The Mabinogion is one of the earliest written accounts of Arthuriana. The Mabinogi stories are old Welsh prose, and they vary in number between eleven and twelve tales. They were first translated to English down in 1838 by Lady Charlotte Guest, although the earliest written forms date to around the 14th century. It is uncertain the exact age of the Mabinogi tales due to their oral nature, and it is believed that the stories are older. The Mabinogion provides some of the best insights in to the beginning of Arthurian characters. The text of the Mabinogion is disjointed, as it was not written down until after the oral tradition had begun to die, but there are still many intertwining themes which tie the stories together. The Mabinogion is sectioned
The Jataka tales are an integral part of Buddhist literature as they illustrate the “great deeds, in past lives of the being that was to become the Buddha Gautama.” (Harvey 99)In such tales, the Bodhisattva character “…does some inspiring deed of generosity, kindness or wisdom… identified with the Buddha or his key disciples…” (99) In the story of the Hungry Tigress, a human, brahmin Bodhisattva stumbles across a starving tigress with her cubs while out meditating in nearby caves. Shocked and saddened upon seeing the dying creature; attempting to eat her own kin, the Bodhisattva deliberates how he can save this beautiful creature. He decides in a moment of passion and emptiness to hurl himself off the mountainside to where the tigress is so she can be saved by eating his body. His disciples become aware of this awe-inspiring act and are moved by the loving and kindness of this Bodhisattva. Interestingly, when analyzing the Jataka tale of the Hungry Tigress, one can point to parallels between the Bodhisattva protagonist to the practice and teachings of the Arahat of the Theravada school, the Bodhisattva of the Mahayana school and the follower of the quicker path to Buddhahood of the Vajrayana school. However, the self-sacrificial actions of the bodhisattva at the end of the tale is analogous to the Guru of the school of Vajrayana, leading one to believe that this story best follows the thunderbolt vehicle of Vajrayana.
“The searing pain of being repeatedly struck with a whip ended my attempt to dissociate from the fear and pain. It took very few hits with the whip before I did what I was told and went limp…I became aware of my ability to see through a gap at the bottom of my blindfold. At that moment it all became glaringly obvious what the situation was: my feet weren’t touching the ground; I was hanging by my wrists, my feet a few inches off the ground.”
On pages 25-51 Stoller shares his experience as an apprentice of Sorko Djibo who was a sorcerer among the people in Mehanna. Throughout his journey as an apprentice he comes to realize many fascinating things that have to do with embodiment beyond its conceptual understanding. Stoller begins to see embodiment as an enhanced way of constructing meanings of existence. As far as knowledge goes, he believes that despite the depth of our knowledge the world remains a place with much more to discover. In fact, stoller claims that the sorcerer like the painter is “caught between science and the arts” (49).
Mecheric, the god of logic and math, mechanics, and technology, was loved by all including the gods. He was a brilliant god, created by all the gods and emerged from Hestia’s fireplace. His favorite god was Athena, the goddess of wisdom. The Olympians sent him down to Earth to help and teach the humans on Earth. Mecheric flew down to the Aegean Sea. He requested Poseidon for a hippocampus, a beautiful fish-tailed horse. He rode on his pure white hippocampus till he reached the charming shores of Athens. He thanked the hippocampus for its kind services and started wandering through the night.
Amongst many other things, the epic is implicitly an exploration of what qualities define Sundiata as a hero, and by extension, what virtues are heroic. The most glaring is his strength. Even when he is crippled as a child and cannot walk, the boy has strong arms. But when he finally stands, he surprises everyone, bending an enormous rod to a bow and pulling a tree up by its roots. Another quality is his bravery, most clearly illuminated by his skill and grit in battle. But Sundiata has more than animal strength – he shows patience, interest in other peoples and ways, and humility before the magic of the world. Because of these qualities, he is more than a great hunter or warrior: he is a great king.
every swing of the thick leather whip. The character is eventually pitied and released after his
Montag never thought that what he saw would happen. The sharp bone had uprooted from the skin of his back. He wanted to scream in pain, but his mouth wouldn’t move. He wondered why he was stuck in this horrible mess of blood and terror? He wanted to be alone, unfound, untouched.
I've felt the pain of someone betraying me. That gut wrenching heartbreak of someone breaking every foundation of trust that is shared with a person. I've also experienced the fear and shock of a betrayal coming out of my own mouth. That to me is far worse.
Joan struggled to remain conscious as the cell door slammed shut. She crawled her way to the bars, leaning against them for support. Helpless, all she could do was watch as Alis—flailing and keening—was carried to the wooden table on the far wall.
“What?” He looked back at the rest of the group, cocking his head to the side. “Is there something-” That’s when he heard a noise behind him, and a grip on his neck. He immediately began to kick, desperately struggling to be freed from what was holding him.
She remained at the top of the staircase, hours seeming to pass before the woman reappeared with rope in hand. She made her way down the hall, stopping in front of the wooden banister. She looked down to the exposed foyer, studying it, before paying any mind to the thick rope resting in her arms. Carefully, she tied the rope to the banister; the silent 'no' ripping its way from Claudia's chest as the woman revealed a noose, hastily placing it around her neck. In horror, she watched the woman climb the railing and fall from the ledge. Claudia stood there, unable to move; the loud creak of the rope swinging back and forth, echoing throughout the too still house.
This is one day I will remember forever was my first time riding on the Bullet in Kemah. We arrived at Kemah Boardwalk, I heard music and people screaming, but the only thing i heard was the shaking and rattling wood from the roller coaster, the Bullet. i had wanted to go on that ride since the last time i went, and they said i was to short. but today i might be tall enough.when we got through the long line my mom and dad were paying for tickets.and i went over to the rusty pole where it said you must be 48in to ride the rides. i got on and my dad came over and i saw that look were his eyes widen and face squinted. My dad said in a low voice ‘’sorry honey your 3in off.’’
Sundiata an epic of old Mali is a story about Sundiata Keita who was the founder of the Mali Empire in West Africa. This story is an oral tale of a young king’s rise to power and is narrated by Djeli Mamoudo Kouyate’ who was a griot or traditional storyteller. Griots are known to be ancient historians, keeping track of their culture and passing down this information which lasts, generation after generation. In Sundiata an epic, Kouyate’ expresses how important it is to the Malinke culture to preserve this oral history. “I teach kings the history of their ancestors so that the lives of the ancients might serve them as an example, for the world is old, but the future springs from the past” says Kouyate’ ( 1 ). Preserving Malinke culture and history was ideal in teaching the younger generation of their rich heritage and what it means to live the life of a Malinke.