Lathander Vanth and her: The Next Lesson: Spitting on the Cross
In demonstrating an important tendency in people, the inflexible are broken, the overly flexible are lost.
I created an artificial ruckus regarding the arbitrary numeric designation of 3333 and 666 which were used for their signifigant potential uses and influences but are simultaneously unimportant as well, like anything else, nothing is necessary, but while it seems to be, it really is nothing else.
Without creating a ruckus or bringing peoples attention to something, the demonstration would have been less influential to those who paid it any mind or gave it any thought.
This second area becomes a sorting agent as well. Those who say "you went back on it" and those rare individuals who see the power and importance of being able to dive into a pool, swim deeply, but also come out of it alive and new, baptized and going about other sorts of things. Sometimes that process takes people years. For example, Yusuf Islam the Musician formely known as Cat Stevens halted making music or even touching an instrument stubbornly for years because of associations he made with it, forsaking a tool which he could have used to help people were he so spiritually inclined. Finally he returned to Music and people said he backstepoed while others said his music was no longer the same or now was too preachy haha. I'm not sure he continued or if he did, but this is what humans are like and communicating with them can for the most part be highly unpleasant.
I have never stuck to anything very strongly, and it is important to me to demonstrate to people the importance of being able to fully do something and mean it, and also do other things too while not lying.
The 666 posts made here on this website were as I said and for a number of reasons that I said. The 3333 on Wizards as well. More important than all of that though is the message of being relaxed and being able to continue to freely and comfortably utilize things and do good by being flexible and showing that adoration of certain sets or numbers or works is also a kind of stunting and silencing.
For example, The God-King on Wizard Forums made numerous posts and once they were done, constantly referred people to them, barely producing anything new. Had the real God, the King, done so, we might still be stuck at the gnat or LUCA (Last Universal Common Ancestor).
Remember not to become overly absorbed in something to the point of stagnating. Life is constant medicating, a lifetime of medicine. We wish there could be a finality, but the basis of existence is Eternity, there is no end or even beginning. Nor is it a circle or a line or a square plain. It is Change, it never repeats, never loops, constantly different and a new form and a new story and it never ends. We are with it as one, but we can not bring yesterday with us truly. Immortality is the discovery of our constant destruction.
This reality is one "type". It is not necessary. There can be night infinite of this "type" and other "types and incomprehensible things.
The happy person is the one who enjoys and takes advantage of whatever they can, turning all that we see into "good news" and utility and music and entertainment and wisdom and joyful reminders of the truth.
They are flexible and open, but not so flexible as to be lost and see nothing. They take up good causes and they fight for goodness and beauty and then they fight for it again when it has lost some of its flavor like over chewed gum. They spit it out and carry a new Cross and Sword, and if they are wise, know that all is Catholic (Universal). (see Bernard Shaw's quotes I posted earlier in two threads).
Never worry too much about "what really happened" or "what it really means" but what it Can be Made to mean and how it Can benefit you and the multifarious ways in which it can be used for good for yourself and for others.
Do the right thing. Make a book of 666 or 3333 and then make another different song of praise. How unfortunate to say only one good word once than to forever be dedicated to all that is wonderful and turning even What Is Not into What Is.
Re: The Next Lesson: Spitting on the Cross
Posted: Tue May 30, 2017 10:29 pm
by thetrizzard
In demonstrating an important tendency in people, the inflexible are broken, the overly flexible are lost.
I created an artificial ruckus regarding the arbitrary numeric designation of 3333 and 666 which were used for their signifigant potential uses and influences but are simultaneously unimportant as well, like anything else, nothing is necessary, but while it seems to be, it really is nothing else.
Without creating a ruckus or bringing peoples attention to something, the demonstration would have been less influential to those who paid it any mind or gave it any thought.
This second area becomes a sorting agent as well. Those who say "you went back on it" and those rare individuals who see the power and importance of being able to dive into a pool, swim deeply, but also come out of it alive and new, baptized and going about other sorts of things. Sometimes that process takes people years. For example, Yusuf Islam the Musician formely known as Cat Stevens halted making music or even touching an instrument stubbornly for years because of associations he made with it, forsaking a tool which he could have used to help people were he so spiritually inclined. Finally he returned to Music and people said he backstepoed while others said his music was no longer the same or now was too preachy haha. I'm not sure he continued or if he did, but this is what humans are like and communicating with them can for the most part be highly unpleasant.
I have never stuck to anything very strongly, and it is important to me to demonstrate to people the importance of being able to fully do something and mean it, and also do other things too while not lying.
The 666 posts made here on this website were as I said and for a number of reasons that I said. The 3333 on Wizards as well. More important than all of that though is the message of being relaxed and being able to continue to freely and comfortably utilize things and do good by being flexible and showing that adoration of certain sets or numbers or works is also a kind of stunting and silencing.
For example, The God-King on Wizard Forums made numerous posts and once they were done, constantly referred people to them, barely producing anything new. Had the real God, the King, done so, we might still be stuck at the gnat or LUCA (Last Universal Common Ancestor).
Remember not to become overly absorbed in something to the point of stagnating. Life is constant medicating, a lifetime of medicine. We wish there could be a finality, but the basis of existence is Eternity, there is no end or even beginning. Nor is it a circle or a line or a square plain. It is Change, it never repeats, never loops, constantly different and a new form and a new story and it never ends. We are with it as one, but we can not bring yesterday with us truly. Immortality is the discovery of our constant destruction.
This reality is one "type". It is not necessary. There can be night infinite of this "type" and other "types and incomprehensible things.
The happy person is the one who enjoys and takes advantage of whatever they can, turning all that we see into "good news" and utility and music and entertainment and wisdom and joyful reminders of the truth.
They are flexible and open, but not so flexible as to be lost and see nothing. They take up good causes and they fight for goodness and beauty and then they fight for it again when it has lost some of its flavor like over chewed gum. They spit it out and carry a new Cross and Sword, and if they are wise, know that all is Catholic (Universal). (see Bernard Shaw's quotes I posted earlier in two threads).
Never worry too much about "what really happened" or "what it really means" but what it Can be Made to mean and how it Can benefit you and the multifarious ways in which it can be used for good for yourself and for others.
Do the right thing. Make a book of 666 or 3333 and then make another different song of praise. How unfortunate to say only one good word once than to forever be dedicated to all that is wonderful and turning even What Is Not into What Is.
.....the basis of existence is Eternity, there is no end or even beginning. Nor is it a circle or a line or a square plain. It is Change, it never repeats, never loops, constantly different and a new form and a new story and it never ends. We are with it as one, but we can not bring yesterday with us truly. Immortality is the discovery of our constant destruction.
This is a high point, ecstatic poetics...I love it x
Re: The Next Lesson: Spitting on the Cross
Posted: Tue May 30, 2017 11:27 pm
by kFoyauextlH
Thank you so much, I really appreciate that and like to take note of what anyone notices or likes in any product or product of mine. Many of my writings may naturally gravitate or drift towards ecstatic spiritual writing. Often these are coupled with natural sorts of chemical highs which occur in artists or spiritualists and then are reported to be followed with crashes almost like manic depression, but in my case the key to sanity is not believing the hype, and most importantly not becoming overly enamored with a system or insisting or feeling its at all threatened or important. A little sip of Nihilism does the body good.
If the Buddha or Jesus or an angel or cult leader or a dragon comes rushing at you and says something is imperative, I would urgently seek to know what the emergency is. Finding it is indeed a great matter concerning the Dharma, the Sangha, my Soul, or the Deen, or Mankind at large, or a single human or insect life, I would jump at the opportunity, fighting hopefully what needs to be fought and doing my best to win.
Likewise another, who has had too much Hemlock to drink, may say that none of it matters, for they will die and thus all will die amd they are dead and all are dead and the life of an ant is no different than the lives of a nation or the machinations of a stone with its patient waves, and certainly their speech is full of wisdom, and what value is there of wisdom? None whatsoever.
The first, who fought for the Dharma and Deen and for the Right and for ants and stones may say "I know, what you say is true, yet we differ in one respect"
"How do we differ if you think as I think?"
"We differ in that I do not do what you do"
"Which is what?"
"Very little, apparently!"
"Will you hold it over me that I didnot fight for an inconsequential ant?"
"Yes, because you believed where I did not believe, and your belief stopped you from doing what was best."
"Nothing is best in a world without value."
"Again, you are correct, but what is a little less than Nothing is Everything else. What then is next best is to Save the World."
"Impossible!"
"It as easy as turning your face (honor) like a plant."
"Nobility is not Natural."
"Then what pulls man out of a mire than an artifice of rope, and what inspires except what is beyond the natural, the supernatural, which is to Strive."
"What is the point of striving?"
"To follow the Master."
"We would have been better off dead."
"That is likely true in many cases, and would certainly have been the case if the Master did not move."
"You have narrowed all things to motion?"
"Try to stop motion, and you will find an irresistable foe. Go with it and you will find yourself drowned in a torrent. Resist it with opposing motion and you will be broken. Do nothing and you will die."
"What thenare we to do? All options are bad."
"Save an ant, and be gentle with a stone."
"What for?"
"To strive."
"You are going in aimless circles."
"Going where?"
"Nowhere obviously."
"Then while we are here in one place, why should I not beautify my setting."
"I share this spot with you, so what if I deem it best to kill the ant you so ardently defend?"
"Bloodshed."
"Who decides the victor?"
"The strongest."
"What is their reward?"
"The best."
"So whoever gets the best wins, and who decides who gets the best is only the strongest?"
"Truly."
"So if I overpower you and kill the ant and you."
"Then what is strongest decides, what may be stronger than you."
"I am the clear victor though!"
"How clear?"
Re: The Next Lesson: Spitting on the Cross
Posted: Sun Sep 21, 2025 3:27 am
by kFoyauextlH
This boringness is repeatedly performed by this person, this is like their big gimmick.
The Portuguese language appears to me to be one of the most Archaic European languages.
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When the Romans arrived in the Iberian Peninsula in 216 BC, they brought with them the Latin language, from which all Romance languages are descended. The language was spread by Roman commoners, merchants, and soldiers, who built Roman cities mostly near the settlements of previous Celtic civilizations established long before the Roman arrivals. For that reason, the language has kept a relevant substratum of much older, Atlantic European Megalithic Culture[9] and Celtic culture,[10] part of the Hispano-Celtic group of ancient languages.[11] In Latin, the Portuguese language is known as lusitana or (latina) lusitanica, after the Lusitanians, a pre-Celtic tribe that lived in the territory of present-day Portugal and Spain that adopted the Latin language as Roman settlers moved in. This is also the origin of the luso- prefix, seen in terms like "Lusophone".
Between AD 409 and AD 711, as the Roman Empire collapsed in Western Europe, the Iberian Peninsula was conquered by Germanic peoples of the Migration Period. The occupiers, mainly Suebi,[12][13] Visigoths and Buri[14] who originally spoke Germanic languages, quickly adopted late Roman culture and the Vulgar Latin dialects of the peninsula and over the next 300 years totally integrated into the local populations. Some Germanic words from that period are part of the Portuguese lexicon, together with place names, surnames, and first names. With the Umayyad conquest beginning in 711, Arabic became the administrative and common language in the conquered regions, but most of the remaining Christian population continued to speak a form of Ibero-Romance called Mozarabic which introduced a few hundred words from Arabic, Persian, Turkish, and Berber.[15] Like other Neo-Latin and European languages, Portuguese has adopted a significant number of loanwords from Greek,[16] mainly in technical and scientific terminology. These borrowings occurred via Latin, and later during the Middle Ages and the Renaissance.
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Endovelicus was the most important god for the Lusitanians. He is considered a possible Basque language loan god[15] by some, yet according to scholars like José Leite de Vasconcelos, the word Endovellicus was originally Celtic,[16] Andevellicos.
Endovelicus is compared with Welsh and Breton names, giving him the meaning of "Very Good God", the same epithet of the Irish god Dagda. Even the Romans worshiped him for his ability to protect. His cult eventually spread across the Iberian peninsula and beyond, to the rest of the Roman Empire and his cult was maintained until the fifth century; he was the god of public health and safety.
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The goddess Ataegina was especially popular in the south; as the goddess of rebirth (spring), fertility, nature, and cure, she was identified with Proserpina during the Roman era.
Lusitanian mythology was heavily influenced by or related to Celtic mythology.[17][18]
Also well attested in inscriptions are the names Bandua[19][20][21] (one of the variants of Borvo)[22] often with a second name linked to a locality such as Bandua Aetobrico, and Nabia,[23] a goddess of rivers and streams.[17][24]
According to Strabo the Lusitanians were given to offering sacrifices; they practiced divination on the sacrificial offering by inspecting its vitals and veins.
They also sacrificed human victims, prisoners of war, by striking them under coarse blankets and observing which way they fell. They cut off the right hands of their captives, which they offered to the gods.
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Main pantheon
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This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: Disorganized and unclear. (May 2022)
Through the Gallaecian-Roman inscriptions, a great pantheon of Gallaecian deities begins to emerge, sharing cults with other Celtic or Celticized peoples in the Iberian Peninsula, such as Astur — especially the more Western — or Lusitanian, but also the Gauls and Britons among others. However, because the borders shifted numerous times and Lusitanians and Gallaecians were often referred to as one people, it is relevant to note that some of the so-called Gallaecian or Lusitanian deities had the same names.
Of particular importance and popularity, especially following the Roman conquest, were a number of deities among whom were Endovelicus, Ataegina, Nabia and Trebaruna.
Bandua or Bandi: their name appears in numerous dedications, mostly to a male deity (exceptionally, female in one), and often linked to a town or a location (e.g., Bandua Roudaeco, Etobrico or Brealiacui). The deity was probably the protector of the local community, often associated with the Roman Mars[3] - possibly as the Gallaecian god of war - and in one dedication is considered a god or goddess of the Vexillum or standard.[4] Appears to have enjoyed great success among the Gallaeci of Braga.
Berobreus: god of the Otherworld and beyond. The largest shrine dedicated to Berobreo documented until now, stood in the fort of the Torch of Donón (Cangas), in the Morrazo's Peninsula, front of the Cíes Islands.
Bormanicus: god of hot springs similar to the Gaulish god, Bormanus.
The Fonte do Ídolo (Portuguese for Idol's Fountain), in Braga.
Nabia: may have been two separate deities, one invoked in tandem with Jupiter, possibly as the consort of the local Lusitanian equivalent; and another identified with Diana, Juno or Victoria (and Roman deities), linked to the protection and defense of the community or health, wealth and fertility. She was also associated with earth and sacred springs, possibly as the deity of water, fountains and rivers.[5] Her name still endures in Galicia and Portugal, such as river Navia, and the Idol Fountain, located in northern Portugal.
Cossus, warrior god, who attained great popularity among the Southern Gallaeci, was one of the most revered gods in ancient Gallaecia. Several authors suggest that Cosso and Bandua are the same God under different names.
Reue - Krzysztof Tomasz Witczak suggests he may be the equivalent of the Roman Iovis or Jupiter, both names ultimately deriving from Proto-Indo-European *diewo-.[6]
Lugus, or Lucubo, linked to prosperity, trade and craft occupations. His figure is associated with the spear. It is one of gods most common among the Celts and many, many place names derived from it throughout Europe Celtic Galicia (Galicia Lucus Latinized form) to Loudoun (Scotland), and even the naming of people as Gallaecia Louguei.
Coventina, goddess of abundance and fertility. Strongly associated with the water nymphs, their cult record for most Western Europe, from England to Gallaecia.
Endovelicus (Belenus) - taken to have been a god of prophecy and healing, with oracular functions. He appears to have been a minor chthonic god originally, but has become exceptionally popular after Roman colonization.[7]
Epona was a protector of horses, donkeys, and mules. She was particularly a goddess of fertility, as shown by her attributes of a patera, cornucopia, ears of grain and the presence of foals in some sculptures. She and her horses might also have been leaders of the soul in the after-life ride, with parallels in Rhiannon of the Mabinogion. Unusual for a Celtic deity, most of whom were associated with specific localities, the worship of Epona, "the sole Celtic divinity ultimately worshipped in Rome itself," was widespread in the Roman Empire between the first and third centuries AD.
Trebaruna appears in inscriptions in the Lusitanian language associated with another, presumably male deity named Reve.
There is hardly any sign of Bandua, Reue, Arentius-Arentia, Quangeius, Munidis, Trebaruna, Laneana and Nabia — all worshipped in the heart of Lusitania — outside the boundary with the Vettones. Bandua, Reue and Nabia were worshiped in the core area of Lusitania (including Northern Extremadura to Beira Baixa and Northern Lusitania) and reaching inland Galicia, the diffusion of these gods throughout the whole of the northern interior area shows a cultural continuity with Central Lusitania.
Other deities
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This section needs expansion. You can help by adding to it. (January 2011)
Main article: List of Lusitanian deities
Two regional deities in Western Iberia do not occur in the region: Crouga, worshiped around Viseu, and Aernus, in the Bragança area. The largest number of indigenous deities found in the whole Iberian Peninsula are located in the Lusitanian-Galician regions, and models proposing a fragmented and disorganized pantheon have been discarded, since the number of deities occurring together is similar to those of other Celtic peoples in Europe and ancient civilizations.
Toga, female deity of the known Lusitanian mythology. Her name is in inscriptions found on Vettone and Lusitanian territory[8][9] but the cult is thought to have Vettone origins.[9]
A sun goddess, Kontebria (Cantabria), was apparently present, her worship later being assimilated into Virgin Mary's Nossa Senhora de Antime figure.[10][11][12]
Dii, Lares, Nymphs and Genii were the main types of divinity worshiped, known from the Latin epigraphy, although many names are recorded in the Lusitanian or Celtiberian languages.
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Despite being among the oldest of Faerun's gods, Lathander nonetheless retained the cheery hopefulness of youth.[13] His was an eternal optimist,[20] with a constant willingness to focus on hopes for the future rather than wallow in the failures of the present.[13] He was a doggedly determined god[20] who encouraged proactive altruism and constant reevaluation of the old ways.[13] Exuberant and friendly,[20][13] his interests laid in vibrant life (regarding both birth and nature),[20] and conversely urged the destruction of the corrupted mockeries of life that he saw the undead as.[13]
Though liked for his many positive qualities, Lathander also had a reputation for displaying the flaws common to the young, such as zealotry, vanity, and excess.[20] Though enthusiastically altruistic and only slightly vain, it was said by his critics that his aggressive do-gooder mentality often prevented him from taking more sensible courses of action. His headstrong conceit could blind him to the consequences of his actions as in his idealistic crusades he simply attacked directly and hoped for the best, ignoring the ramifications.[13]
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Main article: Church of Lathander
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I shall let all who dwell in dark feel your holy dawn, Morninglord. Hear my prayer.
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— A basic prayer to Lathander.[29]
Novices in the Lathanderian faith were called the Awakened, while clerics were known as Dawnbringers. The full priests took a new name in his service when they were ready to signify that Lathander personally recognized and accepted them. This new name could either be used instead of their old name or simply used only when addressing other Dawnbringers and when in solitary prayer. Titles used by Dawnbringers (in ascending order) were: Dawngreeter, Dawnlord, High Dawnlord, Dawnmaster, Morninglord, High Morninglord, Mornmaster, High Mornmaster, and Sunrise Lord.[30] Specialty priests were also known as morninglords.[9] All followers were required to be of neutral to good alignment.[20]
All of Lathander's clergy respected art, liberty, nature, and culture; promoted betterment of oneself; and strove to bring hope to their followers and others. Many of these followers worked in various creative arts. They were intolerant of evil, especially undead and inaction that caused evil to prosper.[28] Most ceremonies of Lathander were held at dawn and actions and contracts agreed to at sunrise were said to be blessed by him.
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Lathanderian temples often sponsored non-combative athletic events, such as wrestling, archery, riding, running, swimming, and the like. They also honored creative competition in the arts, including the arts such as literature.[5][1] More often, local clergy hosted grand revels for forward-thinking scholars and intellectuals, in order to stimulate their creativity and inspire new ideas that would further advance culture and civilization across Faerûn.[13]
Priests of Lathander often concerned themselves with new business ventures, offering loans to business people seeking more startup capital than their neighborhood moneylender could offer. Some of them took this entrepreneurial spirit even further, becoming investors, merchants, and financial brokers for their own personal enrichment. They were often viewed as overly enthusiastic hucksters. Yet other priests chose to propagate more humanistic unions, serving as matchmakers to prospective lovers that had yet to find their partners.[13]
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The clever Uzume overturned a tub near the cave entrance and began to dance on it, tearing off her clothing in front of the other deities. They considered this so comical that they laughed heartily at the sight.[6] This dance is said to have founded the Japanese ritual dance, Kagura.[7] Further, this is also supported by other traditions claiming that the first kagura was danced by a shamaness who was a kami herself, Ame-no-Uzume, through luring (invoking the presence of) Amaterasu, thereby reenacting the intentions of the kagura as an act of communication to other deities.[8] Moreover, in addition to inspiring the origins of the kagura, the myth of Ame-no-Uzume has also influenced the sources of three Shamanic elements later being incorporated into Shinto ritual and the kagura, being the Omoto Kagura, Hana Matsuri, and the Hayachine Kagura in presenting shamanic choreography as ritual communication, what the myth is most known for contributing.[9]
Uzume had hung a bronze mirror and a beautiful jewel of polished jade. Amaterasu heard them, and peered out to see what the commotion was about. When she opened the cave, she saw the jewel and her glorious reflection in a mirror which Uzume had placed on a tree, and slowly came out from her clever hiding spot.
At that moment, the god Ame-no-Tajikarawo-no-mikoto dashed forth and closed the cave behind her, refusing to budge so that she could no longer retreat. Another god tied a magic shimenawa (compare the Nuristani myth of a chaff attaching itself to the thread around a house near heaven) across the entrance.[10] The deities Ame-no-Koyane-no-mikoto and Ame-no-Futodama-no-mikoto then asked Amaterasu to rejoin the divine. She agreed, and light was restored to the earth.
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Kagura (神楽かぐら, "god-entertainment") is a type of Shinto ritual ceremonial dance. The term is a contraction of the phrase kami no kura ("seat of god"), indicating the presence of gods (kami) in the practice.
One major function of kagura is chinkon (purifying and shaking the spirit), involving a procession-trance process. Usually a female shaman will perform the dance and obtain the oracle from the god—in the setting, the dancer herself turns into the god during the performance.[1] Once strictly a ceremonial art derived from kamigakari (神懸, "oracular divinification"), kagura has evolved in many directions over the span of more than a millennium. Today, it is very much a living tradition, with rituals tied to the rhythms of the agricultural calendar, thriving primarily in parts of Shimane Prefecture, and urban centers such as Hiroshima.[2]
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There are two major types of kagura: mai and odori. Mai consists of slow circular movement, stressing quiet and elegance, while odori consists of quick leaping and jumping, stressing activation and energy. The two types can be understood as two phases of kagura: mai is a preparation process for trance and odori is the unconscious trance stage.
During mai, the female shaman, surrounded by a group of priests, holds a gohei (a ceremonial wand used to cleanse or purify) as well as sound-producing instruments and engages with circling movement to summon deities. Once the female shaman enters a possessed state, she switches into the spontaneous leaping movements of odori.[1]
Satokagura, or "normal kagura", is a wide umbrella term containing a great diversity of folk dances derived from the Imperial ritual dances (mikagura), and incorporated with other folk traditions. It is the partial origin of both Noh and kyōgen.[10] A number of traditions of folk kagura exist:[5]
Miko kagura
Miko kagura – dances performed by shrine maidens (miko) originally derived from ritual dances in which the miko channeled the kami, as part of Imperial Court dances. These originally had a very loose form, akin to similar god-possession dances and rituals, but over time they have developed, into highly regular set forms. Today, they are performed by shrines during the daijō-sai (大嘗祭) festival and in worship to kami as part of a matsuri. They are also performed at Buddhist temples as a martial arts performance. These dances are often performed with ritual props, such as bells, bamboo canes, sprigs of sakaki, or paper streamers.
Izumo-ryū kagura – dances based on those performed at Izumo Shrine serve a number of purposes, including ritual purification, celebration of auspicious days, and the reenactment of folktales. Originally quite popular in the Chūgoku region, near Izumo, these dances have spread across the country, and have developed over the centuries, becoming more of a secular folk entertainment and less of a formal religious ritual. The sacred dance of the Sada shrine has been inscribed on the UNESCO list of Intangible cultural heritage of humanity since 2011.[11]
Hayachine Kagura – a form of dances derived from Yamabushi (a mobile group that embraces ascetic lives to gain power). This genre stresses on the power and energy. The performers always wear masks and use tools such as drum and sword to represent the magical power processed by Yamabushi.[4] It was inscribed in 2009 as an Intangible cultural heritage of humanity by UNESCO.[12]
Yutate kagura – a form of dances where miko and priests dip bamboo leaves in hot water and splash the hot water on themselves by shaking the leaves, and then scattering the hot water to people around the area.
Shishi kagura – a form of lion dance, in which a group of dancers take on the role of the lion (shishi) and parade around the town. The lion mask and costume is seen as, in some ways, embodying the spirit of the lion, and this is a form of folk worship and ritual, as other forms of lion dances are in Japan and elsewhere.
Daikagura – a form of dance deriving from rituals performed by traveling priests between Ise Grand Shrine and Atsuta Shrine, who would travel to villages, crossroads, and other locations to help the locals by driving away evil spirits. Acrobatic feats and lion dances played a major role in these rituals.
Around the time of the beginning of the Tokugawa shogunate (1603–1868), performances derived from this emerged in Edo as a major form of entertainment. In connection with the celebrations surrounding the beginning of the shogunate, lion dances, acrobatics, juggling, and a great variety of other entertainments were performed on stages across the city, all nominally under the auspices of daikagura. Over the course of the period, these came to be more closely associated with rakugo storytelling and other forms of popular entertainment. Daikagura continues to be performed to this day and include many elements of street entertainment.
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Ushas is the most exalted goddess in the Rig Veda, but not as important or central as the three male Vedic deities Agni, Soma, and Indra.[6] She is on par with other major male Vedic deities.[6] She is portrayed as a beautifully adorned young woman riding in a golden chariot or a hundred chariots, drawn by golden red horses or cows,[2] on her path across the sky, making way for the Vedic sun god Surya, who is referred either as her husband or her son.[2][4][7] Some of the most beautiful hymns in the Vedas are dedicated to her.[2][8][5] Her sister is "Nisha" or Ratri, the deity of night.[2]
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The etymology of Disani is somewhat unclear. It was loaned into Prasuni from Katë, as *d regularly becomes l in Prasuni. In Ashkun, the cognate term däsäṇī means "ogress". It has been theorized by others, such as Georg Morgenstierne, that the word is cognate with the Vedic Sanskrit term Dhiṣáṇā, via a preform *Dhiṣanikā. It has also been etymologized by Nuristani speakers themselves as di "sky" + saňi "soldier", thence from *Devasenikā, though Morgenstierne and Strand regard this as folk etymology, but is accepted by Halfmann.[3]
Disani is featured in a religion found among the Kati and Prasun peoples. The various Nuristani deities (including Disani) march up to a house near heaven, where demons live. She is told by the deities to sow seeds after they unsuccessfully try to shoot the house down with arrows. The seeds ripen quickly and the chaff, visible in white, attaches itself to the thread (compare shimenawa in the Iwato myth). Later, she tells Moni to look at her thighs, which are white and full. Moni gets excited, breaks the door and kills the demons.
This story is reminiscent of the Vedic variant of the Vala and the Japanese variant of the Amano-Iwato, suggesting a common Proto-Indo-Iranian origin. Her attributes recall those of the Vedic Ushas and Japanese Ame-no-Uzume, who perform similar feats.[1]
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At that moment, the god Ame-no-Tajikarawo-no-mikoto dashed forth and closed the cave behind her, refusing to budge so that she could no longer retreat. Another god tied a magic shimenawa (compare the Nuristani myth of a chaff attaching itself to the thread around a house near heaven) across the entrance.[10] The deities Ame-no-Koyane-no-mikoto and Ame-no-Futodama-no-mikoto then asked Amaterasu to rejoin the divine. She agreed, and light was restored to the earth.
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Historically, both the Inbe and Nakatomi clans had long performed Shinto religious services for the Japanese imperial court. However, at the beginning of the Heian period, the Fujiwara clan, whom the Nakatomi clan are a branch of, seized political power. This strengthened the Nakatomi clan while weakening the Inbe clan and caused conflict between the two clans.
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As the name of the clan "Imu" means "to abstain from Kegare", or "Saibai", the Imu clan was responsible for the rituals of the ancient Imperial Court, as well as for making ritual implements and building palaces. In the narrow sense, it refers to the Inbe family, the central family that led the Inbe clan, but in the broad sense, it includes the clans of the tribesmen who were led by the Inbe clan.
The main Inbe family claimed its ancestor was Amatatama-no-mikoto, who appeared in the Amano-Iwato myth of the Chronicles. It was based in the area around the present-day town of Inbe in Kashihara, Nara. They led the various clans in the region, and together with the Nakatomi clan, administered rituals for the Imperial Court since ancient times. In the Shukushi of the Enki-Shiki, it is written, "Let the Saibe clan's shukushi be used for the rituals of the palace and the gates, and let the Nakatomi clan's shukushi be used for all other rituals."
However, starting around the Nara period, the Nakatomi clan grew in power, and overwhelmed the Inbe position. In the early Heian period, the clan changed its name from Inbe to Saibe, and Saibe Hironari wrote the book Kogo Shūi. However, it never regained its momentum, and the position of ritual clan was occupied by the Nakatomi and Ohnakatomi clans.
The Inbe were divided into two groups: the Tomobe (public officials belonging to the imperial court) and the Kakibe (private citizens of the Inbe). Unlike the Saibes of the central clans, who had fewer and fewer achievements, the Inbe of the various regions included Izumo, who delivered jade, Kii, who delivered wood, Awa, who delivered cotton and linen, and Sanuki, who delivered shields. It is known from the literature that the people of these tribes later took the name of Inbe. These local clans left their traces everywhere.
In the Kojiki and the Nihon Shoki, it is written that Amenotama-no-mikoto and Amenokoya-no-mikoto were involved in rituals in the myth of Amano-Iwato. Ame-no-Koyane were involved in the ritual relationship, and both deities were followed together in the Descent of the Sun. Both of these deities were in charge of the rituals of the Imperial Court at the time of the compilation of the Chronicles. This reflects the difference in power between the Nakatomi clan and the Inbe clan at the time of the compilation. On the contrary, the position is reversed in the Kogo Shūi of the Inbe clan.
The Kogo Shūi on the side of the Inbe clan reverses its position. As for the origin of Amata-tamamikoto, the Kogo Shūi says that he is the son of Takamimusubi no Kami, and the Shinsen Surname Records follows this, but the origin is not mentioned in the Kojiki or Nihonshoki, so the truth is not clear.
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A country to the east, of the rising sun, was for a time engulfed in darkness. To see the darkness of this world puts me in mind of that land. Son of man, thou dost wish to become the light to cut through darkness? I will measure thy strength!
Futotama, Shin Megami Tensei: Strange Journey
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Fully known as Ame no Futotama, he is a god of Japanese origin who governs divination and religious services. He is said to be the divine ancestor of the Inbe clan.
Shin Megami Tensei: Strange Journey compendium
In Strange Journey, Futotama will appear as Ame no Uzume's companion in the task of finding and retrieving Lady Amaterasu, who has gotten lost in the immensity of the Schwarzwelt. After talking to Ame no Uzume in Sector Eridanus and agreeing to collaborate in the search, she will point out to look out for Futotama, who himself appears in Sector Fornax.
Once the protagonist has made contact with Futotama, he will provide the protagonist with a special mirror able to pierce illusions and reveal the truth. Upon confronting Kinmamon in Sector Eridanus after collecting the mirror, the illusion will fail and she will be revealed as a confused Amaterasu. Futotama and Ame no Uzume appear, thankful for finding their mistress before she got in trouble.
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Lusus is the supposed son or companion of Bacchus, the Roman god of wine and divine madness, to whom Portuguese national mythology attributed the foundation of ancient Lusitania and the fatherhood of its inhabitants, the Lusitanians, seen as the ancestors of the modern Portuguese people. Lusus thus has functioned in Portuguese culture as a founding myth.
In The Lusiads by Camões (1572), Lusus was the progenitor of the tribe of the Lusitanians and the founder of Lusitania. For the Portuguese of the 16th century it was important to look at the past prior to the Moorish domination to find the origins of the nationality.
These interpretations would strongly be propagated by the authoritarian right-wing regime of the Estado Novo during the 20th century.
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The entire character of Lusus in fact seems to derive from a mistranslation[2] of an expression in Pliny's Naturalis Historia. Pliny writes: "M. Varro informs us that... the name 'Lusitania' is derived from the games (lusum) of Father Bacchus, or the fury (lyssam) of his frantic attendants, and that Pan was the governor of the whole of it." The mistake would have been in the interpretation of the word lusum as a proper name ("Lusus") rather than as the common noun meaning "games": thus "lusum [...] liberi patris"[3] becomes "Lusus of father Bacchus" rather than "the sportiveness of father Bacchus." The resulting interpretation made "Lusus" a companion or son of Bacchus. It is this interpretation that is seen in Luís Vaz de Camões's Lusiads (canto III, strophe 21):
Esta foi Lusitania, derivada
De Luso, ou Lysa, que de Baccho antigo
Filhos foram, parece, ou companheiros,
E nella então os incolas primeiros.[4]
This Lusitania was; in whom we greet
Lusus, or Lysa, who the offspring were,
Or friends, of ancient Bacchus, as appears,
And her first dwellers in her earliest years.[4]
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The etymology of the name of the Lusitani (who gave the Roman province its name) remains unclear. Popular etymology connected the name to a supposed Roman demigod Lusus, whereas some early-modern scholars[which?] suggested that Lus was a form of the Celtic Lugus followed by another (unattested) root *tan-, supposed to mean "tribe",[3] while others derived the name from Lucis, an ancient people mentioned in Avienius' Ora Maritima (4th century AD) and from tan (-stan in Iranian), or from tain, meaning "a region" or implying "a country of waters", a root word that formerly meant a prince or sovereign governor of a region.[4][5][6]
Ancient Romans, such as Pliny the Elder (Natural History, 3.5) and Varro (116 – 27 BC, cited by Pliny), speculated that the name Lusitania had Roman origins, as when Pliny says "lusum enim Liberi Patris aut lyssam cum eo bacchantium nomen dedisse Lusitaniae et Pana praefectum eius universae" [Lusitania takes its name from the Lusus associated with Bacchus and the Lyssa of his Bacchantes, and Pan is its governor].
Lusus is usually translated as "game" or "play", while lyssa is a borrowing from the Greek λυσσα, "frenzy" or "rage", and sometimes Rage personified; for later poets, Lusus and Lyssa become flesh-and-blood companions (even children) of Bacchus. Luís de Camões' epic Os Lusíadas (1572), which portrays Lusus as the founder of Lusitania, extends these ideas, which have no connection with modern etymology.
In his work, Geography, the classical geographer Strabo (died ca. 24 AD) suggests a change had occurred in the use of the name "Lusitanian". He mentions a group who had once been called "Lusitanians" living north of the Douro river but were called in his day "Callacans".[7]
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Viriathus was thought by some to have a very obscure origin,[13] although Diodorus Siculus also says that Viriathus "approved himself to be a prince" and that he said he was "lord and owner of all".[14] His family was unknown to the Romans who were familiar with the native aristocratic warrior society. His personality and his physical and intellectual abilities as well as his skills as a warrior were described by several authors. He was a man of great physical strength, probably in the very prime of life, an excellent strategist,[15] and possessor of a brilliant mind. Some authors claim that the ancient authors described Viriathus with the precise features of a Celtic king.[4]
He was described as a man who followed the principles of honesty and fair dealing and was acknowledged for being exact and faithful to his word on the treaties and alliances he made.[14] Livy gives him the title of vir duxque magnus[16] with the implied qualities that were nothing more than the ideals of the ancient virtues.[17]
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The Lusitanians honored Viriathus as their Benefactor, (Greek: euergetes),[21] and Savior (Greek: soter),[22] typically Hellenistic honorifics used by kings like the Ptolemies.[23]
Some authors assert that he was probably from the Herminius Mons (Serra da Estrela), in the heart of Lusitania, (in central Portugal) or the Beira Alta region.
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And, in fine, he carried on the war not for the sake of personal gain or power nor through anger, but for the sake of warlike deeds in themselves; hence he was accounted at once a lover of war and a master of war. ~ Cassius Dio
The war with Viriathus was called "War of Fire" by the Greek historian Polybius of Megalopolis. Two types of war were carried on by Viriathus, bellum ('war'), when he used a regular army, and latrocinium, when the fighting involved small groups of combatants and the use of guerrilla tactics.[39] For many authors Viriathus is the model of the guerrilla fighter.
Nothing is known about Viriathus until his first feat of war in 149 BC. He was with an army of ten thousand men that invaded southern Turdetania.
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The races were discreetly organised, financed, and managed "behind the scenes", usually by members of the equestrian order on behalf of wealthy patrons and investors. Diocles was a "public hero", an exemplar of what Sinclair Bell describes as Rome's "performance culture", but was at best a low-class citizen, possibly a slave in his early career, or if manumitted, a freedman with continued duties to his patron. His earnings would have been more than enough to qualify him for membership of the equestrian or senatorial orders, but his profession excluded him from both, as someone socially and morally tainted or "infamous". For a member of the upper classes, openly competing for money was disgraceful in itself, and driving one's own chariot was an indignity. Making a living as a chariot driver would have excluded any citizen from many of the privileges and protections of full citizenship, and from holding any public office. Others in this category included actors, prostitutes, auctioneers, gladiators, butchers and funeral directors. Two jurists of the later Imperial era argue against the "infamous" status of charioteers, on the grounds that athletic competitions are not mere entertainment but "seem useful", as displays of Roman strength and virtus.[11][12]
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In general, philologists consider Lusitanian was an Indo-European language but not Celtic.[27]
Witczak (1999) is highly critical of the name-correspondences of Lusitanian and Celtic by Anderson (1985) and Untermann (1987), describing them as "unproductive" and agrees with Karl Horst Schmidt that they are insufficient proof of a genetic relationship because they could have come from language contact [with Celtic]. He concludes that Lusitanian is an Indo-European language, likely of a western but non-Celtic branch, as it differs from Celtic speech by some phonological phenomena, e.g. in Lusitanian Indo-European *p is preserved but Indo-European *d is changed into r; Common Celtic, on the contrary, retains Indo-European *d and loses *p.[28]
Villar and Pedrero (2001) propose a connection between Lusitanian and contemporaneous ancient Ligurian, which was spoken mostly in north-west Italy, between the Gaulish and Etruscan sprachraums). There are two major, unresolved lacunae in this hypothesis. Firstly, Ligurian remains unclassified and is usually considered to be either Celtic,[29] or "Para-Celtic", which does not resolve the question of dissimilarities between Lusitanian and canonical Celtic languages (including Iberoceltic). Secondly, the hypothesis is based partly on shared grammatical elements, parallels in theonyms and possible cognate lexemes, between Lusitanian and third languages that have no known connection to Ligurian, such as Umbrian, an Italic language. (Villar and Pedrero report possible cognates including e.g. Lusitanian comaim and Umbrian gomia.[2])
Jordán Colera (2007) does not consider Lusitanian or more broadly Gallo-Lusitanian, as a Celtic corpus, although he claims it has some Celtic linguistic features.[30]
According to Prósper (1999), Lusitanian cannot be considered a Celtic language under existing definitions of linguistic celticity because, along with other non-Celtic features, it retains Indo-European *p in positions where Celtic languages would not, specifically in PORCOM 'pig' and PORGOM.[31] More recently, Prósper (2021) has confirmed her earlier readings of inscriptions with the help of a newly discovered inscription from Plasencia, pointing to the morphs of the dative and locative endings that clearly separate Lusitanian from Celtic and approach it to Italic.[32][33] Prósper further argues that Lusitanian predates the arrival of Celtic in the Iberian Peninsula and points out that it retains elements of Old European, making its origins possibly even older and situating it in the Bronze Age.[34] This provides some support to the proposals of Mallory and Koch et al., who have postulated that the ancient Lusitanians originated from either Proto-Italic or Proto-Celtic speaking populations who spread from Central Europe into Western Europe after new Yamnaya migrations into the Danube valley, while Proto-Germanic and Proto-Balto-Slavic may have developed east of the Carpathian Mountains, in present-day Ukraine,[35] moving north and spreading with the Corded Ware culture in Middle Europe (third millennium BCE).[36][37] Alternatively, a European branch of Indo-European dialects, termed "North-west Indo-European" and associated with the Beaker culture, may have been ancestral to not only Italic and Celtic but also Germanic and Balto-Slavic.[38]
Luján (2019) follows a similar line of thought but places the origin of Lusitanian even earlier; he argues that the evidence shows that Lusitanian must have diverged from the other western Indo-European dialects before the kernel of what would then evolve into the Italic and Celtic language families had formed. This points to Lusitanian being so ancient that it predates both the Celtic and Italic linguistic groups. Contact with subsequent Celtic migrations into the Iberian Peninsula are likely to have led to the linguistic assimilation of the Celtic elements found in the language.[39]
Witczak and Mallory, propose that Proto-Lusitanian tribes arrived before all the Celtic invasions. They represented the so-called Bell Beaker culture dating back to around 2600 BC. Archeological findings of this culture are recurrent in Western Europe, spanning from present day Ireland to Hungary, Denmark all the way to Sicily. This view positions proto-Lusitanian tribes originating from the Netherlands and Rhineland region with shared lexical and phonological similarities between the onomastics found in the Gallia Belgica, (which was inhabited by the Belgians, an Indo-European nation located zwischen Germanen und Kelten) and that of the Lusitanians.[40]
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All the known inscriptions are written in the Latin alphabet, which was borrowed by bilingual Lusitanians to write Lusitanian since Lusitanian had no writing system of its own. It is difficult to determine if the letters have a different pronunciation than the Latin values[dubious – discuss][citation needed] but the frequent alternations of c with g (porcom vs. porgom) and t with d (ifadem vs. ifate), and the frequent loss of g between vowels, points to a lenis pronunciation compared to Latin. In particular, between vowels and after r, b may have represented the sound /β/, and correspondingly g was written for /ɣ/, and d for /ð/.
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Early Greek authors such as Hecataeus of Miletus and Pseudo-Scylax probably used 'Ligure' as a generic name for such distant and partially known tribes, or merely as a geographic reference that had no relevance to their ethnicity.[6][7] To reconcile conflicting accounts, certain sources coined terms like 'Celto-Ligure' to suggest an ethnic intermingling. Latin historian Livy believed that the Ligures represented an older stratum predating the Gauls in northern Italy, while Strabo and others observed that many of the peoples previously described as 'Ligures' were actually Celts. In an attempt to resolve these inconsistencies, Strabo proposed that Celtic influence had effectively supplanted the original Ligures.[11]
Writing in the early 1st century AD, Strabo noted that the Ligures living in the Alps were a people distinct from the Celts, even though they shared cultural similarities:
As for the Alps ... many tribes (éthnê) occupy these mountains, all Celtic (keltikà) except the Ligurians; but while these Ligurians belong to a different people (heteroethneis), still they are similar to the Celts in their modes of life (bíois)
— Strabo 1923, Geōgraphiká, 2.5.28.
Regarding the tribes around Massalia, earlier writers called the Salyes 'Ligure', while Strabo used the denomination 'Celto-Ligure'. According to scholars, this suggests that their culture gradually came under the influence of a Celtic-speaking elite, as evidenced by the Celtic name of their rulers and towns, and the Celtic influence on their religion.[12][13] Similarly, the Segobriges were identified as Ligures by the oldest texts about the foundation of Massalia, but their ethnonym and the names of their chiefs are undoubtedly Celtic.[14]
Some glosses appear in the text of ancient writers. Greek historian Herodotus, while discussing the name of the people known as the Sigynnae (Greek: Sigúnnai), a nomadic tribe from Central Europe, noted that the term sigynnae was also used by the Ligures living "up beyond Marseille" to refer to traders.[4] The Ligurian name of the River Po, recorded as Bodincus, is said by Pliny to mean "of unmeasured depth", which can be compared to Sanskrit budhná- ('bottom, ground, base, depth'), Latin fundus and Middle Irish bond ('sole of the shoe').[15]
Many of the other proposed Ligurian glosses remain uncertain. The term lebērís (λεβηρίς), recorded by Strabo as a Massiliote word for 'rabbit', is believed to have been borrowed into Latin as lepus. Pliny the Elder mentions langa or langurus as a type of lizard inhabiting the banks of the Po River, which Johannes Hubschmid linked to the Latin longus ('long'). The term asia, meaning 'rye' and recorded by Pliny, could be amended to sasia and connected to the Sanskrit sasya- ('corn, grain, fruit, crop') and Welsh haidd ('barley'), though these connections remain unsure.[15]
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By the late 1950s, Pokorny's theories had lost its momentum following critical scrutiny. The underlying place-name elements championed by de Jubainville and Pokorny, however, were reworked by Hans Krahe into his "Old European" theory. Focusing on hydronyms, Krahe advanced a more refined approach, yet it remained conceptually indebted to de Jubainville's earlier "Celto-Ligurian" framework. Though Krahe proposed a more systematic argument than the earlier "Illyrian" or "Celto-Ligurian" frameworks, his theory still faced criticism for assuming that widespread, older Indo-European features belonged to one single language rather than several archaic dialects.[3]
Linguist James Clackson has criticized these approaches by stating that "the label 'Ligurian' merely serves to conceal our ignorance" about the pre-Roman linguistic landscape in various regions of Europe.[4]
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One of the themes of this thread is deliberately performing "ignorance" or practicing naivety as a form of devotion, meditative practice, and magic. "What the new day will bring".
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"In knowing nothing, life is most delightful" (In nil sapiendo vita iucundissima est), a quote by Publilius Syrus
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"Ode on a Distant Prospect of Eton College" is an 18th-century ode by Thomas Gray. It is composed of ten 10-line stanzas that generally follow a ABABCCDEED rhyme sceme, with the B lines and final D line in iambic trimeter and the others in iambic tetrameter. In this poem, Gray coined the phrase "Ignorance is bliss". It occurs in the final stanza of the poem:
To each his suff'rings: all are men,
Condemn'd alike to groan,
The tender for another's pain;
Th' unfeeling for his own.
Yet ah! why should they know their fate?
Since sorrow never comes too late,
And happiness too swiftly flies.
Thought would destroy their paradise.
No more; where ignorance is bliss,
'Tis folly to be wise.[1]
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Naivety (also spelled naïvety), naiveness, or naïveté is the state of being naive. It refers to an apparent or actual lack of experience and sophistication, often describing a neglect of pragmatism in favor of moral idealism. A naïve may be called a naïf.
In its early use, the word naïve meant "natural or innocent", and did not connote ineptitude. As a French adjective, it is spelled naïve, for feminine nouns, and naïf, for masculine nouns. As a French noun, it is spelled naïveté.
It is sometimes spelled "naïve" with a diaeresis, but as an unitalicized English word, "naive" is now the more usual spelling.[1] "naïf" often represents the French masculine, but has a secondary meaning as an artistic style. "Naïve" is pronounced as two syllables, in the French manner, and with the stress on the second one.
The naïf appears as a cultural type in two main forms. On the one hand, there is 'the satirical naïf, such as Candide'.[2] Northrop Frye suggested we might call it "the ingénu form, after Voltaire's dialogue of that name. "Here an outsider ... grants none of the premises which make the absurdities of society look logical to those accustomed to them",[3] and serves essentially as a prism to carry the satirical message. Baudrillard indeed, drawing on his Situationist roots, sought to position himself as ingénu in everyday life: "I play the role of the Danube peasant: someone who knows nothing but suspects something is wrong ... I like being in the position of the primitive ... playing naïve".[4]
On the other hand, there is the artistic "naïf - all responsiveness and seeming availability".[5] Here 'the naïf offers himself as being in process of formation, in search of values and models...always about to adopt some traditional "mature" temperament'[6] - in a perpetual adolescent moratorium. Such instances of "the naïf as a cultural image... offered themselves as essentially responsive to others and open to every invitation... established their identity in indeterminacy".[6]
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Added in 59 minutes 41 seconds: Re: Lathander Vanth and her: The Next Lesson: Spitting on the Cross
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@Mr-DNA_
5 months ago
I love how their first question isn't HOW we went to the moon, but WHY we went.
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@rabenfedersonnenhut
5 months ago
@AdamSTTJr Because curiosity drives progress. Mere survival is possible with the status quo, but that is not enough. Surviving is not living.
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@DuncStatus
5 months ago
@AdamSTTJr one must throw the spear of destiny beyond oneself
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@oafka0
5 months ago
The Faustian spirit
@Bobalulubruhbibble
5 months ago (edited)
Love how they ask why it is necessary, when moon is made so far away and is something we can’t touch. Human kind is known to be an invasive species of our Earth. What we touch we exploit. They are very intuitive.
@Alejandro-e7g
5 months ago
You never went.
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@Lil_Mozart_V
1 month ago
It is deeply touching that despite not understanding a word she is saying, these people feel the beauty Maria Callas (the opera singer) is masterfully portraying and have a sort of reverence to it. As a musician and lover of classical music, my heart is very happy.
@brazilforreal1
2 weeks ago
Unfortunately, these people aren't tribesmen; they are one of the few groups who survived the decimation of South American indian populations. They live on reservations, which, for the most part, aren't in the same locations where their ancestors lived. They were transferred to these reservation areas to preserve their culture and lifestyle and to receive government support. This support includes all the legal rights, and basic rights, which means they have access to smartphones, television, the internet, and formal education up to the university level, as well as access to schools and hospitals. The video doesn't reflect reality.
The government and other federal agencies and institutions establish and manage the boundaries of these reservation areas.
While I'm not very well-informed about the parts of the Amazon located in other South American countries, I can tell you that in Brazil, the main governmental institution that cares for indigenous reserves and their residents is the National Foundation of Indigenous Peoples (FUNAI). This federal agency focuses on protecting indigenous rights, demarcating lands, and ensuring access to social services like healthcare and education. Other important government bodies involved include:
* Ministry of Indigenous Peoples (MPI): A ministry that coordinates federal policy regarding indigenous issues.
* Special Secretariat of Indigenous Health (SESAI): A part of the Ministry of Health, responsible for providing healthcare specifically for indigenous communities.
* Brazilian Institute of the Environment and Renewable Natural Resources (IBAMA): Works on environmental protection within and around indigenous territories.
* Federal Public Ministry (MPF): Acts as a legal entity to defend indigenous rights in court.
@moon-pw1bi
7 days ago
i mean i cant understand her either
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Re: Lathander
Posted: Mon Sep 29, 2025 2:05 pm
by kFoyauextlH
It is crazy seeming to me that societal poison has reached such a point that there are people loving this:
It is utterly disrespectful in every way, not only unpleasant for the listener, but it refers to something spiritual and associates it with these horrible sounds, which is Post-Christian processed sacrilege, it is treating this term in such a way because of all the demonization of the "others" who were around those who love to put down everyone around them.
I was in the shower and I thought how there is a difference between someone saying that all the Gods can be made to refer to real things which are manifestations of one, and the opposite which is that all the things around are evil, or false, and don't refer to anything real or any God. From the latter, the paranoid idea that there are real bad things besides people out there or that everything spiritual is only ever fake, is what I call post-Christian processing that has poisoned the way people treat so many things.
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Fear and Trembling speaks of many of Kierkegaard's most well-known concepts, such as the absurd, knight of faith, single individual, teleological suspension of the ethical, three stages, tragic hero, and so on.
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