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36 syf.
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A poem about legacies and death
In the poem, the statue of Ozymandias, the king of kings, lies decaying in a distant desert. Only the pedestal, two upright legs and a face, remains of his statue; the rest is shattered and buried under lone and level sands. Netiher his mighty power as a king nor his statue, his legacy, could withstand the passage of merciless time. This poem reminds me of the 76-77th stanzas of Hávámál, a collection of Old Norse poems about philosophy of life. However, these stanzas and Ozymandias are more like two sides of the same coin, they complete each other. They both give the message of "memento mori" (remember you are a mortal), and speak about leaving a legacy. Ozymandias does this by the statue of Ozymandias, the king of kings while 76-77th stanzas of Hávámál give this message through the experiences of common man; however, this time the speaker is Odin - the king of gods. The message, along with memento mori, is that immortality is only achieved through a legacy: through the tales of the one who lived and died; through the reputation they leave behind. Man is the legacy he leaves behind. Nothing more, nothing less. Although Hávámál presents legacies as more heroic, personally, I always thought about legacies similar to that of Ozymandias. Even the legacy, the statue, of King Ozymandias lies broken into pieces in a distant desert; forgotten and covered with sand. No matter how mighty and powerful you are, no matter what your title is, no matter how powerful your legacy is, time and death will erase everything. In the end, good or bad, nothing matters. Everything is doomed to be swallowed by the sands of time.
Ozymandias
OzymandiasPercy Bysshe Shelley · Hoopoe Books · 199934 okunma
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The barbarian kings of Italy pursued their own interests, but they ruled, to begin with at least, in the name of the distant Emperor in Constantinople, maintaining and honouring the Roman Senate, and accepting the honorific title ‘Patrician of the Romans’. Even Odoacer’s ferocious successor Theoderic, a man who could sign his own name only with the help of a stencil cut from a plate of gold, accepted and exploited the fiction of empire. Theoderic adopted Roman dress, and his coinage carried the image of the Emperor. The Gothic kings based themselves on the Adriatic coast, in the old capital of the Western empire at Ravenna, and the glamour of Rome persisted. As Theoderic himself declared, ‘Any Goth who can, wants to be a Roman: no Roman wants to be a Goth.’
However, I must give myself credit for a little sense on one occasion, at least. And it was a serious occasion, too-a crisis in my life-a crisis when I stood watching my dreams and my plans for the future and the work of years vanish into thin air. It happened like this. In my early thirties, I had decided to spend my life writing novels. I was
Sayfa 93 - e-bookKitabı okudu
“Winning isn’t about a Championship title anymore. It’s about making me proud, no matter the outcome. Other people’s praise is only an added bonus now. Because in the end, I spent way too many lost years focusing on the opinions of people who didn’t matter.”
Sayfa 344Kitabı okudu
561 syf.
8/10 puan verdi
4/5 Stars (%78/100) This is the second book in the series called The Masks of God by Joseph Campbell, aka the God of Mythology himself. Whenever you hear the word mythology, Campbell's name is always mentioned. Campbell is extremely important in the field of myths. I've used him as a source for hundreds of times. It is no wonder that this series is also very good. As it can be understood from the title, this book mainly deals with Asian myths and legends. I am especially interested in Japanese mythology, so this book was great for me. I borrowed it from my university library and finished it within a day. It is very fun to read but also very informative. Great source for research but also great to just spend some time and relax.
Oriental Mythology
Oriental MythologyJoseph Campbell · Arkana Publishing · 199268 okunma
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“I know what Title IX is.” “I see. So you willfully chose to disregard it.” “I— What? No. No, I didn’t!” He shrugged. “I must be mistaken, then. Someone else must have assaulted me.” “Assault—I didn’t ‘assault’ you.” “You did kiss me.” “But not really.”
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Anne-babalarından birinin sağ olduğu umudu Baudelaire kardeşler kadar benim de içimi ısıtıyor, ama hayatlarının talihsizliğini görmezden gelemeyiz. Şansları yalnızca, ölümün kıyısındayken kurtulabilmelerine yarıyor, daha fazlasına değil. Kont Olaf'ın bakış açısından "çok şanslı bücürler" olduklarını görmek ilginç ama. "Ucubeler" ve normal insanlar arasındaki farksızlık, Madam Lulu'nun kaypak kişiliği (bu nedenle ona Olivia diye hitap etmeyeceğim...), GİT hakkındaki ilk dişe dokunur bilgi kırıntılarını elde etmek, Sunny'nin "ısırabilme" yeteneğinin yerini pişirme yeteneklerinin almaya başlaması da ilgi çekici. Kitabın arka kapağının ilk cümlesi "The word "carnivorous" which appears in the title of this book, means "meat-eating," and once you have read such a bloodthirsty word, there is no reason to read any further.", Türkçesinde ise ucube kelimesine odaklanılmış; "Elindeki kitabın adında geçen "ucube" kelimesi, çok acayip görünümlü anlamına gelir. Böylesine sakil, yani çirkin, kaba ve biçimsiz bir kelimeyi gördükten sonra, daha fazlasını okumaya hiç gerek yok." Kitaptaki GİT'lerin açılımı ise şu şekilde: Görünüş İçin Takıştırma (Veiled Facial Disguises) Gardırop İnceliğiyle Takıştırma (Various Finery Disguises) Garip İletişimli Takıştırma (Voice Fakery Disguises) Göçük İçinde Taşlaşmış-Dörtler (Valley of Four Drafts)
Talihsiz Serüvenler Dizisi 9 - Karnaval Ucubeleri
Talihsiz Serüvenler Dizisi 9 - Karnaval UcubeleriLemony Snicket · Doğan Egmont Yayıncılık · 2011272 okunma
62 öğeden 41 ile 50 arasındakiler gösteriliyor.