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Similarities and differences between christianity, islam and hinduism
Similarities between christianity,buddhism, and hinduism
Similarities between Hinduism, Buddhism, etc
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Endings and Beginnings
Death, while in many respects an "end," actually serves as more of a beginning for all but the most pessimistic of religions or philosophies. Even Socrates, at one time near the end of his life, at least, felt this sort of hopefulness. According to Plato, on his deathbed after having drunk the hemlock, Socrates mumbled these last words to Crito: "I owe a cock to Asclepius; do not forget it." In his time it was customary to offer a cock to Asclepius, the God of Healing, upon recovering from a sickness, so at a time of impending death Socrates was actually thinking of healing in one way or another and beginning anew. When he confronts the idea of his own death earlier, however, in Plato's Apology, he says: "If I were to claim to be wiser than my neighbor in any respect, it would be this: that not possessing any real knowledge of what comes after death, I am also conscious that I do not possess it." On his deathbed, then, Socrates seems to be offering the cock just in case, a common reason for religion for many dying people.
All religions have death rituals or hopeful ideas of where they will end up after their death: Hindus seek to escape repeated reincarnation by practicing yoga, by adhering to Vedic scriptures, and by devotion to a personal guru; Buddhists seek a state of living Nirvana by following the path of righteousness--if they are not perfectly righteous then they repeat another lifetime that is either good or bad depending upon their actions (karma) in their previous life; Christians believe that if they take Jesus Christ as their savior they may gain access to heaven after their life on earth. Joseph Campbell believed that all of the world's religions are tied together by the similarity of their myths. Stories of creation, holy trinities, resurrections, deaths, and heavens repeat over and over again in slightly different forms. He believed, then, that all the world's religions are the same, but they're cloaked in different masks that betray the prejudices of the culture. One thing all religions have in common, however, is this: When we die, we all go somewhere else in one form or another.
The beginning of a thing is its birth. The end of that thing is its death. Within the broad framework of our lives--the coordinate system that begins at age zero and completes some sort of cycle when our bodies stop breathing--we experience an infinite number of
Hirsch, E. D., Jr. Innocence and Experience: An Introduction to Blake. Yale University Press: New Haven and London, 1964.
Death comes to all in the end, shrouded in mystery, occasionally bringing with it pain, and while some may welcome its finality, others may fight it with every ounce of their strength. Humans have throughout the centuries created death rituals to bring them peace and healing after the death of a loved one.
During high school, Langston’s father didn't think he would be able to make a living as a writer. His father encouraged him to pursue a more practical career. In 1921, Langston’s father paid his tuition to Columbia University in New York City, on the basis, he studies engineering. After a short time, James dropped out of the program with a B+ average.
For Eliot, poetic representation of a powerful female presence created difficulty in embodying the male. In order to do so, Eliot avoids envisioning the female, indeed, avoids attaching gender to bodies. We can see this process clearly in "The Love Song of J. Prufrock." The poem circles around not only an unarticulated question, as all readers agree, but also an unenvisioned center, the "one" whom Prufrock addresses. The poem never visualizes the woman with whom Prufrock imagines an encounter except in fragments and in plurals -- eyes, arms, skirts - synecdoches we might well imagine as fetishistic replacements. But even these synecdochic replacements are not clearly engendered. The braceleted arms and the skirts are specifically feminine, but the faces, the hands, the voices, the eyes are not. As if to displace the central human object it does not visualize, the poem projects images of the body onto the landscape (the sky, the streets, the fog), but these images, for all their marked intimation of sexuality, also avoid the designation of gender (the muttering retreats of restless nights, the fog that rubs, licks, and lingers). The most visually precise images in the poem are those of Prufrock himself, a Prufrock carefully composed – "My morning coat, my collar mounting firmly to the chin, / My necktie rich and modest, but asserted by a simple pin" -- only to be decomposed by the watching eyes of another into thin arms and legs, a balding head brought in upon a platter. Moreover, the images associated with Prufrock are themselves, as Pinkney observes, terrifyingly unstable, attributes constituting the identity of the subject at one moment only to be wielded by the objective the next, like the pin that centers his necktie and then pinions him to the wall or the arms that metamorphose into Prufrock's claws. The poem, in these
Hughes, who claimed Paul Lawrence Dunbar, Carl Sandburg, and Walt Whitman as his primary influences, is particularly known for his insightful, colorful portrayals of black life in America from the twenties through the sixties. He wrote novels, short stories and plays, as well as poetry, and is also known for his engagement with the world of jazz and the influence it had on his writing, as in "Montage of a Dream Deferred." His life and work were enormously important in shaping the artistic contributions of the Harlem Renaissance of the 1920s. Unlike other notable black poets of the period—Claude McKay, Jean Toomer, and Countee Cullen—Hughes refused to differentiate between his personal experience and the common experience of black America. He wanted to tell the stories of his people in ways that reflected their actual culture, including both their suffering and their love of music, laughter, and language itself.
One of the greatest and oldest human mysteries on Earth is death, and the fate that lies beyond it. The curious minds of human beings constantly wonder about the events that occur after death. No person truly knows what happens after a person ceases to live in the world, except for the people themselves who have passed away. As a result, over the course of history, people of various backgrounds, ethnicities, and religions have speculated and believed in numerous different possibilities for the destiny that awaits them beyond the world of the living. The great ambiguity of the afterlife is extremely ancient that many different beliefs about it have been dated back to several centuries ago. These beliefs go as far back to the beliefs of Ancient Egyptians, which outline the journey that the dead travels to the land of Osiris; and the belief of Ancient Greeks that all souls eventually find themselves in Hades’ realm, the Underworld. Throughout history, views and beliefs from emerging religions continue to develop as the human conscience persists in finding answers to this ancient, unresolved mystery. Prime examples of the various and separate beliefs regarding death and the afterlife are found in the diverse faiths of Roman Catholicism, Islam, and Buddhism.
Buddhism does not look at death as a continuation of the soul but as an awakening. Dying and being reborn has been compared by some Buddhist as a candle flame. When the flame of one lit candle is touched to the wick of an unlighted candle, the light passes from one
Langston Hughes was born in Joplin, Missouri on February 1st, 1902, and is the second child to James Hughes and Carrie Langston. Not too long after his birth, his mother and father got divorced. Hughes’s childhood was rough. His mom and dad never came around to spend time with him. His mom was seeking employment and his father was trying to move away from all segregation. They moved around to many Midwest towns in Missouri and Illinois, until his parents divorced. His father moved to Cuba and then to Mexico to escape segregation that was still happening. Hughes went to live with his Grandma Mary in Lawrence, Kansas, until he was thirteen. She instilled in Hughes racial pride that would last his whole life. His mother continued moving from place to place and eventually remarried. After Hughes’s Grandmother died, his mother came and took him to live with her and her husband in Lincoln, Illinois. Hughes attended many different schools but most of his grammar school was attended in Lincoln. It was during the time that he lived in Lincoln that he started writing poetry. His teacher encouraged him and told him about two writers, Carl Sandburg and Walt Whitman. He enjoyed their poetry so much, he began writing poetry like them and later would write about how much they influenced his writing. They did not live there very long before finally mov...
The definitions of death and life have always been controversial topics since the beginning of civilization. When determining the beginning of life and the end of life, there are just too many factors to consider and there are also uncertainties that have yet to be settled. For example, do the factors have to be strictly observable and physical or can they also include the organism’s state of mind and whether it shows any psychological defects as well? And also let us not forget that for humans religion also plays a crucial role in both the definitions of life and death and the maintenance of life. Unfortunately, the people all over the world have not come to ultimate definitions of life and death but we can only keep trying to get closer until we finally discover just when we are forever separated from this world and what keeps us going in this world.
Death has been an eternal problem, which human being faces all across history. Facing death requires enormous brave, furthermore, being responsible for death requires depth of wisdom. Back in centuries, individuals were deeply influenced by the ongoing beliefs, whether it was religious belief or just what people called the belief of the Ancient Greek, it manipulated them into acting in normal life and facing death to a large extent. As in texts “Hamlet” by Shakespeare and “Oedipus the King” by Sophocles, their personality and behaviour have been dramatically and successfully shaped to reflect on how the conception of their belief changed the ways of dealing with the world in regard to the understanding after death. Both of them demonstrated
A classical point of departure in defining Death, seems to be Life itself. Death is perceived either as a cessation of Life - or as a "transit zone", on the way to a continuation of Life by other means.
In the poem “The Love Song of J. Alfred Prufrock” T.S Eliot uses a man named Prufrock to describe the uncertainties in life and how they affect a person views. Prufrock does not have the confidence to give or receive love. There is an equally amount of unhappiness to the concept of time and space. He is unsatisfied with life and with the decisions to think rather than act. He claims that there will be much time to do things in the social world. Prufrock is more of an anti-hero that is controlled by fear. T.S Eliot uses tone, allusions, and imagery to explain a man’s inability to make decisions and his own self confidence in life in which he is afraid of the outlook of his future by being misunderstood.
First, Eliot weaves several layers of symbolism into Prufrocks’s narrative. This ambiguity shows largely through the vehicle of the yellow fog, which Eliot personifies with cat-like characteristics using phrases such as, “…rubs its back…rubs its muzzle on the window-panes” and “…curled once about the house, and fell asleep” in reference to the mist (Eliot). This feline depiction of the city smog creates an eerie setting which serves to further the tone of unsteadiness in Prufrock’s ramblings. The seeping movements of the fog also mirror the uncontrolled movements of Prufrock’s thoughts and his polluted self-concept which causes him to question his every move to no end (Childs). The smog is uncontainable and indefinable, much like Prufrock’s emotions when dependent upon his non-existent actions (Childs). In another instance, Eliot breaks up the deep, incessant wanderings of the speaker’s mind with the phrase, “In the room the women come and go talking of Michaelangelo” (Eliot). These women symbolize the society in which Pr...
The concept of human mortality and how it is dealt with is dependent upon one’s society or culture. For it is the society that has great impact on the individual’s beliefs. Hence, it is also possible for other cultures to influence the people of a different culture on such comprehensions. The primary and traditional way men and women have made dying a less depressing and disturbing idea is though religion. Various religions offer the comforting conception of death as a begining for another life or perhaps a continuation for the former.
Alfred Prufrock, ample details about the settings are described to reflect the speaker’s emotions. For instance, the first stanza paints the scene that an innocent and unconfident middle age man hesitates to propose to a woman. For one thing, the speaker of the poem is afraid that time will go wasted. On the other side, he feels powerless to the reality. Apparently, Eliot directly tells the reader the internal conflict of the speaker of the poem, who is greedy of love but fears for the responsibility that comes with it. What this setting in the poem reflects is the emptiness and weakness of folks in modern