#amrita university | Explore Tumblr posts and blogs

talonabraxas · 2 days ago

Text

“Tantra is the science of transforming ordinary lovers into soul mates. And that is the grandeur of Tantra. It can transform the whole earth; it can transform each couple into soul mates.” — Rajneesh

Vajrasattva Yab-Yum Talon Abraxas

Yab Yum (father-mother) is the symbolic sexual relationship between the masculine and feminine visualized deity in Tibetan Buddhist iconography. Yab Yum symbolizes the union of method and wisdom.

Feminine Principle in Tantra

Feminine principle is the principle of wisdom. It is the most primordial essence of the universe. The wisdom mind is the self-existing reality. It is awareness that knows its own nature. Feminine principle is related strongly to jnana, or the insight that knows reality itself, the self-existing reality of all things.

It is also called the mother, as it gives birth to the Buddhas. Feminine principle is the liberating method. Through wisdom, the practitioner of this yoga is liberated from the stream of samsara.

The female deity is most frequently depicted with a kapala (skull cup) containing amrita in her left hand. In her right hand is typically a flower, symbolizing compassion, or a kartika (hook knife) symbolizing cutting through to innate purity of reality.

In Vajrayana Buddhism, the kapala, often held by deities like mahasiddhas and dakinis, symbolizes wisdom and knowledge. Practices involving the kapala include the melting of moon drops in the skull, creating a blissful sensation. The kapala is also a representation of lineage transmission during empowerments. Drinking blood from it, often associated with impurity, symbolizes non-discrimination and the yogi’s breakthrough into non-dualism. The dakini’s image, delighting in consuming blood, signifies a perfected yogi dwelling in non-duality, experiencing the union of emptiness and bliss— the highest enlightenment in Vajrayana Buddhism.

The kartika, with its distinctive crescent shape, is a ritual implement used in various Vajrayana practices. Its curved blade symbolizes the severance of attachment and delusion, cutting through the bonds that bind individuals to cyclic existence. In the context of the feminine principle, the kartika is often associated with the dakini, a mystical and enlightened feminine energy.

Dakinis, portrayed as fierce and compassionate, use the hook knife to cut through ignorance and ego, guiding practitioners towards spiritual awakening. The symbology of the kartika emphasizes the transformative power of the feminine principle in Tibetan Buddhism, depicting the dakini’s ability to remove obstacles, liberate beings, and reveal the path to enlightenment through the compassionate act of severing attachments.

Masculine Principle in Tantra

Masculine principle is upayas or skillful means. They are the manifestation of the Mahayana principle of compassion. When compassion enters the Vajrayana, it becomes skillful means. This is the method to liberate other beings, to wake them up to reality, to help them understand the trap of samsara and the path to liberation.

In Tantric Buddhism, the masculine principle is symbolized through ritual implements that play a crucial role in transformative practices. One such implement is the phurba, a ritual dagger or three-sided peg. The phurba, with its blade representing wisdom and its three faces embodying the trikaya (the three bodies of the Buddha), serves as a powerful symbol of the masculine energy’s capacity to conquer obstacles and pierce through ignorance.

Ritual implements, including the vajra and bell, are often used together to embody the union of the masculine and feminine principles in Tantric rituals. The vajra, representing indestructible and compassionate wisdom, is held in the right hand, symbolizing skillful means, while the bell, held in the left hand, symbolizes the feminine wisdom of emptiness. The harmonious use of these ritual implements in Tantric Buddhism signifies the integration of both masculine and feminine energies, leading practitioners towards a profound understanding of reality and the path to enlightenment.

43 notes · View notes

femnoah · 1 month ago

Text

Female Noah headcannons part 7

Part 1

Alejandro gets saved from the volcano in nearly every universe by Eva. Not because she likes him, but Neha would be sad if he was seriously injured and nobody is allowed to make either of her sisters sad.

Of course, they'd do the same for her.

Because of this, the worst injuries he gets are burns on one foot and bruises from being partially trampled on. But it also shows him that maybe not everyone on the cast hates him.

They become gym buddies (also bonding over anger issues) at the hotel and while Izzy likes to believe she was the main wingwoman for Alenoah thanks to her actions on the plane, Eva was the one who convinced him to talk to Neha and that 'he' didn't actually hate him for 'his' elimination.

Speaking of being sad (kinda like in cannon) when Neha actually gets upset she goes catatonic. She just dissociates from the situation and cause of this it's hard to get her to do anything, including eating or moving.

So far there's only been one sure way to bring her out of it and that's physical comfort from those she cares about (she has lashed out when somebody she didn't know touched her in that state, she didn't get aggressive but she panicked hard) and being reminded consistently about a reasonable and plausible solution to whatever caused this. She can't argue with good reason.

Despite popular belief, Neha does enjoy a good romance, not to the extent of Eva and a couple of her brothers (and Alejandro) though. The only problem is that she despises the miscommunication trope, which is in a lot of modern romances (it's why she prefers the classics). Why can't people just say what they mean? It'd cause far less problems.

Due to this she tends to be pretty upfront about her feelings for people. If she doesn't like someone, she'll tell them to their face.

If she does like someone then she makes it pretty clear- her insults are less vicious and more teasing, plus they actually get to spend time with her with minimal to no complaints.

If she really likes someone then she won't say anything straight away, she'll assess the situation first before deciding how to go about it, but in the end she will tell them. Just because she likes someone doesn't mean that it has to go anywhere after all. But it's really rare (one guy in the past) because usually people are too dumb or annoying to catch her attention.

Her mother and father got divorced when she was young.

Her father was a very prideful man who grew arrogant - and kinda sexist. He had 8 sons, all of which were prodigies! Clearly his genes are just superior.

Then his wife had a daughter not another son? which is ok, she'd just have to learn to be okay with being inferior to her amazing brothers.

Then it turns out she was also a prodigy what kind of 6 year old can hack into government files?! and was far more intelligent than his sons and him.

His wife may be fine with her daughter being a calculating and flippant charlatan but he was not about to let his sons be overshadowed and see themselves as inferior to her. He had to protect his family name and lineage!

Long story short he decides to get rid of her. You can decide how he does but I think he'd either try to sell her or put her up for adoption, but I guess it depends on how much angst you like.

Amrita (Neha's mother) finds out and is absolutely furious. She divorces him and gets a restraining order for her children, taking back her maiden name and goes back to live with her sister's family (at the time as her sister moves out later) and her mother in their generational home (which is b i g) and helps them with renovation and the upkeep using the money from her gigs.

Of course, she gives all of her children room to develop their skills, not allowing any jealousy to brew between them. She also makes sure that they all have other skills. All of her children have vocal training, can play one instrument (minus one of her sons who can play any), can cook to a suitable degree (once again, one of her sons is a genius in this area) and play at least one sport (guess what! She has a sports prodigy son!). She brought them up with her love of puzzles as well.

Izzy's case with her mother trying to push down her individuality and intelligence reminded Amrita of what had happened with her ex and Neha so of course she adopted the girl as soon as she could.

This event is the reason Neha's brothers are so protective over her, they almost failed her once and refuse to let it happen again.

The (vague) list of the areas Neha and her brothers specialise in:

Animals

Building stuff

People/politics

Fighting

Acting

Sports

Music

Cooking

Generalised intelligence

I feel like Alejandro and Neha would jam to EPIC. Neha loves classical stories (she's always liked the Odyssey, despite all the tragedy and revenge, it's also a story about devotion) and Alejandro likes to take any opportunity to be dramatic musical numbers and he does love a good story.

When they first listened to it together, he had a sappy look on his face because every song would cause her to perk up in recognition and explain the context or what actually happened in the original. He can't help it, the usually sarcastic girl was just so adorable when she went off on a tangent. He makes a note to ask her about classical literature more often, even if he's already read it.

Like, just imagine Alejandro singing Neha's name to Penelope's motif.

Or he and José acting out mutiny.

He takes every opportunity to sing out 'I'm just a man' often leaning on Neha for support while doing it. She'll huff and roll her eyes every time but both of them know that she's amused by his antics.

There was one time when she replied with "yeah, well I'm waaiiting" and he just stared at her before grinning broadly and peppering her face with kisses.

#td noah #tdi #alenoah #female noah #td alejandro #td izzy #td eva #Amrita Devi #Neha Devi #fem noah #alejandro burromuerto #td alenoah

20 notes · View notes

ausetkmt · 2 years ago

Text

Her name was Julia Chinn, and her role in Richard Mentor Johnson’s life caused a furor when the Kentucky Democrat was chosen as Martin Van Buren’s running mate in 1836.

She was born enslaved and remained that way her entire life, even after she became Richard Mentor Johnson’s “bride.”

Johnson, a Kentucky congressman who eventually became the nation’s ninth vice president in 1837, couldn’t legally marry Julia Chinn. Instead the couple exchanged vows at a local church with a wedding celebration organized by the enslaved people at his family’s plantation in Great Crossing, according to Miriam Biskin, who wrote about Chinn decades ago.

Chinn died nearly four years before Johnson took office. But because of controversy over her, Johnson is the only vice president in American history who failed to receive enough electoral votes to be elected. The Senate voted him into office.

The couple’s story is complicated and fraught, historians say. As an enslaved woman, Chinn could not consent to a relationship, and there’s no record of how she regarded him. Though she wrote to Johnson during his lengthy absences from Kentucky, the letters didn’t survive.

Amrita Chakrabarti Myers, who is working on a book about Chinn, wrote about the hurdles in a blog post for the Association of Black Women Historians.

“While doing my research, I was struck by how Julia had been erased from the history books,” wrote Myers, a history professor at Indiana University. “Nobody knew who she was. The truth is that Julia (and Richard) are both victims of legacies of enslavement, interracial sex, and silence around black women’s histories.”

youtube

Johnson’s life is far better documented.

He was elected as a Democrat to the state legislature in 1802 and to Congress in 1806. The folksy, handsome Kentuckian gained a reputation as a champion of the common man.

Back home in Great Crossing, he fathered a child with a local seamstress, but didn’t marry her when his parents objected, according to the biography “The Life and Times of Colonel Richard M. Johnson of Kentucky.” Then, in about 1811, Johnson, 31, turned to Chinn, 21, who had been enslaved at Blue Spring Plantation since childhood.

Johnson called Chinn “my bride.” His “great pleasure was to sit by the fireplace and listen to Julia as she played on the pianoforte,” Biskin wrote in her account.

The couple soon had two daughters, Imogene and Adaline. Johnson gave his daughters his last name and openly raised them as his children.

Johnson became a national hero during the War of 1812. At the Battle of the Thames in Canada, he led a horseback attack on the British and their Native American allies. He was shot five times but kept fighting. During the battle, the Shawnee chief Tecumseh was killed.

In 1819, “Colonel Dick” was elected to the U.S. Senate. When he was away in Washington for long periods, he left Chinn in charge of the 2,000-acre plantation and told his White employees that they should “act with the same propriety as if I were home.”

Chinn’s status was unique.

While enslaved women wore simple cotton dresses, Chinn’s wardrobe “included fancy dresses that turned heads when Richard hosted parties,” Christina Snyder wrote in her book “Great Crossings: Indians, Settlers & Slaves in the Age of Jackson.”

In 1825, Chinn and Johnson hosted the Marquis de Lafayette during his return to America.

In the mid-1820s, Johnson opened on his plantation the Choctaw Academy, a federally funded boarding school for Native Americans. He hired a local Baptist minister as director. Chinn ran the academy’s medical ward.

“Julia is as good as one half the physicians, where the complaint is not dangerous,” Johnson wrote in a letter. He paid the academy’s director extra to educate their daughters “for a future as free women.”

Johnson tried to advance his daughters in local society, and both would later marry White men. But when he spoke at a local July Fourth celebration, the Lexington Observer reported, prominent White citizens wouldn’t let Adaline sit with them in the pavilion. Johnson sent his daughter to his carriage, rushed through his speech and then angrily drove away.

When Johnson’s father died, he willed ownership of Chinn to his son. He never freed his common-law wife.

“Whatever power Chinn had was dependent on the will and the whims of a White man who legally owned her,” Snyder wrote.

Then, in 1833, Chinn died of cholera. It’s unclear where she is buried.

Johnson went on to even greater national prominence.

In 1836, President Andrew Jackson backed Vice President Martin Van Buren as his successor. At Jackson’s urging, Van Buren — a fancy dresser who had never fought in war — picked war hero Johnson as his running mate. Nobody knew how the Shawnees’ chief was slain in the War of 1812, but Johnson’s campaign slogan was, “Rumpsey, Dumpsey. Johnson Killed Tecumseh.”

Johnson’s relationship with Chinn became a campaign issue. Southern newspapers denounced him as “the great Amalgamationist.” A mocking cartoon showed a distraught Johnson with a hand over his face bewailing “the scurrilous attacks on the Mother of my Children.”

This political cartoon was a racist attack on Johnson because of his relationship with Julia Chinn. (Library of Congress)

Van Buren won the election, but Johnson’s 147 electoral votes were one short of what he needed to be elected. Virginia’s electors refused to vote for him. It was the only time Congress chose a vice president.

When Van Buren ran for reelection in 1840, Democrats declined to nominate Johnson at their Baltimore convention. It is the only time a party didn’t pick any vice-presidential candidate. The spelling-challenged Jackson warned that Johnson would be a “dead wait” on the ticket.

“Old Dick” still ended up being the leading choice and campaigned around the country wearing his trademark red vest. But Van Buren lost to Johnson’s former commanding officer, Gen. William Henry Harrison.

Johnson never remarried, but he reportedly had sexual relationships with other enslaved women who couldn’t consent to them.

The former vice president won a final election to the Kentucky legislature in 1850, but died a short time later at the age of 70.

His brothers laid claim to his estate at the expense of his surviving daughter, Imogene, who was married to a White man named Daniel Pence.

“At some point in the early twentieth century,” Myers wrote, “perhaps because of heightened fears of racism during the Jim Crow era, members of Imogene Johnson Pence’s line, already living as white people, chose to stop telling their children that they were descended from Richard Mentor Johnson … and his black wife. It wasn’t until the late 20th century that younger Pences, by then already in their 40s, 50s, and 60s, began discovering the truth of their heritage.”

#He Became the Nation’s Ninth Vice President. She Was His Enslaved Wife.#enslaved people #Richard Johnson #Julia Chinn #Youtube

231 notes · View notes

iphigeniacomplex · 1 year ago

Text

লিখি লোৱা, মই এজন মিঞা ("Write Down 'I am a Miyah'", 2016) by Hafiz Ahmed, translated from Assamese to English by Shalim M. Hussain, began a movement of resistance poetry among Assamese Muslims of Bengali descent, referred to as Miya Poetry after a slur used to describe this community. From Abdul Kalam Azad, for Indian Express ("Write...I am a Miya", 2019):

This poem went viral and other young poets started responding to him through poems. The young poets also started reclaiming “Miya”, a slur used against us, as our identity with pride. This chain of Facebook posts continued for days, reiterating the violence, suffering and humiliation expressed by our community. As time passed, more poets wrote in various languages and dialects, including many Miya dialects. The nomenclature ‘Miya Poetry’ got generated organically but the poets and their associates have been inspired by the Negritude and Black Arts movements, and queer, feminist and Dalit literary movements, where the oppressed have reclaimed the identity which was used to dehumanise them. The trend transcended our community. Poets from the mainstream Assamese community also wrote several poems in solidarity with the Miya poets while some regretted not being poets. Gradually, this became a full-fledged poetry movement and got recognised by other poets, critics and commentators. The quality and soul of these poems are so universal that they started finding prominence on reputed platforms. For the first time in the history of our community, we had started telling our own stories and reclaiming the Miya identity to fight against our harassers who were dehumanising us with the same word. They accused us of portraying the whole Assamese society as xenophobic. The fact is we have just analysed our conditions. Forget generalising the Assamese society as ‘xenophobic’, no Miya poet has ever used the term ‘xenophobic’ nor any of its variants. The guilt complex of our accusers is so profound that they don’t have the patience to examine why we wrote the poems.

Amrita Singh, writing for The Caravan ("Assam Against Itself", 2019), detailed the political backlash against Miya Poetry, in particular the above poem.

On 10 July this year, Pranabjit Doloi, an Assam-based journalist, filed a complaint at Guwahati’s Panbazar police station accusing ten people of indulging in criminal activities “to defame the Assamese people as Xenophobic in the world.” Doloi claimed that the ten people were trying to hinder the ongoing updation of the National Register of Citizens, a list of Assam’s Indian citizens that is due to be published on 31 August. The premise of Doloi’s complaint was a widely-circulated poem called, “Write down I am Miya,” by Hafiz Ahmed, a school teacher and social activist. “Write. Write down I am a Miya/ A citizen of democratic secular republic without any rights,” Ahmed wrote. The police registered a first information report against Doloi’s complaint, booking all ten persons for promoting enmity between groups, among other offences. [...] At the press conference, Mander emphasised that people in Assam are in distress because of the NRC’s arbitrary and rigid procedures. “One spelling mistake when you are writing a Bengali name in English … that is enough for you to be in a detention center, declared a foreigner,” Mander said. “If you are not allowing this lament to come out in the form of poetry, then where is this republic of India going?”

Ahmed's poem is influenced in structure by "Identity Card", a 1964 poem by by Palestinian poet Mahmoud Darwish which uses the symbolic figure of the Palestinian working man to confront Israeli occupiers. Darwish's identity card, a symbol of Israeli subjugation transformed into a cry of Palestinian national identity, is reshaped by Ahmed into the National Register of Citizens for Assam and the accompanying fear of statelessness and disenfranchisement for the Miya people.

This solidarity between writers from oppressed groups is, of course, not one that ends with Darwish and Ahmed, nor with the Black, queer, feminist, and Dalit influences of Miya Poetry. As long as there is oppression, there will be companionship and recognition reflected in art and activism. On December 13, 2023, Black Agenda Report reprinted Refaat Alareer's "If I Must Die", acknowledging the connection between Alareer's poem and "If We Must Die" by Claude McKay, written in 1919 in response to the Red Summer white supremacist riots. In 2000, Haitian community activist Dahoud Andre translated "If We Must Die" into Kreyòl, and the Black Agenda Report editorial honors Alareer in a similar way, reprinting "If I Must Die" with an accompanying Kreyòl translation. (POEM: If I Must Die, Refaat Alareer, 2023.)

Transcripts under the cut.

[Hafiz Ahmed Transcripts (Assamese and English):

লিখি লোৱা, মই এজন মিঞা

লিখা, লিখি লোৱা মই এজন মিঞা এন. আৰ. চিৰ ক্রমিক নং ২০০৫৪৩ দুজন সন্তানৰ বাপেক মই, অহাবাৰ গ্ৰীষ্মত জন্ম ল’ব আৰু এজনে তাকো তুমি ঘিণ কৰিবা নেকি যিদৰে ঘিণ কৰা মোক?

লিখি লোৱা, মই এজন মিঞা পতিত ভূমি, পিতনিক মই ৰূপান্তৰিত কৰিছোঁ শস্য-শ্যামলা সেউজী পথাৰলৈ তোমাক খুৱাবলৈ মই ইটা কঢ়িয়াইছোঁ তোমাৰ অট্টালিকা সাজিবলৈ, তোমাৰ গাড়ী চলাইছোঁ তোমাক আৰাম দিবলৈ, তোমাৰ নৰ্দমা ছাফা কৰিছোঁ তোমাক নিৰোগী কৰি ৰাখিবলৈ, তোমাৰে সেৱাতে মগন মই অনবৰত তাৰ পিছতো কিয় তুমি খৰ্গহস্ত? লিখা, লিখি লোৱা মই এজন মিঞা গণতান্ত্ৰিক, গণৰাজ্য এখনৰ নাগৰিক এজন যাৰ কোনো অধিকাৰ নাইকিয়া মাতৃক মোৰ সজোৱা হৈছে সন্দেহযুক্ত ভোটাৰ যদিও পিতৃ-মাতৃ তাইৰ নিঃসন্দেহে ভাৰতীয়

ইচ্ছা কৰিলেই তুমি মোক হত্যা কৰিব পাৰা, জ্বলাই দিব পৰা মোৰ খেৰৰ পঁজা, খেদি দিব প��ৰা মোক মোৰেই গাঁৱৰ পৰা, কাঢ়ি নিব পাৰা মোৰ সেউজী পথাৰ মোৰ বুকুৰ ওপৰেৰে চলাব পাৰা তোমাৰ বুলড্‌জাৰ তোমাৰ বুলেটে বুকুখন মোৰ কৰিব পাৰে থকাসৰকা (তোমাৰ এই কাৰ্যৰ বাবে তুমি কোনো স্তিও নোপোৱা) যুগ-যুগান্তৰ তোমাৰ অত্যাচাৰ সহ্য কৰি ব্ৰহ্মপুত্ৰৰ চৰত বাস কৰা মই এজন মিঞা মোৰ দেহা হৈ পৰিছে নিগ্ৰো কলা মোৰ চকুযুৰি অঙঠাৰ দৰে ৰঙা সাৱধান! মোৰ দুচকুত জমা হৈ আছে যুগ যুগান্তৰৰ বঞ্চনাৰ বাৰুদ আঁতৰি যোৱা, নতুবা অচিৰেই পৰিণত হ’বা মূল্যহীন ছাইত!

Write Down ‘I am a Miyah’ Hafiz Ahmed, 2016 trans. Shalim M. Hussain

Write Write Down I am a Miya My serial number in the NRC is 200543 I have two children Another is coming Next summer. Will you hate him As you hate me?

write I am a Miya I turn waste, marshy lands To green paddy fields To feed you. I carry bricks To build your buildings Drive your car For your comfort Clean your drain To keep you healthy. I have always been In your service And yet you are dissatisfied! Write down I am a Miya, A citizen of a democratic, secular, Republic Without any rights My mother a D voter, Though her parents are Indian.

If you wish kill me, drive me from my village, Snatch my green fields hire bulldozers To roll over me. Your bullets Can shatter my breast for no crime.

Write I am a Miya Of the Brahamaputra Your torture Has burnt my body black Reddened my eyes with fire. Beware! I have nothing but anger in stock. Keep away! Or Turn to Ashes.

]

[Mahmoud Darwish Transcripts (Arabic and English):

سجِّل أنا عربي ورقمُ بطاقتي خمسونَ ألفْ وأطفالي ثمانيةٌ وتاسعهُم.. سيأتي بعدَ صيفْ! فهلْ تغضبْ؟ سجِّلْ أنا عربي وأعملُ مع رفاقِ الكدحِ في محجرْ وأطفالي ثمانيةٌ أسلُّ لهمْ رغيفَ الخبزِ، والأثوابَ والدفترْ من الصخرِ ولا أتوسَّلُ الصدقاتِ من بابِكْ ولا أصغرْ أمامَ بلاطِ أعتابكْ فهل تغضب؟ سجل أنا عربي أنا اسم بلا لقبِ صَبورٌ في بلادٍ كلُّ ما فيها يعيشُ بفَوْرةِ الغضبِ جذوري قبلَ ميلادِ الزمانِ رستْ وقبلَ تفتّحِ الحقبِ وقبلَ السّروِ والزيتونِ .. وقبلَ ترعرعِ العشبِ أبي.. من أسرةِ المحراثِ لا من سادةٍ نُجُبِ وجدّي كانَ فلاحاً بلا حسبٍ.. ولا نسبِ! يُعَلّمني شموخَ الشمسِ قبلَ قراءةِ الكتبِ وبيتي’ كوخُ ناطورٍ منَ الأعوادِ والقصبِ فهل تُرضيكَ منزلتي؟ أنا اسم بلا لقبِ! سجلْ أنا عربي ولونُ الشعرِ.. فحميٌّ ولونُ العينِ.. بنيٌّ وميزاتي: على رأسي عقالٌ فوقَ كوفيّه وكفّي صلبةٌ كالصخرِ... تخمشُ من يلامسَها وعنواني: أنا من قريةٍ عزلاءَ منسيّهْ شوارعُها بلا أسماء وكلُّ رجالها في الحقلِ والمحجرْ فهل تغضبْ؟ سجِّل! أنا عربي سلبتُ كرومَ أجدادي وأرضاً كنتُ أفلحُها أنا وجميعُ أولادي ولم تتركْ لنا.. ولكلِّ أحفادي سوى هذي الصخورِ... فهل ستأخذُها حكومتكمْ.. كما قيلا!؟ إذنْ سجِّل.. برأسِ الصفحةِ الأولى أنا لا أكرهُ الناسَ ولا أسطو على أحدٍ ولكنّي.. إذا ما جعتُ آكلُ لحمَ مغتصبي حذارِ.. حذارِ.. من جوعي ومن غضبي!!

Identity Card Mahmoud Darwish, 1964 trans. Denys Johnson-Davies

Put it on record. I am an Arab

And the number of my card is fifty thousand I have eight children And the ninth is due after summer. What's there to be angry about?

Put it on record. I am an Arab

Working with comrades of toil in a quarry. I have eight children For them I wrest the loaf of bread, The clothes and exercise books From the rocks And beg for no alms at your door, Lower not myself at your doorstep. What's there to be angry about?

Put it on record. I am an Arab.

I am a name without a title, Patient in a country where everything Lives in a whirlpool of anger. My roots Took hold before the birth of time Before the burgeoning of the ages, Before cypress and olive trees, Before the proliferation of weeds.

My father is from the family of the plough Not from highborn nobles.

And my grandfather was a peasant Without line or genealogy.

My house is a watchman's hut Made of sticks and reeds.

Does my status satisfy you? I am a name without a surname.

Put it on record. I am an Arab.

Color of hair: jet black. Color of eyes: brown. My distinguishing features: On my head the `iqal cords over a keffiyeh Scratching him who touches it.

My address: I'm from a village, remote, forgotten, Its streets without name And all its men in the fields and quarry. What's there to be angry about?

Put it on record. I am an Arab.

You stole my forefathers' vineyards And land I used to till, I and all my children, And you left us and all my grandchildren Nothing but these rocks. Will your government be taking them too As is being said?

So! Put it on record at the top of page one: I don't hate people, I trespass on no one's property.

And yet, if I were to become hungry I shall eat the flesh of my usurper. Beware, beware of my hunger And of my anger!

]

#it speaks!#re: the tag on my last reblogged post. decided to make that point its own post!#this is long obviously and im employing proper capitalization for ease of reading #obligatory im monolingual disclaimer & cant vouch for translation quality; i chose the johnson-davies translation because ->#<- it is the one i see most commonly spread. i take responsibility for any deficiencies.#going to use some tags because im personally interested in this poetic movement & connection & maybe other people will be too!#palestine #palestinian poetry #assam #miya poetry #political poetry #poetry #in translation

65 notes · View notes

bettydice · 22 days ago

Text

OC MEME yes another

tagged by @nelsynoo yes another one

GENERAL

Name: Amrita Ingellvar

Alias(es): Rook

Gender: Female

Age: 30ish

Place of birth: the necropolis??

Spoken languages: Common tongue, probably knows the basics of a lot of languages for academia and deciphering old texts and runes etc

Sexual orientation: Bisexual (all my OCs are until further notice!)

Occupation: Veilguarding (haven't thought too much about what she's doing post Veilguard)

FAVOURITE

Colour: ocean blue, all shades of orange, lavender

Entertainment: Wisp Ballet, Skeleton Theatre, Bone Sculptures, Vorgoth Story Time

Pastime: reading, learning, magic study, questionable magic experiments, exploring, tinkering, being Bellara's beta reader for her erotica

Food: has a very eclectic food taste due to being babysat by a lot of people who either never cooked themselves or were not quite alive or who weren't people in the first place, likes food she can gnaw on

Drink: coffee, loves an intense hot chocolate, doesn't like alcohol

Books: all books are good

HAVE THEY

Passed university: yes, she went to necromancer academy and will probably get her necromancer PhD post-game

Had sex: I'm not sure if she's had sex before Bellara, honestly, I don't think it's been much on her mind

Had sex in public: no

Gotten tattoos: oh yeah, many

Gotten piercings: ears and nose

Had a broken heart: mhm, no?

Been in love: again, not sure, probably not before Bellara

ARE THEY

A cuddler: probably likes snuggling in bed or on a couch together

Scared easily: she's a necropolis baby, it's hard to shake her

Jealous easily: maybe sometimes when she sees people with their parents

Trustworthy: yes

FAMILY

Sibling(s): not as far as she knows

Parents: unknown

Children: no, but she makes sure to take care of the kids in the Necropolis/Mourn Watch without parents

Pets: her and Bellara would only have a pet that's like... a robot or some kind of cursed talking artifact, or like, a moss ball that they get attached to

tagging @silksieve @annalyia @commander-krios @wasdplz @sasskarian

#dragon age #datv #veilguard #betty does memes #rook #Amrita Ingellvar

19 notes · View notes

proudhinduforever · 6 months ago

Text

Background of Samudra Mathan and Lord Shiva consuming Haalaahala

I want to remember the story of Lord Shiva drinking poison, as it holds great significance in our Hindu tradition. It shows our Lord's compassion towards us.

The story of Samudra Manthan begins during a time of conflict between the Devas and Asuras. After being defeated, the Devas sought help from Lord Vishnu, who advised them to churn the ocean of milk to obtain amrita, the nectar of immortality. To do this, they needed the strength of the Asuras, so the Devas proposed a partnership. Mount Mandara served as the churning rod, and the serpent Vasuki was used as the rope.

As they churned, various treasures emerged, such as Kamadhenu, Airavata, Kalpavriksha, Laxmi, and Dhanvantari, who brought the pot of amrita. However, amidst these wonders, a deadly poison named Haalaahala surfaced, threatening to destroy everything. Both the Devas and Asuras were terrified and turned to Lord Shiva for assistance.

Lord Shiva answered their prayers and, realizing the gravity of the situation, decided to consume the poison to save the universe. With great resolve, he swallowed the Haalaahala, holding it in his throat to prevent it from affecting him. This act turned his throat blue, earning him the name Neelkanth.

Once Lord Shiva contained the poison, the churning continued, and eventually, the amrita was produced.

A Slight Variation in the story according to different sources:

In the story of Samudra Manthan, Parvati's involvement with the poison is often mentioned in various retellings. According to some versions, after Lord Shiva consumed the Haalaahala poison to save the universe, Parvati became concerned for his well-being.

To protect him, she is said to have grasped his throat, preventing the poison from going further into his body. This act symbolizes her role as a nurturing and protective force. This detail is found in some texts and folklore, though it may not be emphasized in all versions of the story.

I personally love the story of how Lord Shiva consumed Halahala to protect us. It shows that he is capable of absorbing all our poisons and granting the amrita of liberation. There is nothing that can equal his mercy.

#hindublr #hinduism #lord shiva #amrita #halahala #samudra mathan

10 notes · View notes

33-108 · 7 months ago

Text

Verse 31/32

Ayamevodayas tasya dhyeyasya dhyayi-cetasi/

Tadatmata-Samapattir icchatah sadhakasya ya//

Iyamevamrtapraptir ayamev atmano grahah/

Iyam nirvana-diksa ca siva-sadbhavadayin!//

This (identity of his Self with the whole universe) is only the manifestation of the object of meditation in the meditator's mind that the aspirant with a resolute will has the realization of his pure being.

This alone is the acquisition of ambrosia/Amrita leading to immortality; this alone is the realization of Self: this alone is the initiation of liberation leafing to identity with Siva.

It is declared here that 'one should worship Siva by becoming Siva . That alone constitutes the manifestation of the object of meditation leading to the realization of identity with the object of meditation.

As has been said by the teacher "O Lord, in this whole world which is thy own manifest form, what is that spot which is not a holy place to thy devotees and where the mantras of these devotees will not bear fruit"?. This alone is his great accomplishment that he acquires the ambrosia of the highest non-duality.

This section has been rightly entitled Sahajavidyodaya i.e., the rise of Sahaja vidya. Sahaja or Suddha vidya is that state in which in spite of the seeming difference of all that is earth, earthy, there is a running sense of unity, identity, of the Supreme I-consciousness fused with the all-of-reality. Vasugupta says- "Whether it is word or thought or object there is no state which is not Siva."

In the first section, the emphasis is on the Self-realization as Siva. In the second section, the emphasis is on the realization of the universe as Siva or in the technical language of this system on Siva-vyapti.

From the point of view of yoga, the emphasis in the first section is on nimilana-samadhi, on introversive meditation, on taking a plunge mentally in the innermost Self and realizing it as Siva. In the second section, the emphasis is on unmilana samadhi or extroversive meditation in which in spite of the senses being open to the onset of external sensation, the world appears as the materialization of the bliss of Siva. Ksemaraja rightly calls it mahasamapatti, the coup of supreme realization.

Man has been in search of ambrosia that will make him immortal. The author says that the realization of one's identity with Siva is alone the real ambrosia, for it sets one free from the whirligig of birth and death. The aspirant subjects himself to a tedious ceremony of initiation (diksa) for liberation (nirvana). The author says that which gives the realization of identity with Siva is alone the real initiation for liberation.

Utpalabhatta quotes the following verse as a definition of initiation(diksa).

"Inititaion is that which gives realization and destroys all impurities. Because it imparts that realization which awakens one from the sleep of ignorance, therefore is it called diksa. It has the characteristic of both giving (di) and destroying (ksa)".

Swamiji Lakshmanjoo-

When a yogi with this determination sits for meditation, that, “I will not leave this meditation until I realize the real truth. I won’t come out of this meditative functioning. I won’t leave this function. I won’t leave this meditation until I realize God consciousness”...

when the sādhaka-yogi sits for meditation and becomes one with God consciousness, that means, the rise of God consciousness has taken place in his thought (ayamevaudayas-tasya dhyeyasya).

The state of God consciousness is to be meditated upon. And the rise of the state of God consciousness is that

[determination].

In other words, it is the rise of the state of God consciousness.

One should meditate with this determination [that], “I will never leave it until I realize the reality of God

consciousness.” [Your very determination] means, It has risen in the background of your consciousness– that reality of God consciousness. (31)

Iyameva, this is the attainment of amṛta (nectar, supreme nectar). The supreme nectar he has attained. Ayam eva ātmano, this is the controlling of your mind, this is one-pointedness of your mind.

Iyaṁ nirvāṇa dīkṣā ca, and this is the real initiation, which sentences you to liberation, ultimate liberation, śiva sadbhāvadāyinī, which will give you śiva sat bhāva, the state of Śiva bhāva. (32)

#esoteric #occult #hinduism #shiva #tantra #goddess #shakti #bhairava #sanatanadharma #spirituality #religion

9 notes · View notes