When Two Legends Meet Quotes

Legend has it there is always a reason why souls meet. Maybe they found each other for reasons that weren't so different after all. They were two souls searching and found a home lost in each other. When souls find comfort in one another separation is not possible. The reasons they are brought together are no accident. Maybe she needed someone to show her how to live and he needed someone to show him how to love.

According to Zen legend, when a visitor asked the fifteenth-century master Ikkyu to write down a maxim of “the highest wisdom,” Ikkyu wrote one word: “Attention.” The visitor asked, irritably, “Is that all?” This time, Ikkyu wrote two words: “Attention. Attention.

Legend has it there is always a reason why souls meet. Maybe they found each other for reasons that aren't so different after all. They were two souls searching and found a home lost in each other. When souls find comfort in one another separation is not possible. The reasons they are brought together are no accident... Maybe she needed someone to show her how to live and someone needed him how to love.

In the spring of 1974 about two years before the Viking spacecraft landed on Mars, I was at a meeting in England sponsored by the Royal Society of London to explore the question of how to search for extraterrestrial life. During a coffee break, I noticed that a much larger meeting was being held in an adjacent hall, which out of curiosity I entered. I soon realized that I was witnessing one of the most ancient scholarly organizations on the planet. In the front row a young man in a wheelchair was, very slowly, signing his name in a book that bore on its earliest pages the signature of Isaac Newton. When at last he finished, there was a stirring ovation. Steven Hawking was a legend even then

So what did you and Landon do this afternoon?” Minka asked, her soft voice dragging him back to the present. Angelo looked up to see that Minka had already polished off two fajitas. Damn, the girl could eat. “Landon gave me a tour of the DCO complex. I did some target shooting and blew up a few things. He even let me play with the expensive surveillance toys. I swear, it felt more like a recruiting pitch to get me to work there than anything.” Minka’s eyes flashed green, her full lips curving slightly. Damn, why the hell had he said it like that? Now she probably thought he was going to come work for the DCO. Even if he wanted to, he couldn’t, not after just reenlisting for another five years. The army wasn’t the kind of job where you could walk into the boss’s office and say, “I quit.” Thinking it would be a good idea to steer the conversation back to safer ground, he reached for another fajita and asked Minka a question instead. “What do you think you’ll work on next with Ivy and Tanner? You going to practice with the claws for a while or move on to something else?” Angelo felt a little crappy about changing the subject, but if Minka noticed, she didn’t seem to mind. And it wasn’t like he had to fake interest in what she was saying. Anything that involved Minka was important to him. Besides, he didn’t know much about shifters or hybrids, so the whole thing was pretty damn fascinating. “What do you visualize when you see the beast in your mind?” he asked. “Before today, I thought of it as a giant, blurry monster. But after learning that the beast is a cat, that’s how I picture it now.” She smiled. “Not a little house cat, of course. They aren’t scary enough. More like a big cat that roams the mountains.” “Makes sense,” he said. Minka set the other half of her fourth fajita on her plate and gave him a curious look. “Would you mind if I ask you a personal question?” His mouth twitched as he prepared another fajita. He wasn’t used to Minka being so reserved. She usually said whatever was on her mind, regardless of whether it was personal or not. “Go ahead,” he said. “The first time we met, I had claws, fangs, glowing red eyes, and I tried to kill you. Since then, I’ve spent most of the time telling you about an imaginary creature that lives inside my head and makes me act like a monster. How are you so calm about that? Most people would have run away already.” Angelo chuckled. Not exactly the personal question he’d expected, but then again Minka rarely did the expected. “Well, my mom was full-blooded Cherokee, and I grew up around all kinds of Indian folktales and legends. My dad was in the army, and whenever he was deployed, Mom would take my sisters and me back to the reservation where she grew up in Oklahoma. I’d stay up half the night listening to the old men tell stories about shape-shifters, animal spirits, skin-walkers, and trickster spirits.” He grinned. “I’m not saying I necessarily believed in all that stuff back then, but after meeting Ivy, Tanner, and the other shifters at the DCO, it just didn’t faze me that much.” Minka looked at him with wide eyes. “You’re a real American Indian? Like in the movies? With horses and everything?” He laughed again. The expression of wonder on her face was adorable. “First, I’m only half-Indian. My dad is Mexican, so there’s that. And second, Native Americans are almost nothing like you see in the movies. We don’t all live in tepees and ride horses. In fact, I don’t even own a horse.” Minka was a little disappointed about the no-horse thing, but she was fascinated with what it was like growing up on an Indian reservation and being surrounded by all those legends. She immediately asked him to tell her some Indian stories. It had been a long time since he’d thought about them, but to make her happy, he dug through his head and tried to remember every tale he’d heard as a kid.

Why are you so into Pinot?” 2 Maya asks. In the next 60 seconds of the movie, the character of Miles Raymond tells a story which would set off a boom in sales of Pinot Noir. It’s a hard grape to grow. It’s thin-skinned, temperamental, ripens early. It’s not a survivor like Cabernet, which can just grow anywhere and thrive even when it’s neglected. No, Pinot needs constant care and attention. In fact it can only grow in these really specific, tucked away corners of the world. And only the most patient and nurturing of growers can do it, really. Only somebody who really takes the time to understand Pinot’s potential can coax it into its fullest expression. Its flavors are the most haunting and brilliant and thrilling and subtle and ancient on the planet. Miles is describing himself in the dialogue and using Pinot as a metaphor for his personality. In this one scene moviegoers projected themselves on the character, feeling his longing and his quest to be understood. Sideways was a hit and won an Oscar for Best Adapted Screenplay. It also launched a movement, turning the misunderstood Pinot Noir into the must-have wine of the year. In less than one year after the movie’s 2004 fall release date, sales of Pinot Noir had risen 18 percent. Winemakers began to grow more of the grape to meet demand. In California alone 70,000 tons of Pinot Noir grapes were harvested and crushed in 2004. Within two years the volume had topped 100,000 tons. Today California wine growers crush more than 250,000 tons of Pinot Noir each year. Interestingly, the Japanese version of the movie did not have the same “Sideways Effect” on wine sales. One reason is that the featured grape is Cabernet, a varietal already popular in Japan. But even more critical and relevant to the discussion on storytelling is that Japanese audiences didn’t see the “porch scene” because there wasn’t one. The scene was not included in the movie. No story, no emotional attachment to a particular varietal. You see, the movie Sideways didn’t launch a movement in Pinot Noir; the story that Miles told triggered the boom. In 60 seconds Maya fell in love with Miles and millions of Americans fell in love with an expensive wine they knew little about.

And when could two people really have a conversation like this in the sunshine? No, moon and starlight were made for the meeting of hearts.

106. Seijo's Two Souls Chokan had a very beautiful daughter named Seijo. He also had a handsome young cousin named Ochu. Joking, he would often comment that they would make a fine married couple. Actually, he planned to give his daughter in marriage to another man. But young Seijo and Ochu took him seriously; they fell in love and thought themselves engaged. One day Chokan announced Seijo's betrothal to the other man. In rage and despair, Ochu left by boat. After several days journey, much to his astonishment and joy he discovered that Seijo was on the boat with him! They went to a nearby city where they lived for several years and had two children. But Seijo could not forget her father; so Ochu decided to go back with her and ask the father's forgiveness and blessing. When they arrived, he left Seijo on the boat and went to the father's house. he humbly apologized to the father for taking his daughter away and asked forgiveness for them both. "What is the meaning of all this madness?" the father exclaimed. Then he related that after Ochu had left, many years ago, his daughter Seijo had fallen ill and had lain comatose in bed since. Ochu assured him that he was mistaken, and, in proof, he brought Seijo from the boat. When she entered, the Seijo lying ill in bed rose to meet her, and the two became one. Zen Master Goso, referring to the legend, observed, "Seijo had two souls, one always sick at home and the other in the city, a married woman with two children. Which was the true soul?

MT: That's Régis Debray's thesis: the incarnation of Christ and the defeat of the iconoclasts gave the West mastery of images and thus of innovation. Here's a question that may be absurd: does a phrase like “if someone hits you on one cheek, turn the other” have anything to do with imitation? RG: Of course it does, since it's directed against “adversarial” imitation, and is one and the same thing as the imitation of Christ. In the Gospels, everything is imitation, since Christ himself seeks to imitate and be imitated. Unlike the modern gurus who claim to be imitating nobody, but who want to be imitated on that basis, Christ says: “Imitate me as I imitate the Father.” The rules of the Kingdom of God are not at all utopian: if you want to put an end to mimetic rivalry, give way completely to your rival. You nip rivalry in the bud. We're not talking about a political program, this is a lot simpler and more fundamental. If someone is making excessive demands on you, he's already involved in mimetic rivalry, he expects you to participate in the escalation. So, to put a stop to it, the only means is to do the opposite of what escalation calls for: meet the excessive demand twice over. If you've been told to walk a mile, walk two; if you've been hit on the left cheek, offer up the right. The Kingdom of God is nothing but this, but that doesn't mean it's easily accessible. There is also a pretty strong unwritten tradition that states that “Satan is the ape of God.” Satan is extremely paradoxical in the Gospels. First he is mimetic disorder, but he is also order because he is the prince of this world. When the Pharisees accuse him of freeing the possessed from their demons by the power of “Beelzebub,” Jesus replies: “Now if Satan drives out Satan, he is divided against himself; so how can his kingdom last? […] But if it is through the Spirit of God that I drive out devils, then be sure that the kingdom of God has caught you unawares.” This means that Satan's order is the order of the scapegoat. Satan is the whole mimetic system in the Gospels. That Satan is temptation, that Satan is rivalry that turns against itself—all the traditions see this; succumbing to temptation always means tempting others. What the Gospel adds, and what is unique to it, I think, is that Satan is order. The order of this world is not divine, it's sacrificial, it's satanic in a certain sense. That doesn't mean that religions are satanic, it means that the mimetic system, in its eternal return, enslaves humanity. Satan's transcendence is precisely that violence temporarily masters itself in the scapegoat phenomenon: Satan never expels himself once and for all—only the Spirit of God can do that—but he more or less “chains himself” by means of the sacrificial order. All medieval legends tell you: the devil asks for but one victim, but as for that victim, he can't do without it. If you don't obey the rules of the Kingdom of God, you are necessarily dependent on Satan. Satan means “the Accuser.” And the Spirit of God is called Paraclete, that is to say “the Defender of Victims,” it's all there. The defender of victims reveals the inanity of Satan by showing that his accusations are untruthful. Oedipus's parricide and incest, which give the plague to a whole community—they're a joke, a very bad joke that helps cause quite a bit of damage among us when we take it seriously, as, in the final analysis, is the case with…the psychoanalysts: they take the lie of the Accuser seriously. Our whole culture is dominated by mythical accusation to the extent that it does not denounce it. Psychoanalysis endorses the accusation.