Vows Famous Quotes

Dearest creature in creation, Study English pronunciation. I will teach you in my verse Sounds like corpse, corps, horse, and worse. I will keep you, Suzy, busy, Make your head with heat grow dizzy. Tear in eye, your dress will tear. So shall I! Oh hear my prayer. Just compare heart, beard, and heard, Dies and diet, lord and word, Sword and sward, retain and Britain. (Mind the latter, how it’s written.) Now I surely will not plague you With such words as plaque and ague. But be careful how you speak: Say break and steak, but bleak and streak; Cloven, oven, how and low, Script, receipt, show, poem, and toe. Hear me say, devoid of trickery, Daughter, laughter, and Terpsichore, Typhoid, measles, topsails, aisles, Exiles, similes, and reviles; Scholar, vicar, and cigar, Solar, mica, war and far; One, anemone, Balmoral, Kitchen, lichen, laundry, laurel; Gertrude, German, wind and mind, Scene, Melpomene, mankind. Billet does not rhyme with ballet, Bouquet, wallet, mallet, chalet. Blood and flood are not like food, Nor is mould like should and would. Viscous, viscount, load and broad, Toward, to forward, to reward. And your pronunciation’s OK When you correctly say croquet, Rounded, wounded, grieve and sieve, Friend and fiend, alive and live. Ivy, privy, famous; clamour And enamour rhyme with hammer. River, rival, tomb, bomb, comb, Doll and roll and some and home. Stranger does not rhyme with anger, Neither does devour with clangour. Souls but foul, haunt but aunt, Font, front, wont, want, grand, and grant, Shoes, goes, does. Now first say finger, And then singer, ginger, linger, Real, zeal, mauve, gauze, gouge and gauge, Marriage, foliage, mirage, and age. Query does not rhyme with very, Nor does fury sound like bury. Dost, lost, post and doth, cloth, loth. Job, nob, bosom, transom, oath. Though the differences seem little, We say actual but victual. Refer does not rhyme with deafer. Foeffer does, and zephyr, heifer. Mint, pint, senate and sedate; Dull, bull, and George ate late. Scenic, Arabic, Pacific, Science, conscience, scientific. Liberty, library, heave and heaven, Rachel, ache, moustache, eleven. We say hallowed, but allowed, People, leopard, towed, but vowed. Mark the differences, moreover, Between mover, cover, clover; Leeches, breeches, wise, precise, Chalice, but police and lice; Camel, constable, unstable, Principle, disciple, label. Petal, panel, and canal, Wait, surprise, plait, promise, pal. Worm and storm, chaise, chaos, chair, Senator, spectator, mayor. Tour, but our and succour, four. Gas, alas, and Arkansas. Sea, idea, Korea, area, Psalm, Maria, but malaria. Youth, south, southern, cleanse and clean. Doctrine, turpentine, marine. Compare alien with Italian, Dandelion and battalion. Sally with ally, yea, ye, Eye, I, ay, aye, whey, and key. Say aver, but ever, fever, Neither, leisure, skein, deceiver. Heron, granary, canary. Crevice and device and aerie. Face, but preface, not efface. Phlegm, phlegmatic, ass, glass, bass. Large, but target, gin, give, verging, Ought, out, joust and scour, scourging. Ear, but earn and wear and tear Do not rhyme with here but ere. Seven is right, but so is even, Hyphen, roughen, nephew Stephen, Monkey, donkey, Turk and jerk, Ask, grasp, wasp, and cork and work. Pronunciation (think of Psyche!) Is a paling stout and spikey? Won’t it make you lose your wits, Writing groats and saying grits? It’s a dark abyss or tunnel: Strewn with stones, stowed, solace, gunwale, Islington and Isle of Wight, Housewife, verdict and indict. Finally, which rhymes with enough, Though, through, plough, or dough, or cough? Hiccough has the sound of cup. My advice is to give up!!!

Mandy swears that barely a day goes by that he isn’t asked by someone, somewhere, to recite Inigo Montoya’s most famous words, in which he vows vengeance on behalf of his father. “And I never let them down,” he says.

The school song at Accrington High School for Girls was 'Let Us Now Praise Famous Men,' a terrible choice for an all-girls' school, but one that helped turn me into a feminist. Where were the famous women--indeed any women--and why weren't we praising them? I vowed to myself that I would be famous and that I would come back and be praised.

Plato presents Socrates as not using his remarks to rebut all the charges or to try to curry favor or beg for sympathy, as jurors expected defendants to do in serious cases like this one. Instead, he bluntly reiterated his unyielding dedication to goading his fellow citizens into examining their preconceptions. The unexamined life, he famously stated, was not worth living. His irritating process of constant questioning, he maintained, would help his fellow citizens learn to live lives of excellence, and he would never stop doing that, no matter what penalty he might experience as a result. Furthermore, they should care not about their material possessions but about making their true selves—their souls—as good as possible. Nothing else should take priority. If he were to be acquitted, he baldly stated, he vowed to remain their stinging gadfly no matter what the consequences to himself.

Be thou joyous, Prince! Whose lot is set apart for heavenly Birth. Two stamps there are marked on all living men, Divine and Undivine; I spake to thee By what marks thou shouldst know the Heavenly Man, Hear from me now of the Unheavenly! They comprehend not, the Unheavenly, How Souls go forth from Me; nor how they come Back unto Me: nor is there Truth in these, Nor purity, nor rule of Life. "This world Hath not a Law, nor Order, nor a Lord," So say they: "nor hath risen up by Cause Following on Cause, in perfect purposing, But is none other than a House of Lust." And, this thing thinking, all those ruined ones—Of little wit, dark-minded—give themselves To evil deeds, the curses of their kind. Surrendered to desires insatiable, Full of deceitfulness, folly, and pride, In blindness cleaving to their errors, caught Into the sinful course, they trust this lie As it were true—this lie which leads to death—Finding in Pleasure all the good which is, And crying "Here it finisheth!" Ensnared In nooses of a hundred idle hopes, Slaves to their passion and their wrath, they buy Wealth with base deeds, to glut hot appetites; "Thus much, to-day," they say, "we gained! thereby Such and such wish of heart shall have its fill; And this is ours! and th' other shall be ours! To-day we slew a foe, and we will slay Our other enemy to-morrow! Look! Are we not lords? Make we not goodly cheer? Is not our fortune famous, brave, and great? Rich are we, proudly born! What other men Live like to us? Kill, then, for sacrifice! Cast largesse, and be merry!" So they speak Darkened by ignorance; and so they fall—Tossed to and fro with projects, tricked, and bound In net of black delusion, lost in lusts—Down to foul Naraka. Conceited, fond, Stubborn and proud, dead-drunken with the wine Of wealth, and reckless, all their offerings Have but a show of reverence, being not made In piety of ancient faith. Thus vowed To self-hood, force, insolence, feasting, wrath, These My blasphemers, in the forms they wear And in the forms they breed, my foemen are, Hateful and hating; cruel, evil, vile, Lowest and least of men, whom I cast down Again, and yet again, at end of lives, Into some devilish womb, whence—birth by birth—The devilish wombs re-spawn them, all beguiled; And, till they find and worship Me, sweet Prince! Tread they that Nether Road. The Doors of Hell Are threefold, whereby men to ruin pass,—The door of Lust, the door of Wrath, the door Of Avarice. Let a man shun those three! He who shall turn aside from entering All those three gates of Narak, wendeth straight To find his peace, and comes to Swarga's gate.

Before the 1940’s, if one woman in an audience stood up and shrieked at the top of her lungs throughout an entire show she’d have been carted off to an asylum. By the mid-forties, however, entire audiences behaved like that, screaming, tearing at their clothes and hair, leaving their seats to board the stage. On December 30th, 1942, while Frank Sinatra sang at the Paramount Theater in New York, the behavior of the audience changed, and a part of our relationship to well-known people changed forever. Psychiatrists and psychologists of the day struggled to explain the phenomenon. They recalled medieval dance crazes, spoke of “mass frustrated love” and “mass hypnosis.” The media age did bring a type of mass hypnosis into American life. It affects all of us to some degree, and some of us to a great degree. Before the advent of mass-media, a young girl might have admired a performer from afar, and it would have been acceptable to have a passing crush. It would not have been acceptable if she pursued the performer to his home, or if she had to be restrained by police. It would not have been acceptable to skip school in order to wait for hours outside a hotel and then try to tear pieces of clothing from the passing star. Yet that unhealthy behavior became “normal” in the Sinatra days. In fact, audience behavior that surprised everyone in 1942 was expected two years later when Sinatra appeared again at the Paramount Theater. This time, the 30,000 screaming, bobby-soxed fans were joined by a troop of reporters. The media were learning to manipulate this new behavior to their advantage. Having predicted a commotion, 450 police officers were assigned to that one theater, and it appeared that society had learned to deal with this phenomenon. It had not. During the engagement, an 18-year old named Alexander Ivanovich Dorogokupetz stood up in the theater and threw an egg that hit Sinatra in the face. The show stopped, and for a moment, a brief moment, Sinatra was not the star. Now it was Dorogokupetz mobbed by audience members and Dorogokupetz who had to be escorted out by police. Society had not learned to deal with this, and still hasn’t. Dorogokupetz told police: “I vowed to put an end to this monotony of two years of consecutive swooning. It felt good.” Saddled with the least American of names, he had tried to make one for himself in the most American way, and but for his choice of a weapon, he would probably be as famous today as Frank Sinatra. Elements in society were pioneering the skills of manipulating emotion and behavior in ways that had never been possible before: electronic ways. The media were institutionalizing idolatry. Around

Before the 1940’s, if one woman in an audience stood up and shrieked at the top of her lungs throughout an entire show she’d have been carted off to an asylum. By the mid-forties, however, entire audiences behaved like that, screaming, tearing at their clothes and hair, leaving their seats to board the stage. On December 30th, 1942, while Frank Sinatra sang at the Paramount Theater in New York, the behavior of the audience changed, and a part of our relationship to well-known people changed forever. Psychiatrists and psychologists of the day struggled to explain the phenomenon. They recalled medieval dance crazes, spoke of “mass frustrated love” and “mass hypnosis.” The media age did bring a type of mass hypnosis into American life. It affects all of us to some degree, and some of us to a great degree. Before the advent of mass-media, a young girl might have admired a performer from afar, and it would have been acceptable to have a passing crush. It would not have been acceptable if she pursued the performer to his home, or if she had to be restrained by police. It would not have been acceptable to skip school in order to wait for hours outside a hotel and then try to tear pieces of clothing from the passing star. Yet that unhealthy behavior became “normal” in the Sinatra days. In fact, audience behavior that surprised everyone in 1942 was expected two years later when Sinatra appeared again at the Paramount Theater. This time, the 30,000 screaming, bobby-soxed fans were joined by a troop of reporters. The media were learning to manipulate this new behavior to their advantage. Having predicted a commotion, 450 police officers were assigned to that one theater, and it appeared that society had learned to deal with this phenomenon. It had not. During the engagement, an 18-year old named Alexander Ivanovich Dorogokupetz stood up in the theater and threw an egg that hit Sinatra in the face. The show stopped, and for a moment, a brief moment, Sinatra was not the star. Now it was Dorogokupetz mobbed by audience members and Dorogokupetz who had to be escorted out by police. Society had not learned to deal with this, and still hasn’t. Dorogokupetz told police: “I vowed to put an end to this monotony of two years of consecutive swooning. It felt good.” Saddled with the least American of names, he had tried to make one for himself in the most American way, and but for his choice of a weapon, he would probably be as famous today as Frank Sinatra. Elements in society were pioneering the skills of manipulating emotion and behavior in ways that had never been possible before: electronic ways. The media were institutionalizing idolatry.

Our Mind-essence is potential of an infinite number of sentient beings. We vow to bring them all unto deliverance.

The marriage of science to naturalism during the mid-to late 18th century, ministered most famously by the Scottish philosopher David Hume, symbolized the brokering of a union which was nothing short of a shotgun wedding of academia to ideology.  Science thus became the bride of a completely self-sufficient naturalistic worldview, a crooked union sealed by a single vow, as pervasive as it is perverse: “What science cannot tell us, mankind cannot know.

He saw El Lagartijo—“The Lizard”—one of the most famous bullfighters in Spain, and he met Cara Ancha, the celebrated Andalusian matador. When he was only nine years old, Pablo completed his first painting, Le Picador, a portrait of a man riding a horse in the bullring. Two years later, Pablo’s family moved to a new town, La Coruña, on Spain’s Atlantic coast. Don José got a job as an art teacher at the local college. Even though he was much younger than the other students, Pablo enrolled in his father’s class. He also took courses in figure drawing and landscape painting. By the time he turned thirteen, Pablo’s skill level had surpassed his father’s. Don José was so impressed that he handed his son his brushes and vowed never to paint again. When Pablo was fourteen years old, his family moved again, this time to Barcelona, where Pablo enrolled in the prestigious School of Fine Arts. His teachers quickly noticed his skills and allowed him to skip two grades. But just as in Málaga, Pablo had trouble adhering to the school’s rules. Before long he was back to his old tricks, cutting class so that he could wander the city streets, sketching interesting scenes that he observed along the way. Pablo repeated this behavior at his next school, the Royal Academy of San Fernando in Madrid. This time, Pablo’s father refused to tolerate his son’s antics and stopped his allowance. At age sixteen, Pablo found himself on his own for the first time, forced to support himself on nothing but his artistic ability. It has been said that the older Pablo grew, the more childlike his art became. During some periods he painted almost entirely in blue or depicted only circus performers.

Of the Elder Zosima it was said by many that in admitting for so many years into his presence all those who came to him in order to confess their hearts and who thirsted for counsel and healing discourse, he had taken into his soul so many revelations, griefs and unbosomings that in the end he had acquired a perspicacity of such subtle depth as made the first glance at the face of a stranger who had come to him sufficient for him to be able to guess correctly the reason for his arrival, the object of his need, and even the nature of the torment that was racking his conscience, and that he would astonish, embarrass and sometimes almost frighten the newcomer by such intimacy with his secret before the latter had even uttered a word. In this context, however, Alyosha nearly always observed that many, indeed practically all of those who came to the Elder for the first time in order to have a private talk with him made their entrances in fear and trembling, but always came out radiant and joyful, and the blackest of countenances turned to happy ones. Alyosha was also singularly impressed by the fact that the Elder was in no wise stern; on the contrary, there was unfailingly what almost amounted to gaiety in his demeanour. The monks used to say of him that he formed close soul-attachments precisely to those who were more sinful, and that those who were most sinful, those too were most beloved by him. Of the monks there were some, even towards the very end of the Elder’s life, who were his haters and enviers, but they were by this time growing few, and they kept silent, though there were among their number several persons very famous and important in the monastery, as for example one of the most ancient cenobites, a great observer of the vow of silence and an exceptional faster. But all the same it was now beyond question that the vast majority had taken the side of the Elder Zosima, and of these there were very many who positively loved him with all their hearts, ardently and sincerely; some were even attached to him with a kind of fanaticism. They used to say openly, though not quite out loud, that he was a saint, that of this there was no longer any doubt and, foreseeing his imminent decease, went in expectation from the departed of immediate miracles and great glory in the very nearest future for the monastery.

The sense of solidarity among the poor was often—although certainly not always—strong. Housewives with very little still fed hungry tramps who came to their back doors. Pauline Kael, a teenager during the Depression who grew up to be a famous film critic, remembered her mother vowing: “I’ll feed them till the food runs out.

Much of this pattern of thought finds its echo in the Pre-Raphaelite Brotherhood – who were young enough to be Carlyle’s sons. The ‘brotherhood’ began in 1848 at 83 Gower Street, when a group of art students vowed ‘to produce thoroughly good pictures and statues’. Of the original seven, three members of the PRB – Dante Gabriel Rossetti, aged twenty, John Everett Millais, aged nineteen, and William Holman Hunt, aged twenty-one – went on to be famous artists. Other painters whom we think of as ‘Pre-Raphaelite’ – such as Ford Madox Brown himself – never in fact joined the Brotherhood, which was never a very tightly knit guild, and which dissolved with the years. One sees the way in which these