Symbols In A Separate Peace Quotes

I brought you this." Gale holds up a sheath. When I take it, I notice it holds a single, ordinary arrow. "It's supposed to be symbolic. You firing the last shot of the war." "What if I miss?" I say. "Does Coin retrieve it and bring it back to me? Or just shoot Snow through the head herself?" "You won't miss." Gale adjusts the sheath on my shoulder. We stand there, face-to-face, not meeting each other's eyes. "You didn't come see me in the hospital." He doesn't answer, so finally I just say it. "Was it your bomb?" "I don't know. Neither does Beetee," he says. "Does it matter? You'll always be thinking about it." He waits for me to deny it; I want to deny it, but it's true. Even now I can see the flash that ignites her, feel the heat of the flames. And I will never be able to separate that moment from Gale. My silence is my answer. "That was the one thing I had going for me. Taking care of your family," he says. "Shoot straight, okay?" He touches my cheek and leaves. I want to call him back and tell him that I was wrong. That I'll figure out a way to make peace with this. To remember the circumstances under which he created the bomb. Take into account my own inexcusable crimes. Dig up the truth about who dropped the parachutes. Prove it wasn't the rebels. Forgive him. But since I can't, I'll just have to deal with the pain.

Daily life in 1960 would be unrecognizable to anyone transported from the year 1930. From 1960 to 1990, a Cold War nuclear arms race between the United States and the Soviet Union threatens the survival of civilization. Though begun in the 1950s, the US stockpile of nuclear warheads peaks in the 1960s, with the Soviets’ stockpile peaking in the 1980s.11 The Berlin Wall, erected in 1962, becomes the greatest symbol of Winston Churchill’s “Iron Curtain,” separating Eastern from Western Europe. Yet it’s dismantled by 1989, as peace breaks out in Europe. The commercialization of the transistor allows consumer electronics to miniaturize, transforming audiovisual equipment from heavy, floor-mounted living room furniture to what you carry in your pocket.

To slam the door impulsively on the past, to shed everything down to my last bit of clothing, to break the pattern of my life — that complex design I had been weaving since birth with all its dark threads, its unexplainable symbols set against a conventional background of domestic white and schoolboy blue, all those tangled strands which required the dexterity of a virtuoso to keep flowing — I yearned to take giant military shears to it, snap! bitten off in an instant...

The city of man requires idolatry. All must bow before the symbol of its total claim. Religion is tolerated when it supports the claims of the state, party, the institutional hierarchy. But those who say, "We must obey God rather than men" are always condemned as traitors or exiled as aliens. Yet the calling of Christ's kingdom no only separates a man from the world, it also sends him to the world. In this time of the kingdom we are pilgrims, for the mountain of Christ's rule is the heavenly Zion; but in the task of the kingdom we are ambassadors, for we have been sent by the King to proclaim his terms of peace to his rebellious realm.

Joël describes here, in unmistakable symbolism, the merging of subject and object as the reunion of mother and child. The symbols agree with those of mythology even in their details. There is a distinct allusion to the encircling and devouring motif. The sea that devours the sun and gives birth to it again is an old acquaintance. The moment of the rise of consciousness, of the separation of subject and object, is indeed a birth. It is as though philosophical speculation hung with lame wings on a few primordial figures of human speech, beyond whose simple grandeur no thought can fly. The image of the jelly-fish is far from accidental. Once when I was explaining to a patient the maternal significance of water, she experienced a very disagreeable sensation at this contact with the mother-complex. “It makes me squirm,” she said, “as if I’d touched a jelly-fish.” The blessed state of sleep before birth and after death is, as Joël observes, rather like an old shadowy memory of that unsuspecting state of early childhood, when there is as yet no opposition to disturb the peaceful flow of slumbering life. Again and again an inner longing draws us back, but always the life of action must struggle in deadly fear to break free lest it fall into a state of sleep. Long before Joël, an Indian chieftain had expressed the same thing in the same words to one of the restless white men: “Ah, my brother, you will never know the happiness of thinking nothing and doing nothing. This is the most delightful thing there is, next to sleep. So we were before birth, and so we shall be after death.”34

Black dove, white dove Both so elegant and alike Both symbolize peace,and love Only difference is colour Colour does not differentiate anything, they will still remain birds They both sore so high in the sky The same direction,the same path You would rather look at the black dove because of it’s colour They both are birds, just different colours Colour, is just a word Yet a word that separates things so precious and make them seem so different Look beyond the colour, Tell me what you see, A Creation is what it will always be

The idea and principle of religious tolerance, based on the Christian virtue of charity and its “neutral principles of law” approach to religious law, is so inimical to Sharia because religious tolerance prohibits discrimination in favor of Islam. Islam traditionally eschews missionary work of conversion by persuasion and ultimately resorts to the sword. It does not hesitate to destroy the symbols of other religions, like Buddhist statues in Afghanistan198 or Catholic monasteries in Iraq,199 regardless of historical importance or present-day practice. The killing and harassment of religious minorities in Muslim lands are well documented. Moderate Muslims claim that Islam is a religion of peace. Yet historically Islam has never spread into a nation peacefully, but only by the sword.200 This religious conversion by the sword is called jihad. As Andrew McCarthy points out, We still don’t get what jihad is. Jihad, whether it is done through violence, or whether it is done by stealthier measures, is always and everywhere about Sharia. It is about the implementation of Sharia, the spread of Sharia, and the defense of Sharia. Sharia is the Islamic legal and political framework. We would like to think of Islam as just another religion, just a set of religious principles that’s separate from our secular or societal life. It’s anything but. It is a full service, comprehensive, political, social, and economic system—a military system—that happens to have some spiritual elements. But its ambitions are actually authoritarian in the sense that you have a central Islamic state that controls everything, and it’s totalitarian in the sense that it really does want to control everything, every aspect. Jihad leads to implementation of Sharia law in all lands for all people. That’s what makes Sharia so dangerous. The two are inextricably intertwined. You can’t combat one of these without combatting both of them.

Kali was a symbol. According to the Vedic philosophy, Kaali signifies ‘Kaal’. In Sanskrit; kaal has two meanings : 1. Time. (like—kaal kya hoga) 2. Darkness. (like—Kaala kaaua) Now, why does ‘kaal’ signify both of these? Because, the Time is inseparable to the Space. The space is Dark. So the time is also considered as Dark. The “Kaala”. That’s why ‘kaal’ has two meanings; Darkness, and Time; in Sanskrit. There is no separate time, and separate space. Time is the fourth dimension of this universe along with three-dimensional space. The space exists; because time exists simultaneously with it. Kali is considered as the symbol of this time-space; the ultimate structure of the world—and this is why it is portrayed as dark; just like the space-time in reality, is dark. The violent and horrific form was portrayed of Kaali; because Kaali is the symbol of ‘kaal’, the time; and Time is unforgiving. Time is horrible by its nature. We all know how bad time can be. Time takes everyone to the death eventually; time destroys everything in the end. Time doesn’t take into account of who you are; time doesn’t take into account of how big you are or what your value is, be good or bad; each and everything has an end in the realm of time; and each and everything recedes ultimately in the ever engulfing mouth of the Time. This is the reason; death is portrayed all around the Kaali. The decapitated heads of demons; the bloods all around. All symbolize the death. The ending. The mortality of everything. Not of evil only; but of everything. It’s just, the evils are first in the line of death. And that tongue sticking out of her mouth symbolize—that the hunger of Kaali (the time) is never filled up. That tongue is always ready to savor the next death; the next destruction; the next ending of something. This stuck-out tongue is a reminder to the viewer; the hunger of ‘Kaal’ is not filled yet; and the next person she is going to savour can be you. In no way you can resist her for eternity; and in no way you can escape her. And she relishes licking out your death. It’s her duty; and amusement both. This is the reason why Kaali’s tongue was made stuck-out while portraying her in Vedic Scriptures. There is no clothing portrayed on Kaali; because— Time also shows you the nude reality. Time is rough, tough, rude, and nude. It speaks bluntly. Both good times and bad times comes without warning; and may go without warning too. Time does not know or follow politeness. Time does not follow any protocol. Time has nothing to ‘hide’ from you. Because she knows; in the end, whoever you are, you are all hers. Time holds each and everything in this universe in its womb. The creation happened; only because it has got a ‘time-space’ dimension for it. For anything to exist; Time has to produce it by creating a space for it. Time is also the destroyer of the all things; but time also creates everything; and holds everything within the eternal flow of her. That’s why time is considered as feminine. Time is a female who gives birth to its children; bears it for a while; and then takes them back again on her embracing lap. While singing the lullaby of the funeral; she gives her children the most peaceful eternal sleep for of their life : the Death. Life is beautiful; only because it has a time-limit to it. Without the time-limit imposed by the death; life is a prolonged disaster only. This is why; Time was considered as Mother in Vedic Culture. An energy; who is feminine in nature.

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is adored even by the Lord of Gods himself (5.81), illuminates the spatial directions (5.92), owns all the treasures of the deities, gandharvas, and nāgas (5.111),6 and abides as higher understanding (buddhi) in the hearts of all beings (11.8). But, as is clear from the core story of this hymn, the goddess also has her destructive side. She not only conquers all demonic forces but also annihilates the universe at the appropriate time. To her devotees, however, she shows her most benign maternal aspect, protecting and ultimately liberating them. After having been propitiated with praise, the goddess responds: Whosoever with concentration worships Me constantly with these [hymns], his every difficulty I will remove without a doubt. (12.2) Kālī, Shiva, and the Cosmic Dance Even a short précis of the Tantric view of time, as attempted here, would be incomplete without introducing the Divine Female, or Shakti, in her most startling manifestation as the goddess Kālī. The name is the feminine form of kāla, meaning “time,” “death,” and “black.” These three connotations are all fused in the symbolism of the goddess Kālī. Black results from the absorption of all colors, whereas white is their copresence. The saintly Ramakrishna, guru of Swami Vivekananda, offered a devotee’s complementary explanation of the name Kālī when he remarked, “You see her as black because you are far away from her. Go near and you will find her devoid of all color.”7 In The Gospel of Sri Ramakrishna, which chronicles the life and teachings of this great nineteenth-century master, we find the following hymn: In dense darkness, O Mother, Thy formless beauty sparkles; Therefore the yogis meditate in a dark mountain cave. In the lap of boundless dark, on Mahanirvana’s waves upborne, Peace flows serene and inexhaustible.8 Taking the form of the Void, in the robe of darkness wrapped, Who art Thou, Mother, seated alone in the shrine of samadhi?9 From the Lotus of Thy fear-scattering Feet flash Thy love’s lightnings; Thy Spirit-Face shines forth with laughter terrible and loud!10 To absorb, devour, or destroy the universe is one of the terrifying functions of the black goddess. She brings death not just to the individual but to the cosmic egg itself in which individuals, high and low, live out their respective separative lives over and over again. In the Mahānirvāna-Tantra (4.29–31) the goddess is addressed as the supreme yogini because at the end of time she devours the devourer of time himself, Shiva in his form as Mahākāla. In many temples in Bengal and Nepal, Kālī is depicted as a black or dark blue block of stone. In her humanoid form, Hindu iconography pictures Kālī as a fierce-looking female whose naked, full-breasted body stands astride or straddles the prostrate nude body of her divine partner Shiva, with ashen skin and erect penis.