Category: Other Page 117 of 182
Lie on a firm, flat surface with no pillow. Keep the legs straight and uncrossed, and the arms at your side with the palms of the hands turned upward. The body should be as relaxed as possible. It is very important to be in a quiet, dark place and best if practiced at night or in the early morning when the rest of the world is still. If noise is a problem, earplugs may be used.
With the eyes and the mouth closed (this is important), turn all your attention to the inside of your head, and begin to listen carefully. Concentrate on the right side of the head, near the inner ear. There will be a sound of some sort. Perhaps you will hear a light ringing sound, a soft buzzing sound, or something akin to a faint rumble. Listen as closely as possible to whatever sound it is that you are hearing, with absolute attention—as though you were trying to hear someone in another room who is speaking in a whisper.
As you listen, the sound you her will grow louder, and you will start to hear other sounds. In fact, so many sounds may start to swell at once that the original sound may be lost. As the sounds become louder, focus your attention on just one, as if you were trying to single out one instrument in a symphony. Concentrate intently on that one sound. It will become louder and louder, and you may in time experience the sensation of having your whole body resonate with that sound. As you listen the sound may stop and turn into something else—more refined and vibrant. Go with that, and by all means keep the attention as focused as possible.
There are many sounds you may hear; bells, flutes, falling water, the sound of the ocean, the singing of birds, and more.
Source: Nad Yoga: Sound Current Meditation | Medicine Hunter
A yogin, at the start of his practice, concentrates in the inner side of right ear from inside and, hears many sounds proceeding from those like an ocean and clouds( It is said that this starts from sounds of crickets and other familiar sounds and at higher levels it is Sounds of flute, cymbals and Cloud thunder).[28][4] These filter out, and over time, he can hear more subtle sounds such as single note of musical instruments at his will, and get absorbed in whichever sound note it wants to, asserts the text.[29][4] This focus on sound notes help the yogi destroy distractions from other senses and fluctuations of his mind, just like a bee focussed on honey does not care about the odour that surrounds it.[22][4] Such a yogi does not care about fame or disgrace from others, he does not feel heat or cold, neither joy nor sorrow, he is lost within, in his self, in Brahman-Pranava (Om).[4][30]
Source: Nadabindu Upanishad – Wikipedia
Klephts (/klɛfts/; Greek κλέφτης, kléftis, pl. κλέφτες, kléftes, which means “thief” and perhaps originally meant just “brigand”[2]) were highwaymen turned self-appointed armatoloi, anti-Ottoman insurgents, and warlike mountain-folk who lived in the countryside when Greece was a part of the Ottoman Empire.[2][3] They were the descendants of Greeks who retreated into the mountains during the 15th century in order to avoid Ottoman rule.[4] They carried on a continuous war against Ottoman rule and remained active as brigands until the 19th century.[4][5]
The terms kleptomania and kleptocracy are derived from the same Greek root, κλέπτειν (kléptein), “to steal”.[6]
Source: Klepht – Wikipedia
The most widely accepted theory for the origin of the name “Sarakatsani” is that it comes from the Turkish word karakaçan (from kara = ‘black’ and kaçan = ‘fugitive’), used by the Ottomans, in reference to those people who dressed in black and fled to the mountains during the Ottoman occupation of Greece.[6] They never accepted the fall of Constantinople. According to another theory, the name derives from the village of Sakaretsi, the supposed homeland of the Sarakatsani.[7] […]
Georgakas (1949) and Kavadias (1965) believe that the Sarakatsani are either descendants of ancient nomads who inhabited the mountain regions of Greece in the pre-classical times, or they are descended from sedentary Greek peasants forced to leave their original settlements around the 14th century who became nomadic shepherds. Angeliki Hatzimihali, a Greek folklorist who spent a lifetime among the Sarakatsani, emphasises the prototypical elements of Greek culture that she found in the pastoral way of life, social organisation and art forms of the Sarakatsani. She also points out the similarity between their decorative art and the geometric art of pre-classical Greece.[17]
Source: Sarakatsani – Wikipedia
As an indigenous group Highland Travellers have played an essential role in the preservation of traditional Gaelic culture.[23] Travellers’ outstanding contribution to Highland life has been as custodians of an ancient and vital singing, storytelling and folklore tradition of great importance.
Ancient Sumerian epic poems did not use any kind of poetic meter and lines did not have consistent lengths;[13] instead, Sumerian poems derived their rhythm solely through constant repetition, with subtle variations between lines.[13] Indo-European epic poetry, by contrast, usually places strong emphasis on the importance of line consistency and poetic meter.[13] Ancient Greek and Latin poems were written in dactylic hexameter.[14] Old English, German and Norse poems were written in alliterative verse,[15] usually without rhyme. Italian, Spanish and Portuguese long poems were usually written in terza rima [16] or especially ottava rima.[17] From the 14th century English epic poems were written in heroic couplets,[18] and rhyme royal,[19] though in the 16th century the Spenserian stanza[20] and blank verse[21] were also introduced. The French alexandrine is currently the heroic line in French literature, though in earlier periods the decasyllable took precedence. In Polish literature, couplets of Polish alexandrines (syllabic lines of 7+6 syllables) prevail.[22] In Russian, iambic tetrameter verse is the most popular.[23] In Serbian poetry, the decasyllable is the only form employed.[24][25]
Source: Epic poetry – Wikipedia
Jagadguru Rambhadracharya composed the epic in 2002 at Chitrakuta during his sixth six-month Payovrata (milk-only diet).[3] The poet chose 21 as the number of cantos due to several reasons. He composed the epic at the beginning of the 21st century, and it was the first Sanskrit epic to be composed in the 21st century. The number 21 is also associated with the narrative of the epic. Reṇukā, the mother of Paraśurāma, beats her chest 21 times after the Haihaya kings murder her husband Jamadagni. Subsequently, Paraśurāma annihilates the Kṣatriyas 21 times from the earth.
Of these things,
Speak, Immortal One,
And tell the tale once more in our time.
Source: The Odyssey, Book I, Lines 1-20 by Homer – Poems | poets.org
The narrator begins by stating the main theme, invoking a muse or guiding spirit to inspire him in his great undertaking, and then asking the muse to answer a grand question. The narrative as a whole is supposed to answer this grand question.