The negated prefix indicates that this ship is not part of our related family, no one was waiting or looking out for this one. The “huge and birdless silence” indicates the inevitability and permanence death as huge nothingness (l. 23). This silence is stressed by the regular rhyme scheme abab and the remarkable shortened final line of each stanza, stressing the absence of words. There is neither afterlife, nor words, nor music which is rephrased in the final two lines “In her wake/ No water breed or break,” reflecting the clear negation of religion (l.
However, as he himself admits there is no attempt at modernization: There are no tanks or cigarette lighters. No contemporary statesman is parodied. Yet I think my own concerns and worries and those of the times seep in (In the Author’s note V) Lowell has termed Prometheus Bound a “translation”. According to him, in translation, the poetry seems “lofty and dead” and the characters seem to be “statues”. Yet “something living somehow burns” through the worst translation.
This has been the male text. Even memory and oblivion are justified from a patriarchal per¬spective. However Shakuntala's story varies and she asserts that she had chosen not to produce the ring, the token the king had left with her. She was convinced that the king had known many women like her and left them to suffer and pine for him. So, rather than beg love from one who had erased her from his life and memory, she chooses to go away.
However there is possibility for religious knowledge to be shared knowledge but it’s not always true. Some indigenous group people believe that after we’re died we got to either hell or heaven but this belief is only limited for this group of people. Also there are people who believe that god exists and also atheist people, so there beliefs regarding or in perspectives of religion cannot be shared knowledge. For example, in Hinduism, we believe in destiny meaning god has planned good or bad things for everyone way ahead. Whereas in Muslim religion, they don’t believe in destiny.
There are many religions around the world. Not only that, there are many religious organizations, secrets and alternative learning programs. Today’s society gives the public the choice to associate themselves with the religion that best suits their spirit and the option on what he or she believes the most. However, the essence is that religions are not so different from each other. Every religion has fundamental questions about the creation of the world, the man, the immortality and the meaning.
It is eternal, unchangeable, deathless, unborn and part less. Death cannot touch it. It has no production and destruction because it has no part. It is a complete whole. This part can be seen in the philosophers’ soul.
“So here you are, just another mixed-up kid, daughter of a sage and celestial sex worker, clueless like rest of us about your address- hermitage or castle, earth or sky, here or hereafter” Myth gets a new color, a new shape with each telling, and each age rewrites its own myth. In Hindu mythology the story of Shakuntala is among one such myth which has been twisted, punctuated and given different shades in every age. This paper attempts to show these different shades in varying forms in which the story of Shakuntala has been presented in Mahabharata, and subsequently in Kalidasa’s famous play Abhijnanashakuntala and still later in the twentieth century, stepping in and out of the mythic framework by Arundhathi Subramaniam. Arundhathi Subramaniam, a poet and a writer on spirituality, love and culture, contemporized the mythological character Shakuntala in her cycle of poems entitled “Eight Poems for
In their nakedness, they are equal because they’re reduced to creatures of flesh and bones. In their vulnerability, the rich man stands just as vulnerable as the poor man. Yet, why does Gibran say “stand naked in the wind”? It is because he uses abstract elements of nature such as the wind or the radiating warmth of the sun to remind the reader that man comes from dust and shall return to it. God has brought forth man through nature and in the end nature shall consume the last of mankind.
“While the individual Soul enjoys activities of the body, the Super- Soul (the God) does not take part in your day-to-day activities and is unaffected by its actions”. “Everything that you see around, moving or non-moving has come into existence from the union of Purusha (the God, the Super-Soul) and Prakriti (the Nature, the Adishaktai). Prakriti is one of the four most important elements that govern life. It is the most wonderful creation of God and source of all materialistic aspects of life. Prakriti has the same relationship with God, as the body has with the soul.
Because Aghori Sadhu’s believe that everything in the world is perfect, they never cut or wash their hair, rather, they have dreadlocks. They often roam around naked too. This they do to show their renunciation of material goods and the world altogether, killing the ego by not having any shame. So instead of wearing proper clothing, they have a small piece of cloth covering just their private areas, the rest of their bodies are covered in ashes of the dead. Cannibalism is what these Sadhus are notorious for.