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1. To characterize or brand as disgraceful or ignominious.
2. To mark with stigmata or a stigma.
The word is derived from the Greek: Ανδρέας, Andreas,[4] itself related to Ancient Greek: ἀνήρ/ἀνδρός aner/andros, "man"
Sigma (シグマ Shiguma?). He is the creation of Dr. Cain, considered to be the finest reploid of the time with circuitry designs meant to keep him from going maverick.
Metatron (Hebrew מטטרון) or Mattatron (a differentiation of Metatron[1]) is an archangel in Judaism and in Christian folklore. According to Jewish medieval apocrypha, he is Enoch, ancestor of Noah, transformed into an angel.
The word σύνθρονος (synthronos) is used as "co-occupant of the divine throne";[26] however, like the above etymology, it is not found in any source materials.[19] It is supported by Saul Lieberman and Peter Schäfer, who give further reasons why this might be a viable etymology.[27] The Latin word Metator (messenger, guide, leader, measurer) had been suggested by Eleazar ben Judah of Worms (c. 1165 – c. 1230), Rabbi Moshe ben Nachman, and brought to light again by Hugo Odeberg.[19] When transliterated into the Hebrew language, we get מטיטור or מיטטור. Gershom Scholem argues that there is no data to justify the conversion of metator to metatron.[25]
The first game in the series, simply titled Prince of Persia, was created by Jordan Mechner after the success of Karateka. Drawing from multiple general sources of inspiration, including the Arabian Nights stories,[2] the films like Raiders of the Lost Ark[3] and The Adventures of Robin Hood.[4]
Farsi is the indigenous name for the Persian language.
Logarock
reply to post by muzzleflash
Flash why don't you start up a thread on this or something. You are derailing this thread.
Logarock
reply to post by muzzleflash
Flash why don't you start up a thread on this or something. You are derailing this thread.
muzzleflash
Logarock
reply to post by muzzleflash
Flash why don't you start up a thread on this or something. You are derailing this thread.
So what do those symbols mean anyway? In "English" ?
"On Topic for 30+ pages" and what solutions have you?
I must have missed it.
You can just link it, thanks.edit on 20-3-2014 by muzzleflash because: (no reason given)
Logarock
muzzleflash
Logarock
reply to post by muzzleflash
Flash why don't you start up a thread on this or something. You are derailing this thread.
So what do those symbols mean anyway? In "English" ?
"On Topic for 30+ pages" and what solutions have you?
I must have missed it.
You can just link it, thanks.edit on 20-3-2014 by muzzleflash because: (no reason given)
You said yourself on the last page that what you were posting didn't have anything to do with what we had been talking about.
beansidhe
beansidhe
The Creator is something that has been on my mind, as there are glaring inconsistencies in the works that I am reading. I read the introduction to Taliesin last night, having just skimmed over it previously.
In it Nash quotes another author, Yeowell, from his 'Chronicles of the British Church' (1847) who claims that:
"The following epitome of the religious principles of the primitive Druids of Britain, drawn from their own memorials [possibly the Triads? The author doesn't quote his source] will show their conformity to the religion of Noah and the antediluvians; that the patriarchal religion was actually preserved in Britain under the name of Druidism; and that the British Druids, while they worshipped in groves, and under the oak like Abraham, did really adore the God of Abraham, and trust in his mercy."
p12
Caesar, on the other hand, wrote that the Druids worshipped Mercury and Minerva.
I can't prove or disprove either source, but again, it's another thing to bear in mind. I cannot for the life of me remember where I read it, but I will endeavor to hunt it down, but one source claimed that the Druids practiced a form of religion so similar to Christianity that St Ninian was surprised when he arrived to Galloway in 397 AD. Whether this is a way for the authors to sanitise the past, or whether in fact this was the case, I really don't know.
What we do know is that on the stones there are biblical references to the old Testament stories: Samson etc. It might be helpful, for a while at least, to forget about class 1 and 2 categorisations, and not think of a pre-christian/post christian split. I'm not certain that that's the right way way to proceed, but it might help us to think about them in a slightly different way.
The game involves two friends who travel through time, attempting to restore an altered past and solve murders along the way.
The story revolves around Sigma Kurogami, a high school student and "sound user" whose family guards a huge clock sealing off the demon Ōma. One day, his past is rewritten, causing chaos in his present. He then works with his friend Neon Tsukiyumi to solve an increasingly complex string of murder cases and return his life to normal.
Sigma has the ability to cause miracles with the sound of his voice, a hereditary family trait.[3] Neon is part of a clan of "card wielders" that have fought against the Ouma, and also possess the power to change forms through meditation.[5]
Sigma (couch), an ancient Roman couch used for banquets
Exclusive to the Sigma version of the game are three new chapters starring three alternate playable characters: Ayane (a kunoichi from a friendly clan who helps Ryu, originally from the Dead or Alive series), Momiji (a female member of the Hayabusa clan who uses a naginata and was introduced in Ninja Gaiden: Dragon Sword) and Rachel (a Fiend hunter from the Holy Vigoor Empire who is in possession of the "Fiend's Blood" curse
Damask (Arabic: دمسق) is a reversible figured fabric of silk, wool, linen, cotton, or synthetic fibres, with a pattern formed by weaving. Damasks are woven with one warp yarn and one weft yarn, usually with the pattern in warp-faced satin weave and the ground in weft-faced or sateen weave. Twill damasks include a twill-woven ground or pattern.[1][2]
water caltrop, water chestnut, buffalo nut, bat nut, devil pod, ling nut, singhara (Hindi: सिंघाडा)سنگھارا (Urdu) or pani-phal (Hindi: पानीफल) is any of three extant species of the genus Trapa: Trapa natans, T. bicornis and the endangered Trapa rossica.
The lingam (also, linga, ling, Shiva linga, Shiv ling, Sanskrit लिङ्गं, liṅgaṃ, meaning "mark", "sign", "inference" or[1][2]) is a representation of the Hindu deity Shiva used for worship in temples.[3] In traditional Indian society, the linga is rather seen as a symbol of the energy and potentiality of the God.[4][4][5][6][7]
The lingam is often represented alongside the yoni, a symbol of the goddess or of Shakti, female creative energy.[8] The union of lingam and yoni represents the "indivisible two-in-oneness of male and female, the passive space and active time from which all life originates".[9]
Yoni (Sanskrit: योनि yoni) is a Sanskrit word with different meanings, most basically "vagina" or "womb". Its counterpart is the lingam. It is also the divine passage, or sacred temple (cf. lila). The word can cover a range of extended meanings, including: place of birth, source, origin, spring, fountain, place of rest, repository, receptacle, seat, abode, home, lair, nest, stable.
It is recorded variously in poetry and prose, chantfable being the style of traditional performance,[2] and is sung widely throughout Central Asia. Its classic version is to be found in central Tibet.[3] Some 100 bards of this epic (sgrung: lit."tale")[4] are still active today in the Gesar belt of China,[5] Tibetan, Mongolian, Buryat, and Tu singers maintain the oral tradition and the epic has attracted intense scholarly curiosity as one of the few oral epic traditions to survive as a performing art.
In Chinese mythology, xiao or hsiao is the name of several creatures, including the xiao (囂) "a long-armed ape" or "a four-winged bird" and shanxiao (山魈) "one-legged mountain imp". Furthermore, some western sources misspell and misconstrue Chinese hsiao as "hsigo" [sic] "a flying monkey".
hsiao; literally "clamor"
The Chinese word xiao (囂) means "noise; clamor; hubbub; haughty; proud; arrogant".
The Chinese character (囂) for xiao ideographically combines the radicals kou (口 "mouth", quadrupled as 㗊) and ye (頁) "head", thus signifying "many voices". The first Chinese character dictionary, the (121 CE) Shuowen Jiezi defines xiao (囂) as sheng (聲) "sound; noise", and cryptically says (气出頭上) "qi is emitted on top of the head", which Duan Yucai's commentary explains as (聲出而气隨之) "noise is emitted and qi follows it".
In Confucian philosophy, filial piety (Chinese: 孝, xiào) is a virtue of respect for one's parents and ancestors. The Confucian classic Xiao Jing or Classic of Xiào, thought to be written around the Qin-Han period, has historically been the authoritative source on the Confucian tenet of xiào / "filial piety". The book, a conversation between Confucius and his student Zeng Shen (曾參, also known as Zengzi 曾子), is about how to set up a good society using the principle of xiào (filial piety).
Xiao (flute), a Chinese end-blown flute
Xiao (rank), a rank used for field officers in the Chinese military
Xiao County, in Anhui, China
Xiao Mountain, a range of mountains in Henan, China, or the surrounding Xiao region
Xiao River, a tributary of the Xiang River, in Hunan, China
"Xiao Xiao" literally is the Chinese character for "small" repeated twice in Mandarin Chinese; here this reduplication connotes an affectionate diminutive – an equivalent might be the English expression "itty bitty" or "lil' old".
Z = Aaron's rod possibly which is purely figurative most likely.
and the "Cuffs" being "cut by the Z of Zoro's Pin-Pen/Sword(Sacred Word)" would possibly represent being freed from bondage/slavery through speech.
beansidhe
reply to post by muzzleflash
Z = Aaron's rod possibly which is purely figurative most likely.
and the "Cuffs" being "cut by the Z of Zoro's Pin-Pen/Sword(Sacred Word)" would possibly represent being freed from bondage/slavery through speech.
The Z never appears alone, but only in conjunction with a serpent, a notched rectangle or the double discs. Some speculate that it stands for 'death'. If we think of death more loosely, in terms of being freed, then yes, that's possible and gives another way of looking at it
The shape and alphabetic position of Sigma is derived from Phoenician shin
Shin (also spelled Šin (šīn) or Sheen) literally means "teeth", "press", and "sharp";
The name of sigma, according to one hypothesis,[1] may continue that of Phoenician Samekh. According to a different theory,[2] its original name may have been "San " (the name today associated with another, obsolete letter), while "sigma" was a Greek innovation that simply meant "hissing", based on a nominalization of a verb σίζω (sízō, from earlier *sig-jō, meaning 'I hiss').
Samekh or Simketh is the fifteenth letter in many Semitic alphabets, including Phoenician, Hebrew, and Aramaic, representing /s/. The Arabic alphabet, however, uses a letter based on Phoenician šin to represent /s/ (see there);
The origin of Samekh is unclear. The Phoenician letter may continue a glyph from the Middle Bronze Age alphabets, either based on a hieroglyph for a tent peg / some kind of prop (s'mikhah, Hebrew: סמיכה, or t'mikhah, Hebrew: תמיכה, in modern Hebrew means to support), and thus may be derived from the Egyptian hieroglyph djed.
Well now we have a syntar. I am leaning toward a Galatian/Greek/Thrace connection.
Some scholars have theorized that such a migration could have occurred more recently than classical sources suggest, and have sought to fit the Phrygian arrival into a narrative explaining the downfall of the Hittite Empire and the end of the high Bronze Age in Anatolia.[8] According to this recent migration theory, the Phrygians invaded just before or after the collapse of the Hittite Empire at the beginning of the 12th century BC, filling the political vacuum in central-western Anatolia, and may have been counted among the "Sea Peoples" that Egyptian records credit with bringing about the Hittite collapse. The so-called Handmade Knobbed Ware found in Western Anatolia during this period has been suggested to be an import connected to this invasion.
However, most scholars reject such a recent Phrygian migration and accept as factual the Iliad's account that the Phrygians were established on the Sakarya River before the Trojan War, and thus must have been there during the later stages of the Hittite Empire, and probably earlier. These scholars seek instead to trace the Phrygians' origins among the many nations of western Anatolia who were subject to the Hittites.[9]
The earliest form of Man is Manu or Mana,[6] which appears in the genitive case as Vaninn, hence Ellan Vannin "Island of Man".
The name Mana/u is related to the figure of Celtic mythology known as Manannán mac Lir to the Irish and Manawydan to the Welsh.[7]
The name enters recorded history as Mona (Julius Caesar, 54 BC), and is also recorded as Monapia or Monabia (Pliny the Elder, AD 77), Monœda (Ptolemy, AD 150), Mevania or Mænavia (Orosius, AD 416), and Eubonia or Eumonia by Irish writers. Welsh records it as Manaw, and in the Sagas of Icelanders it is Mön.[8][9][10][11]
Manannán mac Lir is a sea deity in Irish mythology. He is the son of the obscure Lir (in Irish the name is "Lear", meaning "Sea"; "Lir" is the genitive form of the word). He is often seen as a psychopomp, and has strong affiliations with Tír na nÓg (the Irish Otherworld), the weather and the mists between the worlds. He is usually associated with the Tuatha Dé Danann, although most scholars consider him to be of an older race of deities. Manannán figures widely in Irish literature, and appears also in Scottish and Manx legend. He is cognate with the Welsh figure Manawydan fab Llŷr.
As guardian of the Blessed Isles as well as Mag Mell he also has strong associations with Emhain Abhlach, the Isle of Apple Trees, where the magical silver apple branch is found. To the Celts, the Blessed Isles that lie beyond the sea are the gateways to the Otherworlds, where the soul journeys to after death. Manannán is the guardian of these gateways between the worlds. [9]
Mannanán's powerful role in the cycle of life and death is also expressed in his possession of magic swine whose flesh provides food for feasting by the gods, and then regenerates each day, like that of Odin's boar Sæhrímnir in Scandinavian myth.[10]
Manannán had many magical items. He gave Cormac mac Airt his magic goblet of truth; he had a ship that did not need sails named "Wave Sweeper"; he owned a cloak of mists that granted him invisibility, a flaming helmet, and a sword named Fragarach ("Answerer" or "Retaliator") that could slice through any armour and upon command when pointed at a target could make that target answer any question asked truthfully. He also owned a horse called "Enbarr of the Flowing Mane" which could travel over water as easily as land. In some sources he is described as driving his chariot over the sea as if over land, and through fields of purple flowers.
It was said that no one could tell a lie with Fragarach at his or her throat, thus the name 'Answerer'. It was also said to place the wind at the user's command and could cut through any shield or wall, and had a piercing wound from which no man could recover.
"Wave-sweeper"
The meaning of this name has variously explained as "One Mane" (O'Curry)[2] [aon "one" + barr "hair, tip (as well as mane of a horse")], "Froth" (Cormac's glossary) [3] [én "water" + barr [cacumen, spuma] ], and "unique supremacy" (Mackillop's Dictionary).
The name Embarr (meaning "imagination"[?]) seems to have been spuriously ascribed as being Niamh's horse.[4]
Manu Needhi Cholan or Manuneedhi Cholan, also known as Elara, was a legendary Chola king believed to have killed his own son to provide justice to a Cow.Legend has it that the king hung a giant bell in front of his courtroom for anyone needing justice to ring. One day, he came out on hearing the ringing of the bell by a Cow. On enquiry he found that the Calf of that Cow was killed under the wheels of his chariot. In order to provide justice to the cow, he killed his own son Veedhividangan under the chariot as a punishment to himself i.e. make himself suffer as much as the cow.[1] Impressed by the justice of the king, Lord Shiva blessed him and brought back the calf and his son alive. He has been mentioned in the Silappatikaram and Periya Puranam.[2]His name has since then been used as a metaphor for fairness and justice in Tamil literature. His capital was Thiruvarur.
Zeus fell in love with Elara and hid her from his wife Hera's jealousy by placing her deep beneath the Earth. This was where she gave birth to Tityos, a giant who is sometimes said to be the son of Gaia, the Earth goddess, for this reason. It is further added that Elara died in labour because of the enormous size of her baby.[1][2]
Tityos was the son of Elara; his father was Zeus. Zeus hid Elara from his wife, Hera, by placing her deep beneath the earth. Tityos grew so large that he split his mother's womb, and was carried to term by Gaia, the Earth. Once grown, Tityos attempted to rape Leto at the behest of Hera and was slain by Artemis and Apollo. As punishment, he was stretched out in Tartarus and tortured by two vultures who fed on his liver, which grew back every night. This punishment is comparable to that of the Titan Prometheus.
Manu the Great was a Chaldean god who presided over fate.
Manu the Great is unrelated to and should not be confused with the Hindu progenitor of mankind, Manu nor any of his manifestations.
In some Hindu traditions, Manu is a title accorded to a progenitor of humanity. According to these traditions, the current time period is ruled by the seventh Manu called the Vaivasvata Manu, the son of Vivasvân and his wife Sanjnâ.[1]
Vaivasvata Manu, whose original name was Satyavrata, is the 7th Manu and considered the first king to rule this earth, who saved humanity from the great flood — after being warned of it by the Matsya avatar of Vishnu,[2] who had also advised him to build a giant boat. The story is mentioned in early Hindu scriptures such as the Satapatha Brahmana, and it has often been compared with the popular traditions of a Great Deluge from other cultures around the world,[3] particularly that of Noah's Ark.[4] Because Manu was believed to be absolutely honest, he was initially known as Satyavrata ("One with the oath of truth"). Vaivasvata Manu ruled as King Manu.[5][6][7] His wife was Sraddha.[8]
It was then that He (Lord Matsya), revealing Himself, informed the King of an all-destructive deluge which would be coming very soon.[5][6][17][18] The King built a huge boat which housed his family, 9 types of seeds, and animals to repopulate the earth, after the deluge would end and the oceans and seas would recede. At the time of deluge, Vishnu appeared as a horned fish and Shesha appeared as a rope, with which Vaivasvata Manu fastened the boat to horn of the fish.[19]
According to the Matsya Purana, his boat was perched after the deluge on the top of the Malaya Mountains[5][6][17] This narrative is to an extent similar to other deluge stories, like those of Utnapishtim from ancient Sumerian Mythology, and the story of Noah's ark from the Bible [4] and the Qur'an.
Utnapishtim (or Utanapishtim) is a character in the epic of Gilgamesh who is tasked by Enki (Ea) to abandon his worldly possessions and create a giant ship to be called The Preserver of Life. He was also tasked with bringing his wife, family, and relatives along with the craftsmen of his village, baby animals and grains.[1] The oncoming flood would wipe out all animals and humans that were not on the ship, similar to that of the Noah's Ark story. After twelve days on the water, Utnapishtim opened the hatch of his ship to look around and saw the slopes of Mount Nisir, where he rested his ship for seven days. On the seventh day, he sent a dove out to see if the water had receded, and the dove could find nothing but water, so it returned. Then he sent out a swallow, and just as before, it returned, having found nothing. Finally, Utnapishtim sent out a raven, and the raven saw that the waters had receded, so it circled around, but did not return. Utnapishtim then set all the animals free, and made a sacrifice to the gods. The gods came, and because he had preserved the seed of man while remaining loyal and trusting of his gods, Utnapishtim and his wife were given immortality, as well as a place among the heavenly gods.
In Sumerian mythology, Ninsun or Ninsuna ("lady wild cow") is a goddess, best known as the mother of the legendary hero Gilgamesh,