - and it cannot be at war with itself. Only we imperfect humans can start such battles. And only we can end them.

At least a third of a woman's life is marked with aging; about a third of her body is made of fat. Both symbols are being transformed into operable condition--so that women will only feel healthy if we are two thirds of the women we could be. How can an "ideal" be about women if it is defined as how much of a female sexual characteristic does not show on her body, and how much of a female life does not show on her face?

Sexual satisfaction eases the stranglehold of materialism, since status symbols no longer look sexual, but irrelevant. Product lust weakens where emotional and sexual lust intensifies. The price we pay for artificially buoying up this market is our heart's desire. The beauty myth keeps a gap of fantasy between men and women. That gap is made with mirrors; no law of nature supports it. It keeps us spending vast sums of money and looking distractedly around us, but its smoke and reflection interfere with our freedom to be sexually ourselves.

Elizabeth's barreness and advanced age--a double symbol of hopelessness--became the means by which God would announce to the world that nothing is impossible for Him.

I lay awake listening to the rain, and at first it was as pleasant to my ear and my mind as it had long been desired; but before I fell asleep it had become a majestic and finally a terrible thing, instead of a sweet sound and symbol. It was accusing and trying me and passing judgment. Long I lay still under the sentence, listening to the rain, and then at last listening to words which seemed to be spoken by a ghostly double beside me. He was muttering: The all-night rain puts out summer like a torch. In the heavy, black rain falling straight from invisible, dark sky to invisible, dark earth the heat of summer is annihilated, the splendour is dead, the summer is gone. The midnight rain buries it away where it has buried all sound but its own. I am alone in the dark still night, and my ear listens to the rain piping in the gutters and roaring softly in the trees of the world. Even so will the rain fall darkly upon the grass over the grave when my ears can hear it no more… The summer is gone, and never can it return. There will never be any summer any more, and I am weary of everything… I am alone. The truth is that the rain falls for ever and I am melting into it. Black and monotonously sounding is the midnight and solitude of the rain. In a little while or in an age – for it is all one – I shall know the full truth of the words I used to love, I knew not why, in my days of nature, in the days before the rain: ‘Blessed are the dead that the rain rains on.

A group of people in black robes stood around her, each holding a brightly shining diamond broam in one palm. She blinked at the sharp light. Their hoods looked a fair bit more comfortable than her sack. Each robe was embroidered with the Double Eye of the Almighty, and Shallan had a fleeting thought, wondering at the seamstress they’d hired to do all this work. What had they told her? “Yes, we want twenty identical, mysterious robes, sewn with ancient arcane symbols. They’re for … parties.

Neurotic people often feel as if they are fakes, playing the social game while inwardly despising it, and have a sense of illegitimacy as if they lacked a place in the world. This sense of having a double life creates conflict, yet in as-if cases, there is never a struggle between the "real me" and the social self, as one might expect. It is an identification without conflict. Sometimes, their stiffness and superficiality in social relations may be noticed by other people, and it can give the picture of the commitment-phobe. In fact, the person just knows at some level to stay away from situations that would involve an appeal to the symbolic, those, precisely, where a commitment is involved.

Incapable of communicating himself to others, incapable of breaking out of his isolation, doomed to remain the mere actor of his life, the deputy of his own ego—all that any human being can know of another is a mere symbol, a symbol of an ego that remains beyond our grasp, possessing no more value than that of a symbol; and all that can be told is the symbol of a symbol, a symbol at a second, third, nth remove, asking for representation in the true double sense of the word.

On the blank leaf glued to the inner back cover I drew the double curve within the circle, and blacked the yin half of the symbol, then pushed it back to my companion. ‘Do you know that sign?’ He looked at it a long time with a strange look, but he said, ‘No.’ ‘It’s found on Earth, and on Hain-Davenant, and on Chiffewar. It is yin and yang. Light is the left hand of darkness…how did it go? Light, dark. Fear, courage. Cold, warmth. Female, male. It is yourself, Therem. Both and one. A shadow on snow.

One more point. The aspect of Venus is most favorable and potentially dominant over that of Mars. Venus symbolizes yourself, of course, but Mars is both your husband and young Smith—as a result of the unique circumstances of his birth. This throws a double burden on you and you must rise to the challenge; you must demonstrate those qualities calm wisdom and restraint which are peculiarly those of woman.

This is meant to be in praise of the interval called hangover, a sadness not co-terminous with hopelessness, and the North American doubling cascade that (keep going) “this diamond lake is a photo lab” and if predicates really do propel the plot then you might see Jerusalem in a soap bubble or the appliance failures on Olive Street across these great instances, because “the complex Italians versus the basic Italians” because what does a mirror look like (when it´s not working) but birds singing a full tone higher in the sunshine. I´m going to call them Honest Eyes until I know if they are, in the interval called slam clicker, Realm of Pacific, because the second language wouldn´t let me learn it because I have heard of you for a long time occasionally because diet cards may be the recovery evergreen and there is a new benzodiazepene called Distance, anti-showmanship, anti-showmanship, anti-showmanship. I suppose a broken window is not symbolic unless symbolic means broken, which I think it sorta does, and when the phone jangles what´s more radical, the snow or the tires, and what does the Bible say about metal fatigue and why do mothers carry big scratched-up sunglasses in their purses. Hello to the era of going to the store to buy more ice because we are running out. Hello to feelings that arrive unintroduced. Hello to the nonfunctional sprig of parsley and the game of finding meaning in coincidence. Because there is a second mind in the margins of the used book because Judas Priest (source: Firestone Library) sang a song called Stained Class, because this world is 66% Then and 33% Now, and if you wake up thinking “feeling is a skill now” or “even this glass of water seems complicated now” and a phrase from a men´s magazine (like single-district cognac) rings and rings in your neck, then let the consequent misunderstandings (let the changer love the changed) wobble on heartbreakingly nu legs into this street-legal nonfiction, into this good world, this warm place that I love with all my heart, anti-showmanship, anti-showmanship, anti-showmanship.

Look in it,' he said, smiling slightly, as you do when you have given someone a present which you know will please him and he is unwrapping it before your eyes. I opened it. In the folder I found four 8×10 glossy photos, obviously professionally done; they looked like the kind of stills that the publicity departments of movie studios put out. The photos showed a Greek vase, on it a painting of a male figure who we recognized as Hermes. Twined around the vase the double helix confronted us, done in red glaze against a black background. The DNA molecule. There could be no mistake. 'Twenty-three or -four hundred years ago,' Fat said. 'Not the picture but the krater, the pottery.' 'A pot,' I said. 'I saw it in a museum in Athens. It's authentic. Thats not a matter of my own opinion; I'm not qualified to judge such matters; it's authenticity has been established by the museum authorities. I talked with one of them. He hadn't realized what the design shows; he was very interested when I discussed it with him. This form of vase, the krater, was the shape later used as the baptismal font. That was one of the Greek words that came into my head in March 1974, the word “krater”. I heard it connected with another Greek word: “poros”. The words “poros krater” essentially mean “limestone font”. ' There could be no doubt; the design, predating Christianity, was Crick and Watson's double helix model at which they had arrived after so many wrong guesses, so much trial-and-error work. Here it was, faithfully reproduced. 'Well?' I said. 'The so-called intertwined snakes of the caduceus. Originally the caduceus, which is still the symbol of medicine was the staff of- not Hermes-but-' Fat paused, his eyes bright. 'Of Asklepios. It has a very specific meaning, besides that of wisdom, which the snakes allude to; it shows that the bearer is a sacred person and not to be molested...which is why Hermes the messenger of the gods, carried it.' None of us said anything for a time. Kevin started to utter something sarcastic, something in his dry, witty way, but he did not; he only sat without speaking. Examining the 8×10 glossies, Ginger said, 'How lovely!' 'The greatest physician in all human history,' Fat said to her. 'Asklepios, the founder of Greek medicine. The Roman Emperor Julian-known to us as Julian the Apostate because he renounced Christianity-conside​red Asklepios as God or a god; Julian worshipped him. If that worship had continued, the entire history of the Western world would have basically changed

In the Caduceus, the two serpents are called Ob and Od. As they twine around each other, they create the magickal wand of Double Power. The Unification of the Ob and Od is picture by the globe that crowns the Caduceus. The globe which climaxes the Caduceus symbolizes the Nur Muhammadi, or Light of Mohammed, the Aur (Light) in Hebrew, which is the result of the state of equilibrium existing between the two serpent forces. This Light is the SUPREME ESSENCE. Wilhelm Reich called this serpent energy the Orgone. It has also been referred to as: Ki, Kundalini, Mana, Prana, Vril, Animal Magnetism, the Odic Force, the Astral Light, the Élan Vital, the Libido, the Atmospheric 'I' and Ether.

The writer Lee Smith, who once had a New York copy editor query in the margin of her manuscript “Double-wide what?” tells a perfectly marvelous, spot-on story about Eudora Welty when she came to Hollins College, where Smith was a student. Welty read a short story in which one female character presents another with a marble cake. In the back of the audience Smith noted a group of leather-elbowed, goatee-sporting PhD candidates, all of whom were getting pretty excited. One started waving his hand as soon as she stopped reading and said, “Miz Welty, how did you come up with that powerful symbol of the marble cake, with the feminine and masculine, the yin and the yang, the Freudian and the Jungian all mixed together like that?” Smith reported that Welty looked at him from the lectern without saying anything for a while. Finally she replied mildly, “Well, you see, it’s a recipe that’s been in my family for some time.

(...) The floor itself was inscribed with a mosaic in the data-pattern mode, representing the entire body of the Curia case law. At the center, small icons representing constitutional principles sent out lines to each case in which they were quoted; bright lines for controlling precedent, dim lines for dissenting opinions or dicta. Each case quoted in a later case sent out additional lines, till the concentric circles of floor-icons were meshed in a complex network. The jest of the architect was clear to Phaethon. The floor mosaic was meant to represent the fixed immutability of the law; but the play of light from the pool above made it seem to ripple and sway and change with each little breeze. Above the floor, not touching it, without sound or motion, hovered three massive cubes of black material. These cubes were the manifestations of the Judges. The cube shape symbolized the solidity and implacable majesty of the law. Their high position showed they were above emotionalism or earthly appeals. The crown of each cube bore a thick-armed double helix of heavy gold. The gold spirals atop the black cubes were symbols of life, motion, and energy. Perhaps they represented the active intellects of the Curia. Or perhaps they represented that life and civilization rested on the solid foundations of the law. If so, this was another jest of the architect. The law, it seemed, rested on nothing.

Information about toxicity in food is widely available, but people don’t want to hear it. Once in a while a story is spectacular enough to break through and attract media attention, but the swell quickly subsides into the general glut of bad news over which we, as citizens, have so little control. Coming at us like this — in waves, massed and unbreachable—knowledge becomes symbolic of our disempowerment—becomes bad knowledge—so we deny it, riding its crest until it subsides from consciousness. . . . In this root sense, ignorance is an act of will, a choice that one makes over and over again, especially when information overwhelms and knowledge has become synonymous with impotence. I would like to think of my “ignorance” less as a personal failing and more as a massive cultural trend, an example of doubling, of psychic numbing, that characterises the end of the millennium. If we can’t act on knowledge, then we can’t survive without ignorance. So we cultivate the ignorance, go to great lengths to celebrate it, even. The faux-dumb aesthetic that dominates TV and Hollywood must be about this. Fed on a media diet of really bad news, we live in a perpetual state of repressed panic. We are paralyzed by bad knowledge, from which the only escape is playing dumb. Ignorance becomes empowering because it enables people to live. Stupidity becomes proactive, a political statement. Our collective norm.

Each robe was embroidered with the Double Eye of the Almighty, and Shallan had a fleeting thought, wondering at the seamstress they’d hired to do all this work. What had they told her? “Yes, we want twenty identical, mysterious robes, sewn with ancient arcane symbols. They’re for … parties.

By studying ancient symbols, Bruce had discovered that genetic tampering was commonplace throughout the ages, indicated by the frequent display of the rod of Asclepius, a winged staff with double-helix serpents created by ancient cultures who worshiped serpents and the demigods that tampered with human genetics.

There were opiates for remorse, drugs that could lull the moral sense to sleep. But here was a visible symbol of the degradation of sin. Here was an ever-present sign of the ruin men brought upon their souls. Three o'clock struck, and four, and the half-hour rang its double chime, but Dorian Gray did not stir. He

Symbols lead a double life, with two different complementary modes of description depending on the job they are doing. In one life, symbols are made of physical material (DNA is made of hydrogen, oxygen, carbon, nitrogen, and phosphate molecules) that follows Newton’s laws and constrains the building process by its physical structure.

But in the dynamic space of the living Rocket, the double integral has a different meaning. To integrate here is to operate on a rate of change so that time falls away: change is stilled..."Meters per second" will integrate to "meters." The moving vehicle is frozen, in space, to become architecture, and timeless. It was never launched. It never did fall.

But in the dynamic space of the living Rocket , the double integral has a different meaning. To integrate here is to operate on a rate of change so that time falls away: change is stilled...'Meters per second ' will integrate to 'meters.' The moving vehicle is frozen, in space, to become architecture, and timeless. It was never launched. It never did fall.

The same double-headed eagle, supporting the figure of a man or a god, is met with at Boghaz Keui, and must be regarded as one of the peculiarities of Hittite symbolism and art. The symbol was adopted in later days by the Turkoman princes, who had perhaps first seen it on the Hittite monuments of Kappodokia; and the Crusaders brought it to Europe with them in the 14th century. Here it became the emblem of the German Emperors, who have passed it on to the modern kingdoms of Russia and Austria. It is not the only heirloom of Hittite art which has descended to us of to-day.

Changing our minds about things, especially deeply held personal and societal beliefs, is really hard. We live in a society that encourages firm and solidified opinions and values. We tend to set our opinions in stone and place them on our shelves as symbols of who we are. The problem with this is that stones can easily become idols. We attack people who change their minds, calling them a "flip flopper" and "inconsistent." Instead, we should honor and respect people who look at information and willing to learn and say, "Maybe I was wrong about this" instead of doubling down on an opinion simply because it's the one they've always held.

We can find clear proof of this fact in the history of science itself. For example, the French mathematician Poincaré and the chemist Kekulé owed important scientific discoveries (as they themselves admit) to sudden pictorial “revelations” from the unconscious. The so-called “mystical” experience of the French philosopher Descartes involved a similar sudden revelation in which he saw in a flash the “order of all sciences.” The British author Robert Louis Stevenson had spent years looking for a story that would fit his “strong sense of man’s double being,” when the plot of Dr. Jekyll and Mr. Hyde was suddenly revealed to him in a dream.

For a detained patriot, breaking through the doubled walls of gray silence, attempting even a symbolic link with the outside world, is an act of resistance And resistance--even at the level of merely asserting one's rights, of maintaining one's ideological beliefs in the face of a programmed onslaught--is in fact the only way political prisoners can maintain their sanity and humanity. Resistance is the only means of trying to prevent a breakdown. The difficulty lies in the fact that in this effort one must rely first and foremost on one's own resources (writing defiance on toilet paper for instance), and nobody can teach one how to do it.

The various aspects of illusion described so far refer to a single function, a single structure, a single failure. The function is to protect from the real; the structure does not involve refusing to perceive the real but, rather, splitting it in two; the failure lies in recognizing the protective double too late as the very reality from which one thought one had found protection. This is the curse of evasion: by way of a phantasmatic duplication, it sends us back to the undesirable starting point, the real. We can see now why evasion is always a mistake: it is always inoperative, because the real is always right. We may, admittedly, try to protect ourselves from a future event, if that happens to be possible; we shall never protect ourselves from a past or present event or one that is 'certain to come to pass,' as in the oracular symbolics which announces in advance an ineluctable necessity that already has all the characteristics of a present necessity. And the act by which one attempts to slough off that necessity will never be able to 'do any better' than literally reproduce the feared even or, even more exactly, constitute that event. This is what happens to Oedipus, as it happens to everyone at odds with himself - that is to say, to everyone at some point or other of his existence.

A peculiar use is made of the cross symbol by the Muyscas Indians, of Peru; two ropes are stretched crosswise over the surface of the water (pool or stream), and fruits, oil, and precious stones are thrown in as a sacrifice at the point of intersection.145 Here the divinity is evidently the water, not the cross, which only signifies the place of sacrifice. The symbolism is somewhat obscure. Water, and particularly deep water, usually has a maternal significance, roughly corresponding to “womb.” The point of intersection of the two ropes is the point of union where the “crossing” takes place. (Note the double meaning of this word! According to all the analogies, the aim of fertility magic is to bring about the increase of the things marked for sacrifice.)

Ce nom a d’ailleurs un double sens, qui se réfère encore à un autre symbolisme : dru ou deru, comme le latin robur, désigne à la fois la force et le chêne (en grec δρυς) ; d’autre part, vid est, comme en sanscrit, la sagesse ou la connaissance, assimilée à la vision, mais c’est aussi le gui ; ainsi, dru-vid est le gui du chêne, qui était en effet l’un des principaux symboles du Druidisme, et il est en même temps l’homme en qui réside la sagesse appuyée sur la force. De plus, la racine dru, comme on le voit par les formes sanscrites équivalentes dhru et dhri comporte encore l’idée de stabilité, qui est d’ailleurs un des sens du symbole de l’arbre en général et du chêne en particulier ; et ce sens de stabilité correspond ici très exactement à l’attitude du Sphinx au repos.

[Talking about Othello] His dying words are about the service he has done to the state -not what he has done to Desdemona. (...) He acknowledges not love but the power structure (...). Othello believes his fellow officer [Iago] rather than his wife, believes death is suitable punishment for infidelity (...). It makes me uneasy that we so easily state that Othello is a play about race. Race is one of its ingredients, but the most pervasive subject that Shakespeare is tackling is sexism. The two women [Desdemona and Emilia, Iago's wife] end up dead. Bianca, the third woman in the play, Cassio's mistress, ends up in jail for something she never did, and nobody bothers to get her out. Iago, the symbol of evil, remains alive. Brabantio, Desdemona's father, dies of a broken heart because of his daughter's disobedience. And everyone is very regretful about what has happened. But no one, other than Emilia, has pointed out that there is a terrible double standard, something rotten in the system itself.

Stately and commanding, the house I found on Sacramento Street, in Lower Pacific Heights, was an architectural jewel; tour buses drove down the street several times a day and the guides pointed out our Victorian “painted lady” not just for its curb appeal but also for its lucky survival of the earthquake. Meticulously renovated, the house had a layout that I was sure would work perfectly: a three-room suite on the lower level with a bathroom and laundry room for my mother, living space on the next level, and, on the top floor, bedrooms for Zoë and me. The master bedroom was large enough to double as my office. Moreover, it seemed symbolic that we should find a three-story nineteenth-century Victorian, whose original intention was to house multiple generations. My mother couldn’t have been more pleased. She started calling our experiment “our year in Provence.” In the face of naysayers, I chose to embrace the reaction of a friend who was living in Beijing: “How Chinese of you!” she said upon hearing the news. When I told my mother, she was delighted. “What have the Chinese got on us?” she declared. And I agreed. The Chinese revere their elderly. If they could live happily with multiple generations under one roof, so could we.

The development briefly outlined here seems to have been anticipated in medieval and Gnostic symbolism, just as the Antichrist was in the New Testament. How this occurred I will endeavour to describe in what follows. We have seen that, as the higher Adam corresponds to the lower, so the lower Adam corresponds to the serpent. For the mentality of the Middle Ages and of late antiquity, the first of the two double pyramids, the Anthropos Quaternio, represents the world of the spirit, or metaphysics, while the second, the Shadow Quaternio, represents sublunary nature and in particular man’s instinctual disposition, the “flesh”—to use a Gnostic-Christian term—which has its roots in the animal kingdom or, to be more precise, in the realm of warm-blooded animals. The nadir of this system is the cold-blooded vertebrate, the snake,30 for with the snake the psychic rapport that can be established with practically all warm-blooded animals comes to an end. That the snake, contrary to expectation, should be a counterpart of the Anthropos is corroborated by the fact—of especial significance for the Middle Ages—that it is on the one hand a well-known allegory of Christ, and on the other hand appears to be equipped with the gift of wisdom and of supreme spirituality.31 As Hippolytus says, the Gnostics identified the serpent with the spinal cord and the medulla. These are synonymous with the reflex functions.

For this reason the ancients often compared the symbol to water, a case in point being tao, where yang and yin are united. Tao is the “valley spirit,” the winding course of a river. The symbolum of the Church is the aqua doctrinae, corresponding to the wonder-working “divine” water of alchemy, whose double aspect is represented by Mercurius. The healing and renewing properties of this symbolical water—whether it be tao, the baptismal water, or the elixir—point to the therapeutic character of the mythological background from which this idea comes. Physicians who were versed in alchemy had long recognized that their arcanum healed, or was supposed to heal, not only the diseases of the body but also those of the mind. Similarly, modern psychotherapy knows that, though there are many interim solutions, there is, at the bottom of every neurosis, a moral problem of opposites that cannot be solved rationally, and can be answered only by a supraordinate third, by a symbol which expresses both sides. This was the “veritas” (Dorn) or “theoria” (Paracelsus) for which the old physicians and alchemists strove, and they could do so only by incorporating the Christian revelation into their world of ideas. They continued the work of the Gnostics (who were, most of them, not so much heretics as theologians) and the Church Fathers in a new era, instinctively recognizing that new wine should not be put into old bottles, and that, like a snake changing its skin, the old myth needs to be clothed anew in every renewed age if it is not to lose its therapeutic effect.

The human child's use of words looks entirely different from Kanzi's because it is equipotential. There is apparently no limit to the child's rapid acquisition of new words and to their very wide application, and the child is constantly using words of everything and everybody she encounters. Kanzi, however, is stuck with few words and with limited application, and apparently has no impulse to develop them on his own or to use them except for limited purposes like making a request. We suggest that Kanzi's "vocabulary" relates to a finite number of frames of limited application and that because there is no higher-level blending capacity, those frames cannot be integrated fluidly, which is the power of blending and the sine qua non of language. The Eliza fallacy here consists in taking word combinations by Kanzi and assuming that Kanzi is doing mentally what the child would be doing with those same word combinations. We have no dispute in principle with the proposal that Kanzi or Sarah might know meanings, might associate symbols with those meanings, and might put some of those symbols together in ways connected with juxtaposition of corresponding meanings. We are making a different observation: This kind of symbol-meaning correlation need not be equipotential. For the limited frames Kanzi is using, his behavior and the child's might be quite similar, even though the underlying mental processes are different. It is a fallacy to assume that Kanzi is doing essentially the same mental work as the child. This is like assuming that because a chess-playing machine can play chess, it is doing all the fabulous double-scope blending that a human being does while playing chess. We suggest that our account is corroborated by the fact that Kanzi's vocabulary tops out at fewer than 200 words of limited application, while the six-year-old child uses 13,000 words with very wide application. The actual wide-ranging human use of even a rudimentary word turns out to be a major imaginative achievement.

Turning and climbing, the double helix evolved to an operation which had always existed as a possibility for mankind, the eating of light. The appetite for light was ancient. Light had been eaten metaphorically in ritual transubstantiations. Poets had declared that to be is to be a variable of light, that this peach, and even this persimmon, is light. But the peach which mediated between light and the appetite for light interfered with the taste of light, and obscured the appetite it aroused. The appetite for actual light was at first appeased by symbols. But the simple instruction, promulgated during the Primordification, to taste the source of the food in the food, led to the ability to eat light. Out of the attempt to taste sources came the ability to detect unpleasant chemicals. These had to be omitted. Eaters learned to taste the animal in the meat, and the animal's food and drink, and to taste the waters and sugars in the melon. The discriminations grew finer - children learned to eat the qualities of the pear as they ate its flesh, and to taste its slow ripening in autumn sunlight. In the ripeness of the orange they recapitulated the history of the orange. Two results occurred. First, the children were quick to surpass the adults, and with their unspoiled tastes, and their desire for light, they learned the flavor of the soil in which the blueberry grew, and the salty sweetness of the plankton in the sea trout, but they also became attentive to the taste of sunlight. Soon there were attempts to keep fruit of certain vintages: the pears of a superbly comfortable autumn in Anjou, or the oranges of Seville from a year so seasonless that their modulations of bouquet were unsurpassed for decades. Fruit was eaten as a retrospective of light. Second, children of each new generation grew more clearly, until children were shaped as correctly as crystals. The laws governing the operations of growth shone through their perfect exemplification. Life became intellectually transparent. ("Desire")

I’m sure we can manage to tolerate each other’s company for one meal.” “I won’t say anything about farming. We can discuss other subjects. I have a vast and complex array of interests.” “Such as?” Mr. Ravenel considered that. “Never mind, I don’t have a vast array of interests. But I feel like the kind of man who does.” Amused despite herself, Phoebe smiled reluctantly. “Aside from my children, I have no interests.” “Thank God. I hate stimulating conversation. My mind isn’t deep enough to float a straw.” Phoebe did enjoy a man with a sense of humor. Perhaps this dinner wouldn’t be as dreadful as she’d thought. “You’ll be glad to hear, then, that I haven’t read a book in months.” “I haven’t gone to a classical music concert in years,” he said. “Too many moments of ‘clap here, not there.’ It makes me nervous.” “I’m afraid we can’t discuss art, either. I find symbolism exhausting.” “Then I assume you don’t like poetry.” “No . . . unless it rhymes.” “I happen to write poetry,” Ravenel said gravely. Heaven help me, Phoebe thought, the momentary fun vanishing. Years ago, when she’d first entered society, it had seemed as if every young man she met at a ball or dinner was an amateur poet. They had insisted on quoting their own poems, filled with bombast about starlight and dewdrops and lost love, in the hopes of impressing her with how sensitive they were. Apparently, the fad had not ended yet. “Do you?” she asked without enthusiasm, praying silently that he wouldn’t offer to recite any of it. “Yes. Shall I recite a line or two?” Repressing a sigh, Phoebe shaped her mouth into a polite curve. “By all means.” “It’s from an unfinished work.” Looking solemn, Mr. Ravenel began, “There once was a young man named Bruce . . . whose trousers were always too loose.” Phoebe willed herself not to encourage him by laughing. She heard a quiet cough of amusement behind her and deduced that one of the footmen had overheard. “Mr. Ravenel,” she asked, “have you forgotten this is a formal dinner?” His eyes glinted with mischief. “Help me with the next line.” “Absolutely not.” “I dare you.” Phoebe ignored him, meticulously spreading her napkin over her lap. “I double dare you,” he persisted. “Really, you are the most . . . oh, very well.” Phoebe took a sip of water while mulling over words. After setting down the glass, she said, “One day he bent over, while picking a clover.” Ravenel absently fingered the stem of an empty crystal goblet. After a moment, he said triumphantly, “. . . and a bee stung him on the caboose.” Phoebe almost choked on a laugh. “Could we at least pretend to be dignified?” she begged. “But it’s going to be such a long dinner.

From its early days, Islam remained a European measure of what real heresy was all about. In the fifteen and sixteenth centuries, however, after most Muslims had been expelled from Spain and as real knowledge of them dwindled, the European image of Islam grew more distorted, becoming a colossal parody of Catholicism. From a well-defined other, its face was recast as a monstrous double, a reverse image of Christianity in all its virtue: the face of the scapegoat. This was not due to new thinking on the subject. Rather, cultural propaganda from the Crusades was simply dusted off and reapplied to the Inquisition. In the intellectual history of the West, Islam was delivered full circle, back to the demonizing portraits enshrined in the Old French epic of Roland. A Muslim became everything a good Christian was not. Islam was reduced to a set of self-referential signs and symbols.

I started on the bunny hill with the kids and on the second day got a little too over confident.  I also misinterpreted the symbols on the trail marks for the degree of difficulty and managed to find myself at the top of the mountain and the beginning of a double Black Diamond run.   I had no idea until I discovered the only way down was to ski, and that the double Black Diamond meant “For Experts Only.”      Marguerite had gotten off at a rest area, found a nice table outside, got a cup of hot tea and rented a telescope so she could watch me ski down the mountain.       She got a ski show all right; about 200 yards down the slope I lost complete control.  I saw the sky and ground so many times as I tumbled I lost count and when I did come to rest it was at the bottom of the run and I was minus a ski.  A nice Swiss couple had retrieved it for me and it wasn’t until they gave it back that I realized just how lethal a runaway downhill ski could be, I was damned lucky it didn’t go through somebody down the mountain.      I realized I was over matched and stuck with the bunny hill for the rest of the day.

As from the 1490s, the double-headed eagle began to appear as the symbol of state in Moscow as in Vienna, as indeed in Constantinople.

There is no alternative universe where Ralph Sampson is a beloved symbol of excellence. There’s no Philip K. Dick novel where he averages a career double-double and gets four rings. He could never be that guy. He was needed elsewhere, for other reasons. He was needed to remind people that their own self-imposed mediocrity is better than choking on transcendence.

Press “Body sheet 1” and take a screenshot (If your Oc has a tail or is holding something, also take a screenshot of “Body sheet 2”); Go to Ibis Paint X; Separate all of the body parts into different layers, then press “Save layer as transparent PNG” on all of them; Now go to “Cute Cut”; Press the plus (+) symbol in the top left; Tap “Create”; Select the same neon green I showed you earlier as the background colour; Choose “Done”; Tap another plus (+) symbol; Select “Photo” and click the hair screenshot; Tap the plus underneath and again press “Photo”; Now select the body screenshot; Keep on doing this until you have the whole Oc done; Double tap the hair screenshot and position it; Do this with the rest of the body parts until the Oc looks good;

What we need more is a certain violence against ourselves. In order to break out of an ideological, double-bind predicament, you need a king of violent outburst. It is something shattering. Even if it is not physical violence, it is extreme symbolic violence, and we have to accept it. At this level I think that in order to really change the existing society, this will not come about in the terms of this liberal tolerance. It will explode as a more shattering experience. And this is, I think, what is needed today: this awareness that true changes are painful.

What we need more is a certain violence against ourselves. In order to break out of an ideological, double-bind predicament, you need a kind of violent outburst. It is something shattering. Even if it is not physical violence, it is extreme symbolic violence, and we have to accept it. At this level I think that in order to really change the existing society, this will not come about in the terms of this liberal tolerance. It will explode as a more shattering experience. And this is, I think, what is needed today: this awareness that true changes are painful.

And it is not enough that Zionists control America. They have to reshape it to suitthemselves. Virtually every recent case that involves the removal of Christian symbols from society is brought and/or prosecuted by a Jew, usually with a Jewish judge presiding. For the sake of the feelings of 2.5 percent, all the rest of us must yield our cultural heritage. Removing “under God” from the Pledge of Allegiance. Taking down plaques of the Ten Commandments. Removing crosses from public venues. Taking Christ out of Christmas, first, then Christmas out of the year-end holidays altogether. Hate laws are singularly Jewish inventions being foisted upon an unsuspecting public, so as to preemptively remove the possibility of criticism of themselves. Often written by the ADL, the organization that lobbies for their adoption, state by state, the laws are designed to stifle dissent and free speech. Even now, the ADL seeks to broaden their sweep to include Holocaust Revisionism, as has occurred in Canada and most of Europe, where people sit in jail for publicly stating true facts about the so-called Holocaust that Jews simply do not want publicized. Now, anti-Semitism is being added to the proscriptions of hate laws in America. It has been forgotten that the first thing the communists did after seizing power in Russia was to make anti-Semitism punishable by death. Before they were done, the Russian Jews ended up killing over 20 million white Christians, don’t forget. American borders are kept wide open to a flood of illegal immigrants, purposely, apparently to dilute the population, thereby making us more easily controlled. Yet, there is a furious struggle to jail those who criticize Jews. Contrast this policy imposed upon America with the extremely closed society of Israel, which is reserved solely for Jews. And consider the money that Israel has cost us, facilitated by their Jewish brethren. It is nothing short of breathtaking. Economist Dr. Thomas R. Stauf-fer estimates the cost of our Middle Eastern policies at over $2.5 trillion, more than the cost of the Vietnam War. Two and a half trillion dollars. Boggles the mind, doesn’t it? Let’s see now, America has a population of 290 million and about 80 million households, so that amounts to $31,250 from your family to Israel.And that doesn’t include some other items which easily could double that figure, says Dr. Stauffer. That brings us to the $64,000 question, which is approximately double the $31,250 figure just cited: Is Israel worth it to you? Or could your family have put that $62,500 taken from it to better use? What is particularly ironic is how much of that money came back from Israel for the purpose of buying off America’s elected representatives.

I’ve undertaken every project imaginable. The Iliad composed by me had a structural logic in its organic linking of epodes such as Homer could never have achieved. The meticulous perfection of my unwritten verses makes Virgil’s precision look sloppy and Milton’s power slack. My allegorical satires surpassed all of Swift’s in the symbolic exactitude of their rigorously interconnected particulars. How many Horaces I’ve been! And whenever I’ve stood up from the chair where in fact these things were not totally dreamed, I’ve experienced the double tragedy of realizing that they’re worthless and that they weren’t pure dream, that something of them remains on the abstract threshold of my thinking and their being. I was a genius in more than dreams and in less than life. That is my tragedy. I was the runner who led the race until he fell down, right before the finishing line.

Physical laws are not amusing. Mathematical symbols do not readily lend themselves to the double entendre. Chemical properties are seldom cause for levity. These facts make it intolerable for a gathering ever to include more than one scientist.

The female megastar from the silent era, Lina Lamont (Jean Hagen), with her doubled initials in imitation of countless “sex symbol” stars, is shadowed throughout the film by Zelda Zanders, the “It Girl” played by Rita Moreno, referred to in the film as “the well-known ‘Zip Girl’” (thus putting a more graphic spin on the already sexually charged “It Girl”).

Kathy: Does it hurt a lot, getting a tattoo? Stephanie: Are you thinking about it? Kathy: Sort of. Stephanie: What would you get? Kathy: I don’t know, something symbolic. What does yours symbolize? Stephanie: Well, the image comes from a piece of Minoan pottery that was made on Crete during the Bronze Age. The Minoans had this beautiful way of representing sea life that I fell in love with in my college art history class, and I got the tattoo in my twenties when I first moved to New York, so probably what it symbolized most of all was a big fuck-you to my parents, who hated tattoos and were scandalized. Long pause. Kathy: Where did you go to college again? Stephanie: U. of Illinois Champaign. You? Kathy: Harvard. It’s kind of amazing we’re friends, isn’t it? Stephanie: I’d say we’re doubles partners. Kathy: Nice. Stephanie: You can take it. Kathy: You get the chairs, I’ll grab us a couple of iced teas.

Do your words mean what you think, Minos?”she asked with uncertainty. “I am the sovereign. And you, Ariadne, are the embodiment of the power which moves the world. Are we capable of deceiving one another? We would soon pay the ultimate penalty if we were. Maybe I have managed to convince you. I do not know. But one thing must be made clear. You must realize that this island, its fate, and its future are just as dear to me as they are to you. Vidvoyos has often spoken wisely, and many of his ideas shall be put into force. Law and order are what we want, for too much violence and the dethronement of kings lead to destruction and all too often embolden the enemy. We could breathe new life into the effeminate heart of the kingdom by strengthening the authority of its monarch. And only you can help in this, despite the generally declining faith in the gods. Both you and the double-headed axe of our forefathers are symbols capable of unifying the people, for everyone still trusts in your miraculous powers, and even the courtiers who hold everything in derision would never dare turn against you. Maybe they realize that everything would crumble to nothing without your presence. Assist me, Ariadne. Who is Vidvoyos—or anyone for that matter—compared to the sacred destiny of Crete? He must depart at once or perish! Otherwise, the entire nation will be consumed by civil war from which it may never recover. That is all.”Silence fell, and for some time, they did not speak. ‘‘Vidvoyos does not believe in the gods...”she said softly as though answering a question of her own. “I have always resented that. Maybe they are not as we imagine them to be, but still, they do exist and must be served and honored. What would we be without them? Indeed, would we be anything at all? Anyone who ignores the gods must find support within his own self. But there are times in life when this kind of support is not enough. Perilavos is such a feeble, capricious child... And upon many occasions have I wondered whether he would be capable of becoming king and of guiding such a powerful nation.”Minos lowered his head in thought. Presently he looked up. ‘‘I would like you to appear in Amnissos on the day they depart so that you may step upon the altar of stone and make prophecies about their distant journey. For there is nothing to prevent you from wishing Vidvoyos a safe return and bidding him a kingly farewell.

This is a truly political lesson of psychoanalysis: Power—and particularly modern forms of power—works by first appropriating a fundamental negativity of the symbolic order, its constitutive non-relation, while building it into a narrative of a higher Relation. This is what constitutes, puts into place and perpetuates, the relations of domination. And the actual, concrete exploitation is based on, made possible (and fueled) by, this appropriation, this “privatization of the negative.” This is what distinguishes—to take the famous Brechtian example—the robbing of a bank (common theft) from the founding of a bank (a double theft which appropriates the very lever of production and its exploitation).

If we are bound and determined to speak in terms of reference, nuclear war is the only possible referent of any discourse and any experience that would share their condition with that of literature. If, according to a structuring hypothesis, a fantasy or phantasm, nuclear war is equivalent to the total destruction of the archive, if not of the human habitat, it becomes the absolute referent, the horizon and the condition of all the others...This absolute referent of all possible literature is on par with the absolute effacement of any possible trace; it is thus the only ineffaceable trace, it is so as the trace of what is entirely other, "trace du tout autre." This is the only absolute trace - effaceable, ineffaceable. The only "subject" of all possible literature, of all possible criticism, its only ultimate and a-symbolic referent, unsymbolizable, even unsignifiable; this is, if not the nuclear age, if not the nuclear catastrophe, at least that toward which nuclear discourse and the nuclear symbolic are still beckoning: the remainderless and a-symbolic destruction of literature. Literature and literary criticism cannot speak of anything else, they can have no other ultimate referent, they can only multiply their strategic maneuvers in order to assimilate that unassimilable wholly other. They are nothing but those maneuvers and that diplomatic strategy, with the "double talk" that can never be reduced to them. For simultaneously, that "subject" cannot be a nameable "subject," nor that "referent" a nameable referent. Then the perspective of nuclear war allows us to re-elaborate the question of the referent. What is a referent? In another way, to elaborate the question of the transcendental ego, the transcendental subject, Husserl's phenomenology needed, at some point, the fiction of total chaos. Capable of speaking only of that, literature cannot help but speak of other things as well, and invent strategies for speaking of other things, for putting off the encounter with the wholly other, an encounter with which, however, this relationless relation, this relation of incommensurability cannot be wholly suspended, even though it is precisely its epochal suspension. This is the only invention possible.

the ideal symbolic order which sustains individual subjects, for the public space of institutional state authority which makes us subjects in the double meaning of the term (autonomous subject and an individual subjected to the Law).

Fulcanelli explained that cosmic disasters happen in a predictable cycle, and that alchemy was never about creating gold from lead, but was a veiled allegory about properly restoring a golden age after the next cataclysm.  Fulcanelli said that secret societies have been passing down knowledge of these cycles for thousands of years, and that the monument at Hendaye is just one of many monuments in stone that “pointed to a specific time period, the intersection point of several celestial cycles” regarding the galactic center.  “The symbols and teachings encoded in the cross at Hendaye offer us a new understanding of the cosmos, especially with regard to the center of the Milky Way Galaxy and its effect on us… ancient knowledge of the location of the center of our galaxy and from that knowledge a way to estimate the date of a celestial event of eschatological magnitude.”[227]  He also warns that a “double catastrophe” for the world is due soon, “when the solstices cross the galactic axis – the time, according to Fulcanelli, of the cyclic catastrophe”[228] which Weidner and Bridges interpret as Judgment Day, due in the early 21st century.

On a symbolic level, the double G insignia represented greed and grief. Into

I don’t consider myself as a teacher, but a companion in the struggle of thought,’ Eliot wrote to a friend in 1875, as she worked on her last novel. Writing fiction, she found creative ways to address deep questions: rather than personifying ideas or telling didactic stories, she philosophized through her art. Her willingness to think in the medium of human relations and emotions, and to carry out that thinking in images, symbols and archetypes, expands the canonical view of philosophy that is embedded in universities — institutions that systematically excluded women until the twentieth century. Eliot once reflected that her friend Herbert Spencer, a prominent Victorian philosopher, had an ‘inadequate endowment of emotion’ which made him ‘as good as dead’ to large swathes of human experience, thereby weakening his arguments and theories. She might as well have been talking about philosophy itself. Her own philosophical style is compassionate, subversive, seasoned with humour, and enriched by an attentiveness in which fleeting moments — a glance, a touch, a flush of feeling — become significant.

The critics have always been slow to appreciate the true quality of the personal content of Joyce's work - a fact which has led to a serious misunderstanding of the fundamental double-talk inherent in his symbolic language.

Between 1931 and 1946, Pan American Airways had 28 flying boats known as “Clippers,” These four radial engine aircraft were S-40’s and 42’s built in 1934, later replaced by Boeing 314 Clippers, that became the familiar symbol of the company. Following the war, Pan American Airways flew land based airliners such as the Boeing 377 Stratocruiser, developed from the C-97, Stratofreighter, and a military derivative of the B-29 Superfortress, used as a troop transport, and the DC-4 series, converted from the blueprints of the C-54 Skymaster. Both of these airliners were originally developed for the United States Army Air Corps, during World War II. On January 1950 Pan American Airways Corporation adopted the name it had been unofficially called since 1943, and formally became “Pan American World Airways, Inc.” That September Pan American bought out American Airlines’ overseas division and simultaneously placed an order for 45 DC-6Bs, replacing their DC-4’s. Throughout Pan-American was known simply as Pan-Am. The Douglas DC-6 is a four engine “Double Wasp” radial piston-powered airliner manufactured for long flights. It was built by the Douglas Aircraft Company from 1946 until 1958. More than 700 were built between those years and some are still flying today. The rugged, reliable DC-6B, was regarded as the ultimate piston-engine airliner, from the perspective of having excellent handling qualities and relatively economical operations.

When I asked one of Europe’s most influential economic policy makers recently whether the euro crisis really is over, he replied: “No, it’s just moving from the periphery to the core.” The argument is that while worries about Portugal, Greece, Ireland and Spain have become less acute, concerns about Italy and even France should actually be rising. The statistics for Italy, in particular, are shocking. Since the onset of the crisis in 2008, Italy has lost 25 per cent of its industrial capacity and the real level of unemployment is now, according to senior Italian officials, about 15 per cent. Italy’s scope for economic stimulus is limited by EU rules and by the fact that the country’s ratio of debt to gross domestic product is now more than 130 per cent. France’s economic statistics are less bleak but unemployment is still in double digits and the national debt is creeping up to the symbolic level of 100 per cent of GDP.

words are symbols of ideas. When we talk or read, we’re really just using symbols to communicate what we’re thinking.

The theoretical concepts of Freudianism are corrected and affirmed once they are understood, as suggested in the work of Melanie Klein, in terms of corporeality taken as itself the search of the external in the internal and of the internal in the external, that is, as a global and universal power of incorporation... A philosophy of the flesh finds itself in opposition to any interpretation of the unconscious in terms of "unconscious representations," a tribute paid by Freud to the psychology of bis day. The unconscious is feeling itself, since feeling is not the intellectual possession of "what" is felt, but a dispossession of ourselves in favor of it, an opening toward that which we do not have to think in order that we may recognize it...The double formula of the unconscious ( "I did not know" and "I have not always known it'') corresponds to two aspects of the flesh, its poetic and its oneiric powers. When Freud presents the concept of repression in all its operational richness, it comprises a double movement of progress and regression, of openness toward the adult universe and of a relapse to the pregenital life, but henceforth called by its name, having become unconscious "homosexuality." Thus the repressed unconsciousness would be a secondary formation, contemporary with the formation of a system of perception-consciousness -- and the primordial unconsciousness would be a permissive being, the initial yes, the undividedness of feeling. The preceding leads to the idea of the human body as a natural symbolism...We may ask what could be the relation between this tacit symbolism, or undividedness, and the artificial or conventional symbolism, which seems to be privileged, to open us toward ideal being and to truth.

Thirty thousand years ago there lived 'another human species' - the Neanderthals. Tremendous. If it is true, it is symbolically more important than the fact that man is descended from the apes. The shadow of this vanished human species weighs heavy on all our anthropology, since our entire concept of evolution privileges the exclusive universality of a single humanity, ours, the one that survived. And what if it were not the only one? Then that's the end of our privilege. If we had to eliminate this twin, this prehistoric double, to ensure our hegemony, if this other species had to disappear, then the rules of the game of being human are no longer the same. And where does this passion for universality come from, this lust to eliminate every other race? (It is a good bet that if any other race emerged from space, our first aim would be to subjugate or destroy it.) Why is it that in twin forms there always has to be one that dies? Why do we always have to wipe out duality everywhere to establish the monopoly of a species, a race, a subject? Having said this, it is not certain that we really did win out. What if we were carrying that double within us like a dead twin? And perhaps many others, in a kind of Unconscious, the stubborn heir to all the previous murders. Having achieved the unity of the species, for the greater glory of Homo sapiens, are we not now duplicating ourselves for the worse - in that artificial twinness of the clone, in which the species, denying its origins once and for all, prolongs itself as spectre in an infinite repetition? Over the screen of our consciousness and our Unconscious hovers the shadow of this original crime, the traces of which we shall doubtless never recover.

O the Swiss and the Swedes Are at it all right A bore of a war And no end in sight They’re killing each other With unlikely skill Who’d have believed it Neutral and Nil It’s a bore What a bore It’s a bore of a war Logically sound But soft at the core When Vienna surrenders To Cambridge symbolic The null class is Z The peace terms a frolic O bore What a bore It’s a bore of a war Deft but bereft Of a Renaissance roar VOICE 1: What’s black and white, left or right, growing little and has no middle? O bring on a genuine algebra war Del Ferro, Fontana, Cardano, Fior None of these formalist postulate sets Less of this Either and Or Fourth dimension Yorkshireman and versifying Jew Pedagogic modern logic came too late for you One is one, two is one, three is two anew Theory of invariants Turbulence serene Higher space contains a trace Of double umbral sheen (...) O recite a litany in extremis To the peaceful end of logical premise Our Lady of Inferred Entities Prey on us Wielder of Occam’s Razor Spare our multiplicities Expounder of the Unthinkable Have mercy on our system of signs Elucidator of Logical Form Guide our superstitions Annihilator of Tautologies Bless our refrains Language Inviolate Forgive us our stammer

The ability to understand figurative language, in which “a word is both itself and something else,” is unique to human beings and, as one cognitive psychologist explains, “fundamental to how we think” in that it is the means by which we can “escape the literal and immediate.”27 We see this quality most dramatically in satire and allegory. Although very different, both satirical and allegorical language employ two levels of meaning: the literal meaning and the intended meaning. In satire, the intended meaning is the opposite of the stated words; in allegory, the intended meaning is symbolized by the stated words. Satire points to error, and allegory points to truth, but both require the reader to discern meaning beyond the surface level. In this way, allegory and satire—and less obviously, all literary language—reflect the transcendent nature of the human condition and the “double-willed self” described by Paul in Romans 7:19.28

She wonders whether she will be able to talk about the hospitality of the people she has met without seeming to be trotting out the sort of pseudo-third-world speech she loathes from having heard it so often, and which is usually followed by some comment about the sense of rhythm or the contentment despite their poverty of the people 'over there'. This generosity - she thinks, as Fathi gets behind the steering wheel - is a double-edge sword: it can be turned against the giver. In giving of his time to others, he gives the impression that he has time to spare, that he does not know what to do with his days and the person he is helping finds himself thinking that he is helping the person who is helping him by giving him something to do. Most Parisians - she includes herself in this number - who leave foreigners, whether or not they are tourists, with the impression that they are incorrigibly rude are people who believe that they have better things to do than help others, even if they have only left their home to go to an office where they are miserable, to shop at the nearest supermarket, or to go for a drink with friends. She tries to remember the last time she was deflected from her course, whether actual or symbolic, by something unexpected. She cannot think of one, and, and she thinks that, perhaps, this is what she was looking for when she agreed to go up to the mountain ridge with Noureddine: proof that she can still surprise herself, since she has never given anyone else the opportunity to do so.

So. Todd Andrews is my name. You can spell it with one or two d’s; I get letters addressed either way. I almost warned you against the single-d, for fear you’d say, ‘Tod is German for death: perhaps the name is symbolic.’ I myself use two d’s, partly in order to avoid that symbolism. But you see, I ended by not warning you at all, and that’s because it just occurred to me that the double-d Todd is symbolic, too, and accurately so. Tod is death, and this book hasn’t much to do with death; Todd is almost Tod—that is, almost death—and this book, if it gets written, has very much to do with almost-death.

you’re going to need a blade. Now …” He moved to the next box, tearing off the lid, nails and all. “Why don’t you make yourself useful and look through a few of these yourself? See if anything jumps out at you. Remember, you’re looking for a blade. Not a mace or a maul or a huge spiked chain that you’d probably hurt yourself with trying to learn.” “Fine.” I wandered down the aisle, looking at random articles. “But I still say the flail looked like it could bash in a vamp’s head pretty efficiently.” “Allison—” “I’m going, I’m going.” More wooden boxes lined the aisle to either side, covered in dust. I brushed back a film of cobwebs and grime to read the words on the side of the nearest carton. Longswords: Medieval Europe, 12th century. The rest was lost to time and age. Another read: Musketeer Rapie … something or other. Another apparently had a full suit of gladiator armor, whatever a gladiator was. A clang from Kanin’s direction showed him holding up a large, double-bladed ax, before he laid it aside and moved on to another shelf. One box caught my attention. It was long and narrow, like the other boxes, but instead of words, it had strange symbols printed down the side. Curious, I wrenched off the lid and reached in, shifting through layers of plastic and foam, until my fingers closed around something long and smooth. I pulled it out. The long, slightly curved sheath was black and shiny, and a hilt poked out of the end, marked with diamond pattern in black and red. I grasped that hilt and pulled the blade free, sending a metallic shiver through the air and down my spine. As soon as I drew it, I knew I had found what Kanin wanted. The blade gleamed in the darkness, long and slender, like a silver ribbon. I could sense the razor sharpness of the edge without even touching it. The sword itself was light and graceful, and fit perfectly into my palm, as if it had been made for me. I swept it in a wide arc, feeling it slice through the air, and imagined this was a blade that could pass through a snarling rabid without even slowing down. A chuckle interrupted me. Kanin stood a few yards away, arms crossed, shaking his head. His mouth was pulled into a resigned grin. “I should have known,” he said, coming forward. “I should have known you would be drawn to that. It’s very fitting, actually.

The west, for Perkins’s post-war generation, symbolized everything from the end of the rainbow to a last resort. Its vastness was double-edged, for chaos as well as freedom thrives on opportunity.

The symbol of the medical profession is the caduceus, Hermes’ double-snake entwined staff. (The emblem is often identified with Asklepios, the Sacred Physician, however his staff only has one snake.)

This means that your mind sees the written letters, thinks about the sounds those letters represent, and then connects these sounds to the meanings. This process is called subvocalization. Look at the diagram below for how it works: Long story short, words are symbols of ideas. When we

It didn’t necessarily mean that he’d been awake all night washing away his mother’s blood. She looked under the bed and felt behind the wardrobe. No porn. No girlie posters on the walls. In fact there were no pictures on the walls at all, only a framed certificate from his catering course. What did he do for sex? Probably used the Internet, like most of the UK’s male population. It came to Vera that more than likely he was a virgin. In contrast, Miranda’s room was surprisingly big. Opulent and glamorous in an old-fashioned way. It held a double bed, piled with pillows and silk-covered cushions, in various shades of purple. These seemed to have been artfully arranged – another sign, Vera thought, that Miranda hadn’t been to bed the night before. There was a small wrought-iron grate, just for decoration now. Where the fire would once have been laid stood a candle in a big blue candle-holder, identical to the one on the table on the terrace. Was that significant? Vera tried to remember if she’d seen one like it in the main house. On one side of the chimneybreast, bookshelves had been built into the alcove, and on the other stood a big Victorian wardrobe. There was a dressing table with an ornate framed mirror under the window, and an upholstered stool in front of it. No PC. So what did Miranda do for sex? The question came, unbidden, into her head. Vera sat on the stool and gave a wry smile into the mirror. She knew her team had sometimes asked the same question about her. But not recently. As you got older, folk seemed to think you could do without. This is where Miranda would have sat to prepare herself to meet the residents. Again Vera was reminded of an ageing actress. Her dressing table was scattered with make-up. The woman hadn’t shared her son’s obsession with order and cleanliness. And beyond the mirror there was a view to the coast. It wasn’t possible to see the terrace from here – it was in the shadow of the big house. But the beach was visible. What had Miranda been thinking as she put on her face, as she brushed her hair and held it in place with spray? That her life as a writer was over? Or did she still hope for the big break, the posters on the Underground and the reviews in the Sunday papers? Was she still writing? It seemed to Vera that this question was so important, so fundamental, that she’d been a fool not to consider it before. If Miranda had written a new book, and Tony Ferdinand had offered to help her find a home for it, of course Miranda would be shattered to find him dead. The stabbed body would symbolize her shattered dreams. It wouldn’t be easy for a middle-aged

Subvocalization. In Chapter 4, we discussed how reading works, how our minds turn written symbols into sounds and sounds into meaning. This process is called subvocalization.

dru-vid, où la première racine signifie la force, et la seconde la sagesse [Ce nom a d’ailleurs un double sens, qui se réfère encore à un autre symbolisme : dru ou deru, comme le latin robur, désigne à la fois la force et le chêne (en grec δρυς) ; d’autre part, vid est, comme en sanscrit, la sagesse ou la connaissance, assimilée à la vision, mais c’est aussi le gui ; ainsi, dru-vid est le gui du chêne, qui était en effet l’un des principaux symboles du Druidisme, et il est en même temps l’homme en qui réside la sagesse appuyée sur la force. De plus, la racine dru, comme on le voit par les formes sanscrites équivalentes dhru et dhri comporte encore l’idée de stabilité, qui est d’ailleurs un des sens du symbole de l’arbre en général et du chêne en particulier ; et ce sens de stabilité correspond ici très exactement à l’attitude du Sphinx au repos.]

Mendiants I predict this will soon be an annual holiday project at your house. Put them in glass mason jars, tie with a pretty ribbon, and give as hostess gifts. 1 pound best-quality dark chocolate (you can use milk chocolate if you like…) If you are being traditional, you’ll need a generous handful each of: Dried figs (cut into small pieces) Dark or golden raisins Blanched almonds Whole hazelnuts If you are feeling fancy (and don’t care much for monkish symbolism), you can swap in a handful of: Dried apricots, cut into small pieces Candied orange, lemon, or grapefruit peel Candied ginger Unsalted pistachios Macadamia nuts Walnuts Dried cranberries or cherries Place a sheet of parchment paper on a cookie sheet. Gently melt the chocolate in the microwave oven or a double boiler. Place a teaspoonful of melted chocolate onto the sheet. Make sure the disks are about 1 inch apart. Make several at a time so that the chocolate does not have time to harden. Place a piece of fig, a raisin, an almond, and a hazelnut on each disk, and leave in a cool spot to harden. The mendiants are ready when the chocolate is solid and they peel off the parchment paper with ease. Makes about 50 chocolates

Nous sommes nous aussi des animaux, et même si nous faisons tout pour l'oublier, nous sommes dans la continuité d'une lignée qui n'a pas gagné grand-chose depuis que l'Arche de Noé a permis de recommencer le monde. Le hibou et la baleine : le couple est cocasse, mais il correspond en réalité à la façon dont l'écrivain organise l'univers en axes qui se répondent nécessairement : l'est et l'ouest, le dehors et le dedans, les paysages tirés vers le haut et les paysages tirés vers le bas, la diastole et la systole du cœur humain. Parce qu'il n'affronte pas la lumière du jour, le hibou est symbole de tristesse, d'obscurité, de retraite solitaire et mélancolique. [...] Mais l'image du loubok, représentant un immense hibou perché sur la branche d'un arbre où pour les plumes, les yeux et le bec, les verts tendres se mêlent aux oranges vifs et aux jaunes, transforme l'oiseau nocturne en diurne, en oiseau du paradis, rappelant que l'obscurité ne va jamais sans la lumière. Le hibou, lui-même double, forme avec la baleine un couple complémentaire. Elle, le féminin, le solaire, le tendre et gros cétacé, la Moby Dick bien-aimée, la protectrice de Jonas, celle qui nous avale mais nous protège, le "poisson" sauveur de toutes les religions, vivant dans l'obscurité comme le hibou mais dans les profondeurs salutaires, comme les mines de charbon où les poètes vont chercher les mots qui sauvent.

The Shiva and Shakti—the masculine and feminine—join within Sahasrara to create brahma-ranhdra, the transcendence of both. Within this chakra, the individual personality dissolves into the essence of the all. This is the chakra of one thousand petals. These petals represent the fifty letters of the Sanskrit alphabet along with their twenty permutations. The magnitude of these vibrations enhances the seventh chakra’s role in governing and coordinating the other chakras. This chakra is unique in many ways. All other chakras feature upward-pointing lotuses. In the Sahasrara, the lotuses point downward, symbolizing freedom from the mundane, and divine rain from its petals. Some yogis actually report that having achieved this chakra, the fontanel (soft spot) atop the head dampens with the “dew of divinity.” FIGURE 5.12 SEVENTH CHAKRA: SAHASRARA The Sahasrara chakra was not considered an in-body chakra in the classical Hindu system. Traditionally, it is pictured as lying atop the head. More contemporary systems establish it in the top of the head. No matter which location you prefer, the idea is the same: it represents a space unto itself. Sahasrara creates the fifth kosha, the anandamaya sheath that doubles as the causal body. After ascending to the Sahasrara, we shift this sheath and become free from the constraints of the physical realm as well as the “wheel of life,” the vehicle that initiates reincarnation. Once released from the causal body, we enter one of the three higher planes, or koshas, beyond the body, the Satyaloka, or “abode of truth.” We also achieve samadhi, or the state of bliss and beingness associated with transcendence. This state is associated with the teachings of Krishna in the Bhagavad-Gita and the eighth branch of Patanjali’s classification of yoga. (See “Patanjali’s Eight-Step Method of Yoga”.) There are many layers of samadhi, the highest involving an identification with the highest states of consciousness, and finally, the individual is absorbed into the all. The Sahasrara is considered beyond most symbolic representations, although the chakra is usually perceived as white. The Sahasrara is considered beyond senses, sense organs, and vital breath. As such, it is often described without a seed syllable, as shown in figure 5.12, although some sources depict it with an OM.

I grabbed one of the plants he had given me and shoved it into his hands. "Take it. I killed it. Just like you killed our relationship by never being there when I needed you. Just like you killed it again by asking me to meet you so you could get your revenge. Good-bye." "It's not dead," he pointed out. "It just needs a little love." "Then give it to Clare." "She's not a loving type. She's an evil, using, betraying, double-crossing type. Not like you, sweetheart." "Don't sweetheart me," I snapped. "Your fake seduction won't work here. Clearly, the only thing that is a danger to me is you.