dafuq (you) want homo
happy krampyquanzukah to homo
keep it in your pants
lillith is a talmud succubus
farmed government for landscapeing early on
use the daniel lotion on your homotus sailor
idk know the whole kaa story
prol some india dharma contra something with the hindus idk really anymore
those damn mormons
According to Jewish mythology, Lilith was Adam’s wife before Eve. Over the centuries she also became known as a succubus demon who copulated with men during their sleep and strangled newborn babies. In recent years the feminist movement has reclaimed her character by re-interpreting the patriarchal texts that portray her as a dangerous female demon in a more positive light.
the only explicit reference to a “Lilith” in the Bible appears in Isaiah 34:14, which reads: “The wild cat shall meet with the jackals, and the satyr shall cry to his fellow, yea, Lilith shall repose there and find her a place of rest.”
The Second Coming
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"The Second Coming" is a poem written by Irish poet W. B. Yeats in 1919, first printed in The Dial in November 1920, and afterwards included in his 1921 collection of verses Michael Robartes and the Dancer. The poem uses Christian imagery regarding the Apocalypse and Second Coming allegorically to describe the atmosphere of post-war Europe.[1] It is considered a major work of modernist poetry and has been reprinted in several collections, including The Norton Anthology of Modern Poetry.[2]
this is for akkela
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
boy is that tacky
super seo queer tacky
and yet
it get;s larped at
like a drumpf in a rabbit hole
The poem was written in 1919 in the aftermath of the First World War[3] and the beginning of the Irish War of Independence that followed the Easter Rising, at a time before the British Government decided to send in the Black and Tans to Ireland. Yeats used the phrase "the second birth" instead of "the Second Coming" in his first drafts.[4]
Phrases and lines from the poem are used in many works, in a variety of media, such as literature, motion pictures, television and music. Examples of works whose titles draw from "The Second Coming" include: Chinua Achebe's novel Things Fall Apart (1958), Joan Didion's essay collection Slouching Towards Bethlehem (1968), Robert B. Parker's novel The Widening Gyre (1983), the 1996 non-fiction book Slouching Towards Gomorrah: Modern Liberalism and American Decline by Robert Bork, the song "Slouching Towards Bethlehem" by Joni Mitchell from her 1991 album Night Ride Home, in the episode "Revelations" (9 November 1994) of the science fiction television series Babylon 5, the 2003 game Slouching Towards Bedlam, Elyn Saks' autobiography The Center Cannot Hold (2007), The Sopranos episode "The Second Coming" (2007), and the Joan Didion documentary The Center Will Not Hold (2017). The song "Four Winds" (2007) by Bright Eyes, uses the phrase "slouching towards Bethlehem" in its refrain, and the song "NFWMB" (2018) by Hozier includes the phrase "The end was soon/To Bethlehem/It slouched and then" in the first verse.
A 2016 analysis by Factiva showed that lines from the poem were quoted more often in the first seven months of 2016 than in any of the preceding 30 years.[5] In the context of political turmoil after the Brexit referendum and Donald Trump's election, commentators repeatedly invoked its lines: "Things fall apart; the centre cannot hold."[6]
the year akela was born
In Hebrew-language texts, the term lilith or lilit (translated as "night creatures", "night monster", "night hag", or "screech owl") first occurs in a list of animals in Isaiah 34:14, either in singular or plural form according to variations in the earliest manuscripts. In the Dead Sea Scrolls 4Q510-511, the term first occurs in a list of monsters. In Jewish magical inscriptions on bowls and amulets from the 6th century CE onwards, Lilith is identified as a female demon and the first visual depictions appear.
The Septuagint translates the reference into Greek as onokentauros, apparently for lack of a better word, since also the se'irim, "satyrs", earlier in the verse are translated with daimon onokentauros. The "wild beasts of the island and the desert" are omitted altogether, and the "crying to his fellow" is also done by the daimon onokentauros.[35]
The early 5th-century Vulgate translated the same word as lamia.[36][37]
et occurrent daemonia onocentauris et pilosus clamabit alter ad alterum ibi cubavit lamia et invenit sibi requiem
— Isaiah (Isaias Propheta) 34.14, Vulgate
The translation is, "And demons shall meet with monsters, and one hairy one shall cry out to another; there the lamia has lain down and found rest for herself".
Her house sinks down to death,
And her course leads to the shades.
All who go to her cannot return
And find again the paths of life.
— Proverbs 2:18–19
Her gates are gates of death, and from the entrance of the house
She sets out towards Sheol.
None of those who enter there will ever return,
And all who possess her will descend to the Pit.
— 4Q184
Faust:
Who's that there?
Mephistopheles:
Take a good look.
Lilith.
Faust:
Lilith? Who is that?
Mephistopheles:
Adam's wife, his first. Beware of her.
Her beauty's one boast is her dangerous hair.
When Lilith winds it tight around young men
She doesn't soon let go of them again.
— 1992 Greenberg translation, lines 4206–4211
After Mephistopheles offers this warning to Faust, he then, quite ironically, encourages Faust to dance with "the Pretty Witch". Lilith and Faust engage in a short dialogue, where Lilith recounts the days spent in Eden.
Faust: [dancing with the young witch]
A lovely dream I dreamt one day
I saw a green-leaved apple tree,
Two apples swayed upon a stem,
So tempting! I climbed up for them.
The Pretty Witch:
Ever since the days of Eden
Apples have been man's desire.
How overjoyed I am to think, sir,
Apples grow, too, in my garden.
— 1992 Greenberg translation, lines 4216 – 4223
The depiction of Lilith in Romanticism continues to be popular among Wiccans and in other modern Occultism.[75] A few magical orders dedicated to the undercurrent of Lilith, featuring initiations specifically related to the arcana of the "first mother", exist. Two organizations that use initiations and magic associated with Lilith are the Ordo Antichristianus Illuminati and the Order of Phosphorus. Lilith appears as a succubus in Aleister Crowley's De Arte Magica. Lilith was also one of the middle names of Crowley’s first child, Nuit Ma Ahathoor Hecate Sappho Jezebel Lilith Crowley (1904–1906), and Lilith is sometimes identified with Babalon in Thelemic writings. Many early occult writers that contributed to modern day Wicca expressed special reverence for Lilith. Charles Leland associated Aradia with Lilith: Aradia, says Leland, is Herodias, who was regarded in stregheria folklore as being associated with Diana as chief of the witches. Leland further notes that Herodias is a name that comes from West Asia, where it denoted an early form of Lilith.[85][86]
Gerald Gardner asserted that there was continuous historical worship of Lilith to present day, and that her name is sometimes given to the goddess being personified in the coven by the priestess. This idea was further attested by Doreen Valiente, who cited her as a presiding goddess of the Craft: "the personification of erotic dreams, the suppressed desire for delights".[87] In some contemporary concepts, Lilith is viewed as the embodiment of the Goddess, a designation that is thought to be shared with what these faiths believe to be her counterparts: Inanna, Ishtar, Asherah, Anath and Isis.[88] According to one view, Lilith was originally a Sumerian, Babylonian, or Hebrew mother goddess of childbirth, children, women, and sexuality[89][90] who later became demonized due to the rise of patriarchy.[91] Other modern views hold that Lilith is a dark moon goddess on par with the Hindu Kali.[92]
Many modern theistic Satanists consider Lilith as a goddess. She is considered a goddess of independence by those Satanists and is often worshipped by women, but women are not the only people who worship her. Lilith is popular among theistic Satanists because of her association with Satan. Some Satanists believe that she is the wife of Satan and thus think of her as a mother figure. Others base their reverence towards her based on her history as a succubus and praise her as a sex goddess.[93] A different approach to a Satanic Lilith holds that she was once a fertility and agricultural goddess.[94]
hahahaha
Truth is most often used to mean being in accord with fact or reality, or fidelity to an original or standard.[1] Truth is also sometimes defined in modern contexts as an idea of "truth to self", or authenticity.
Truth is usually held to be opposite to falsehood, which, correspondingly, can also suggest a logical, factual, or ethical meaning. The concept of truth is discussed and debated in several contexts, including philosophy, art, theology, and science. Most human activities depend upon the concept, where its nature as a concept is assumed rather than being a subject of discussion; these include most of the sciences, law, journalism, and everyday life. Some philosophers view the concept of truth as basic, and unable to be explained in any terms that are more easily understood than the concept of truth itself. To some, truth is viewed as the correspondence of language or thought to an independent reality, in what is sometimes called the correspondence theory of truth.
Various theories and views of truth continue to be debated among scholars, philosophers, and theologians.[2] Language is a means by which humans convey information to one another. The method used to determine whether something is a truth is termed a criterion of truth. There are varying stances on such questions as what constitutes truth: what things are truthbearers capable of being true or false; how to define, identify, and distinguish truth; what roles do faith and empirical knowledge play; and whether truth can be subjective or is objective: relative truth versus absolute truth.
Aletheia (Ancient Greek: ἀλήθεια) is truth or disclosure in philosophy. It was used in Ancient Greek philosophy and revived in the 20th century by Martin Heidegger.
It is a Greek word variously translated as "unclosedness", "unconcealedness", "disclosure" or "truth". The literal meaning of the word ἀ–λήθεια is "the state of not being hidden; the state of being evident." It also means factuality or reality.[1] It is the opposite of lethe, which literally means "oblivion", "forgetfulness", or "concealment".[2] According to Pindar's Olympian Ode,[3] Aletheia is the daughter of Zeus, while Aesop in his Fables[4] said that she was crafted by Prometheus.
A painting that reveals (alethe) a whole world. Heidegger mentions this particular work of Van Gogh's in "The Origin of the Work of Art".
In the early to mid 20th-century, Martin Heidegger brought renewed attention to the concept of aletheia, by relating it to the notion of disclosure, or the way in which things appear as entities in the world. While he initially referred to aletheia as "truth", specifically a form that is pre-Socratic in origin, Heidegger eventually corrected this interpretation, writing:
To raise the question of aletheia, of disclosure as such, is not the same as raising the question of truth. For this reason, it was inadequate and misleading to call aletheia, in the sense of opening, truth."[5]
Heidegger gave an etymological analysis of aletheia and drew out an understanding of the term as 'unconcealedness'.[6] Thus, aletheia is distinct from conceptions of truth understood as statements which accurately describe a state of affairs (correspondence), or statements which fit properly into a system taken as a whole (coherence). Instead, Heidegger focused on the elucidation of how an ontological "world" is disclosed, or opened up, in which things are made intelligible for human beings in the first place, as part of a holistically structured background of meaning.
Heidegger also wrote that "Aletheia, disclosure regarded as the opening of presence, is not yet truth. Is aletheia then less than truth? Or is it more because it first grants truth as adequatio and certitudo, because there can be no presence and presenting outside of the realm of the opening?"[7]
Heidegger began his discourse on the reappropriation of aletheia in his magnum opus, Being and Time (1927),[8] and expanded on the concept in his Introduction to Metaphysics. For more on his understanding of aletheia, see Poetry, Language, and Thought, in particular the essay entitled "The Origin of the Work of Art", which describes the value of the work of art as a means to open a "clearing" for the appearance of things in the world, or to disclose their meaning for human beings.[9] Heidegger revised his views on aletheia as truth, after nearly forty years, in the essay "The End of Philosophy and the Task of Thinking," in On Time and Being.
i hate heidegger