Red-5

Number 5 is a symbol of God’s grace. It is also one of the most widely mentioned words in the God’s word. It is also a number that symbolizes God’s kindness and favor to humankind. 25 is 5 X 5 and it makes “grace upon grace”. (John 1:16). 10 Commandments are easily divided into two parts 5 commandments each, the first one is dedicated to relationships between person and God, and the second one is dedicated to the way people treat people. The God’s law consists of five books, which are called Pentateuch. The New Testament Pentateuch consists of 4 gospels and Acts, which can be considered God’s grace and favor to the humankind.

The direct indication of number 5 symbolism is for example John, who wrote 5 books concerning the grace of God and forever life of the soul. 

The God’s grace symbolism was seen when Jesus took 5 loaves of bread and transformed them into the amount enough to feed five thousand people. (Matthew 14:17). The instruction given by God in order to build a “tabernacle in the wilderness” were all centered around number five, everything was made out of five components, like 5 curtains, 5 pillars, 5 bars, etc. Also there were 5 ingredients in the holy oil, which was needed to sanctify the tabernacle.

The God’s presence was shown by number 5. The book of Psalms has 5 main chapters. There are 5 offerings to Israel provided by God. (Leviticus). Moses wrote five books. This number shows the God’s plan and influence on humans, his grace and presence.

The Flood

PASTUZO :

Lucy?

Lucy!

LUCY :

I'm afraid we're not going to London after all.

PASTUZO :

Why not?

LUCY :

We've got a cub to raise.

PASTUZO : 

What's he like?

LUCY:

Rather small.

(SNEEZES)

And rather sneezy.

But he likes his marmalade.

PASTUZO: 

That's a good sign.

(BURPS)

LUCY: 

Oh, yes, Pastuzo.

If we look after this bear, I have a feeling he'll go far.

“There’s an undercurrent to the story of The Flood, and that’s the fact that The City can become corrupt, and that’s because people don’t engage in heroic endeavour—or, perhaps, because they engage in precisely the opposite of that, which is outright destructive behaviour. This is also something that’s worth considering, too. If you consider your own manner of being, you can say things to people, such as, tell the truth and be good. Those are cliches, obviously, and so they lack power. But you can take them apart,and utilize them in a manner that stops being a cliche. You do that by being more humble about them, I would say. 

Maybe you can’t tell the truth because you don’t know what the truth is. But one thing you can do is to stop saying things that you know to be untrue. You might say, well, how do I know that they’re untrue? Well, you need a whole elaboration of a philosophy of truth to answer that question. We’re not going to bother with that question, because, at the moment, it’s beside the point. That isn’t the issue. The issue is that there are times in your life where you know that the thing that you’re saying is not true. It’s a deception. It’s a lie of some sort, and you’re using it to manipulate yourself, another person, or the world. You’re also fully possessed by the idea that you can get away with it. 

There’s a Satanic arrogance about that. In fact, that is the archetypal arrogance that’s portrayed in the mythological character of Satan. Satan is precisely the archetype of the element of the mind that believes it can twist and bend the structure of reality without paying the price. You can’t imagine anything that’s more arrogant than that. You really think that you can twist the structure of reality? And that that’s going to work out for you, without it snapping back? It’s so obvious that that can’t work that everyone knows it. 

Anyways, back to the initial point. You know, by the rules of the game that you yourself are playing, that, some of the time, you’re violating the rules of the game that you’re playing. The first issue with regards to, say, stating the truth or behaving in a responsible manner would be merely to stop cheating at whatever game it is that you’ve chosen to play. That’s a good start. That’ll straighten out your life. 

Well, how does the flood tie into this? We live in a corrupt structure, and we’re corrupt as individuals. Part of that corruption is just happenstance. It’s the way things fall apart. But the other part of it is that, not only are we not aiming up, but we’re actually aiming down. The flood story’s a warning, and it’s a very clear warning. The warning is that, if you aim down enough, and then if enough of you aim down at the same time, everything will degenerate into something that’s indistinguishable from the chaos from which things emerge at the beginning of time. It’s something like that. 

The cosmos that’s presented in mythological representations is chaos versus order. The order is on top, you might say, and the chaos is always underneath. The chaos can break through, or the order can crumble, and you can fall into the chaos. That chaos is intermingled potential. The way that you destroy the order and let the chaos rise back up—which is exactly how it’s portrayed in the flood story—is by inhabiting the corpse of your father and feeding on the remains with no gratitude and no attempt to replenish what it is that you’re taking from it. That’s one mythological motif. 

The warning in the flood story is, don’t do that for very long, because things will happen that are so awful that you cannot possibly imagine it. That’ll happen to you personally; it’ll happen to your family; it’ll happen to your community, and it’s happened to people over and over throughout history. It’s quite interesting. It’s very soon after the story of Cain and Abel when you see evil enter the world. In the story of Adam and Eve, along with self-consciousness, the evil, there, is the knowledge of good and evil; that’s the ability to self-consciously hurt other people. Of course, instantly, Cain takes that to the absolute extreme. He uses that capacity to destroy, really, what he loves best. He gets as close as a human being can to destroying the divine ideal. Of course, his brother is Abel, and Abel is favoured by God. Cain destroys him. Cain tells God at the end of that episode that his punishment is more than he can bear. I think the reason for that is, where are you when you destroy your own ideal? What’s left for you? There’s nowhere to go. There’s no up, and when there’s no up, there’s a lot of down. 

There’s an idea that was put forth very nicely in Milton’s Paradise Lost when he was describing, from a psychological perspective, essentially what hell is: you’re in hell to the degree that you’re distant from the good. That might be a good way of thinking about it. If you destroy your own ideal—which you do with jealousy, resentment, and the desire to pull down people that you would like to be—then you end up in a situation that’s indistinguishable from hell. The way the Biblical story unfolds is, well, it’s Cain, and then it’s the flood. Cain adopts this mode of being that’s antithetical to being itself—at least to positive being itself. He does it knowing full well what he’s doing. The net consequence of that, as it ripples through the entire social structure, is that God stands back and says, this whole thing has got so bad that the only thing we can do is wipe it to the ground. That is no joke. That’s exactly how things work. 

One of the things that’s extraordinarily terrifying about that sequence of stories—and I believe this to be true. I think I realized this independently of any of the analysis that I was doing of mythological stories. I looked at what happened in places like the Soviet Union, Maoist China, and Nazi Germany. The most penetrating observers of those societies, the people who were most interested in how it was that those absolute catastrophes came about, all said the same thing: it was rooted in the degeneration of the individuals who made up the society. You hear that people were following orders. No; that explanation doesn’t hold water. You hear that you would be punished if you resisted. There was some truth in that, but nowhere near as much as people might think, especially at the beginnings of the process. It was more that people decided—each and every one of them—to turn a blind eye to the catastrophes and to participate in the lies. That warped entire societies, and they veered their way downward to something as closely approximating hell as you could manage, especially in places like Nazi Germany and, well, in all three of those places. 

One of the things that’s so frightening about the stories in Genesis is that they say something very clear: your moral degeneration contributes in no small way to the degeneration of the entire cosmos. You say, well, I would like my life to be meaningful. People say that. Really? Would you really like your life to be meaningful? You’d think people would trade a little nihilism for not having to face that particular realization. I think people do that all the time. It’s a terrible weight to realize. But we are networked together. That’s the vulnerability that’s associated with our intense capacity to communicate. It’s certainly possible that the ripples of our individual actions have consequences that are far beyond the limits of our immediate consciousness. I also think that people know that, too. They know that in the way that people know things when they don’t want to know them, which means they know them embodied; they can feel them; they can sense them; they have an emotional response to them, but there’s no damn way they’re going to let them become articulated, because they don’t want to know. When you’re feeling guilty and ashamed about the things you’ve done or not done—I know that can get out of hand, as well—it’s often because there is a crooked little part of you that’s aiming at the worst possible outcome. 

One of the things Jung said about the shadow—Jung’s famous idea that everyone has a dark side, and that that dark side needs to be incorporated and made conscious—was that the shadow of the human being reaches all the way to hell. That’s the thing that’s so interesting about reading Carl Jung: he actually means what he says. It’s not a metaphor. The part of you that’s twisted against being is aligned with the part of the conscious cosmos, let’s say, that’s aiming at making everything as terrible as it can possibly be. 

It’s a terrible shock to realize that. That’s partly why people don’t realize it. It’s something that people keep at an arm’s length. It’s the same as recognizing yourself as a Nazi concentration camp guard, which is a very useful exercise. There’s absolutely no reason why you couldn’t have been or still could be one. And if you think otherwise, all the more reason for assuming that you would be unable to resist the temptation if it was, in fact, offered to you. And if you don’t think it’s a temptation, then there’s so much that you don’t know about human beings that you’re not even in the game. If it wasn’t a temptation, then people bloody well wouldn’t have done it. Plenty of people did it, and it’s no wonder. 

So things get serious in Genesis very, very rapidly. The depth of the seriousness is ultimate—archetypal. It gets as serious as it can get. The story of Noah and the flood opens in a fragmentary manner. I believe that these passages are a part of a longer story that we only have bits and pieces of, and also that it’s part of more than one story.”

Luke’s Cave

There is a maze in The Desert carved from sand and rock.

A vast labyrinth of pathways and corridors a hundred miles long, a thousand miles wide, full of twists and dead ends.

Picture it a puzzle.

You walk, and at the end of this maze is a prize just waiting to be discovered.

All you have to do is find your way through.

Can you see The Maze? 

Its walls and floors, its twists and turns? 

Good, because The Maze you've created in your mind is itself the maze.

There is no desert, no rock or sand.

There is only the idea of it.

But it's an idea that will come to dominate your every waking and sleeping moment.

You're inside The Maze now.

You cannot escape.

Welcome to madness.

JOSEPH CAMPBELL (reading): 

“The animal envoys of the Unseen Power no longer serve, as in primeval times, to teach and to guide mankind. Bears, lions, elephants and gazelles are in cages in our zoos. Man is no longer the newcomer in a world of unexplored plains and forests, and our immediate neighbors are not wild beasts, but other human beings contending for goods and space on a planet that is whirling without end around the fireball of a star. Neither in body nor mind do we inhabit the world of those hunting races of the Paleolithic millennia, to whose lives and lifeways we nevertheless owed the very forms of our bodies and structures of our minds.

Memories of their animal envoys still must sleep, somehow, within us, for they wake a little and stir when we venture into wilderness. They wake in terror to thunder. And again they wake with a sense of recognition when we enter any one of those great painted caves. Whatever the inward darkness may have been to which the shamans of those’ caves descended in their trances, the same must lie within ourselves nightly visited in sleep.”

BILL MOYERS: 

When we look at the magnificent cave paintings left by our primal ancestors, we realize how the hunters of those early tribes were influenced by their natural surroundings, and by their feelings toward the animals they depended on for food religious feelings. They told stories to themselves about the animals, and about the supernatural world to which the animals seemed to go when they died. And the hunters performed rituals of atonement to the departed spirits of the animals, hoping to coax them hack to be sacrificed again.

Joseph Campbell devoted his life to the study of these myths and rituals. For him, mythic stories were not simply entertaining tales to be told for amusement around ancient campfires, they were powerful guides to the life of the spirit. Campbell’s odyssey as scholar and teacher led him from the exhibits at the American Museum of Natural History, which impressed him as a boy, to cultures all over the world. In his words, “Whether we listen with aloof amusement to the mumbo jumbo of some witch doctor of the Congo, or read with cultivated rapture translations from sonnets of Lao-tze, or now and again crack the hard nutshell of an argument of Thomas Aquinas, or catch suddenly the shining meaning of a bizarre Eskimo fairy tale, we’re hearing echoes of the first story.”

In this hour, one of the many I taped with Joseph Campbell during the last two years of his life, we talked about our relationship to the first stories and to the people who told them. Like them, we too perform rituals to enact what we believe about the world beyond this one, and we try to bring our mind into harmony with questions of immortality and our body with its destiny of death.

 

Email to the Universe

Selected quotes . . .

Dreams of flying appeared in the collective unconscious before the reality of flight existed in technology, and I suspect that if we understood our dreams better we would use our technology more wisely . . .

I suggest that we contemplate what our children look at every Saturday morning on TV. One of the most popular jokes in animated cartoons shows the protagonist walking off a cliff, without noticing what he has done. Sublimely ignorant, he continues to walk - on air - until he notices that he has been doing the "impossible," and then he falls . . .

Daedalus who, imprisoned in a labyrinth (conventional "reality"), invented wings and flew away, over the heads of his persecutors; and Icarus, the son of Daedalus, who flew too close to the Sun Absolute and fell back to Earth. Like Porky Pig walking off a cliff, Icarus' fall contains a symbolism many have encountered in their own dreams . . .

Daedalus means "artist" in Greek . . . Daedalus, inventor of wings that took him from Earth to Outer Space - why does he represent Art, instead of Science? . . .

The genius of an artist, Aristotle says, lies in his texne, the root from which we get our word "technology"; but texne basically means skill or craft, or the ability to make things that never existed before. Negative entropy, i.e., information . . .

The musician and the architect, the poet and the physicist -- all inventors of new realities -- all such Creators may be best considered late evolutionary developments of the type that first appears as the shaman. 

Please remember that shamans in most cultures are known as "they who walk in the sky," just like our current shaman-hero, Luke Rey Skywalker.

The ironies of Swift and Aristophanes, and the myths of the fall of Icarus and Donald Duck, indicate that the collective unconscious contains a force opposed to our dreams of flight. This appears inevitable . . .

But what if we begin to regrow healthy organs of Poetic Imagination and flight? What if we "put on wings and arouse the coiled splendor within," as Liber Al urges? . . .

Joyce did not name his emblematic Artist merely Daedalus, but Stephen Daedalus -- after St. Stephen the Protomartyr, who reported a Vision and was stoned to death for it . . .

Those of us who have no avocation for martyrdom must learn, when we realize how much neophobia remains built into the contraptions of "society" and "the State," the art of surviving in spite of them. In a word, we must "get wise" in both the Socratic meaning of the phrase and in the most hardboiled street meaning. Neophobia functions as an Evolutionary Driver, forcing the neophiliac to get very smart very fast."

Uncle Gutenberg was a bookworm

And he lived on Charing Cross

The memory of his volumes brings a smile

He would read me lots of stories

When he wasn't on the sauce

Now I'd like to share the wisdom

Of my favourite bibliophile

He said a-

Cover is not the book

So open it up and take a look

'Cause under the covers one discovers

That the king may be a crook

Chapter titles are like signs

And if you read between the lines

You'll find your first impression was mistook

For a cover is nice

But a cover is not the book

Ta-ru-ra-lee, ta-ra-ta-ta-ta!

Ta-ru-ra-lee, ta-ra-ta-ta-ta!

Mary Poppins, could you give us an example?

Certainly!

Nellie Rubina was made of wood

But what could not be seen was though

Her trunk up top was barren

Well, her roots were lush and green

So in Spring when Mr Hickory saw her blossoms blooming there

He took root despite her bark

And now there's seedlings everywhere

Which proves

A cover is not the book

So open it up and take a look

'Cause under the covers one discovers

That the king may be a crook

Chapter titles are like signs

And if you read between the lines

You'll find your first impression was mistook

For a cover is nice

But a cover is not the book

Should we do the one about the wealthy widow?

Oh, by all means!

Always loved that one

Well, go on then!

Lady Hyacinth Macaw

Brought all her treasures to a reef

Where she only wore a smile

Plus two feathers, and a leaf

So no one tried to rob her

'Cause she barely wore a stitch

For when you're in your birthday suit

There ain't much there to show you're rich!

Oh, a cover is not the book

So open it up and take a look

'Cause under the covers one discovers

That the king maybe a crook

Ta-ru-ra-lee, ta-ru-ra-la, ta-ru-ra-lee, ta-ra-ta-ta!

You'll find your first impression was mistook (Ya-da-da-da)

For a cover is nice

But a cover is not the book

Oh, give us the one about the dirty rascal, why don't ya?

Isn't that one a bit long?

Well, the quicker you're into it, the quicker you're out of it

Once upon a time

In a nursery rhyme

There was a castle with a king

Hiding in a wing

'Cause he never went to school to learn a single thing

He had scepters and swords

And a parliament of lords

But on the inside he was sad

Egad!

Because he never had a wisdom for numbers

A wisdom for words

Though his crown was quite immense

His brain was smaller than a bird's

So the queen of the nation

Made a royal proclamation:

"To the Missus and the Messers

The more or lessers

Bring me all the land's professors"

Then she went to the hair dressers

And they came from the east

And they came from the south

From each college they poured knowledge

From their brains into his mouth

But the king couldn't learn

So each professor met their fate

For the queen had their heads removed

And placed upon the gate

And on that date

I state their wives all got a note

Their mate was now the late-great

But then suddenly one day

A stranger started in to sing

He said, "I'm the dirty rascal

And I'm here to teach the king"

And the queen clutched her jewels

For she hated royal fools

But this fool had some rules

They really ought to teach in schools

Like you'll be a happy king

If you enjoy the things you've got

You should never try to be

The kind of person that you're not

So they sang and they laughed

For the king had found a friend

And they ran onto a rainbow for

The story's perfect end

So the moral is you musn't let

The outside be the guide

For it's not so cut and dried

Well unless it's Dr. Jekyll

Then you better hide, petrified!

No, the truth can't be denied

As I now have testified

All that really counts and matters

Is the special stuff inside

He did it!

Oh, a cover is not the book

So open it up and take a look

'Cause under the covers one discovers

That the king may be a crook

So please listen to what we've said

And open a book tonight in bed

So one more time before we get the hook

Sing it out strong!

A cover is nice

Please take our advice!

A cover is nice

Or you'll pay the price!

A cover is nice

But a cover is not the book

Ta-ru-ra-lee, ta-ru-ra-la-la

Ta-ru-ra-lee, ta-ru-ra-la-la

Ta-ru-ra-lee, ta-ru-ra-la-la, la, la!

Written by: Scott Wittman, Marc Shaiman

Lyrics © WALT DISNEY MUSIC COMPANY

Wolf-359

I sent my wife away.

l sent Peter away.

l can't expose them to the dangers of this creature.

l wouldn't do it myself except that it appears that the evolution going on on Dundee planet is the same as ours, and my observations here could be of fantastic importance.

There's that that creature.

When I opened the laboratory door and went back inside, the light must have affected it.

lt has form and a kind of a kind of substance.

Yet it's not like a creature of Dundee planet, not in the sense of being an inhabitant.

Rather it seems to be 

The Spirit of The Place.

A creature apart from its animal life.

And it appears to be gaining in strength and abilities.

Witness its predatory progression.

Insects, plants, a bird, guinea pigs.

Then attacking me.

I'm tired.

I haven 't been to sleep.

This creature on Dundee planet must be in some way responsible for what I see there.

Violence, death, destruction.

A place of indescribable malevolence.

A place of death and hate.

A place without a god.

Perhaps that's why the light of day or any light is an anathema to it.

At this time tomorrow Dundee planet will have caught up with the 20th century here on Earth.

And at that time l'll be able to see our future by watching it unfold on Dundee planet.

If I survive.

(rings) 

And now it's like our medieval times.

Killing, senseless cruelties even in the normal course of living.

The brutality is always there.

GESTALT

Human Beings are pattern seeking animals.

For thousands of years, our survival depended on being able to spot patterns in nature to find predators hiding in the wild.

And so now, centuries later, we are still looking, still searching every cloud for faces, as if our lives depend on it.

So strong is our belief that a pattern must exist that the human mind will project the pieces that don't fit.

So, where The Pessimist sees danger hiding behind every back, The Optimist sees Friendship.

Which is why, when we encounter coincidence, we often see Conspiracy.

[ And of course, Vice-Versa. ]

CARNIVAL

carnival (n.)

From older Italian forms such as Milanese *carnelevale, Old Pisan carnelevare "to remove meat," literally "raising flesh," Folk etymology is from Medieval Latin carne vale " 'flesh, farewell!' "

 Show Me Your Warrior Fierceness

It's not funny.

I heard this song on the radio the other day.

And the guy was singing, that his name was 'Carnival.'

Arthur.

It's just crazy, because that's My Clown Name. 

At work.

But until a while ago it was like nobody ever saw me.

Even I didn't know if I really existed.

Arthur, I have some bad news for you.

You don't listen, do you?

I don't think you ever really hear me.

You just ask the same questions every week :

"How was your job?"

"Are you having any negative thoughts?"

All I have are negative thoughts.

But you don't listen.

Anyway, I said, for my whole life
I didn't know if I even really existed.

But I do.

And people are starting to notice.

They've cut our funding.

We're closing down our offices next week.

The City's cut funding across the board, 

Social Services is part of that.

This is the last time we will be meeting.

Okay.

They don't give a shit about People Like You, Arthur.

And they really don't give a shit about people like me, either.

Oh, fuck.

How am I supposed to get my medication now?

Who do I talk to?

I'm sorry, Arthur.

Everything is Duel

OLIVER :
I’m Going to Kill You, You Know.

THE SHADOW KING :

Finally!

IV. THE PRINCIPLE OF POLARITY. 

"Everything is Dual; everything has poles; everything has its pair of opposites; like and unlike are the same; opposites are identical in nature, but different in degree; extremes meet; all truths are but half-truths; all paradoxes may be reconciled." - The Kybalion. 

This Principle embodies the truth that "everything is dual"; "everything has two poles"; "everything has its pair of opposites," all of which were old Hermetic axioms. 

It explains the old paradoxes, that have perplexed so many, which have been stated as follows: 

"Thesis and antithesis are identical in nature, but different in degree"; 

"opposites are the same, differing only in degree"; "the pairs of opposites may be reconciled"; "extremes meet"; "everything is and isn't, at the same time"; "all truths are but half-truths"; "every truth is half-false"; "there are two sides to everything," etc., etc., etc. It explains that in everything there are two poles, or opposite aspects, and that "opposites" are really only the two extremes of the same thing, with many varying degrees between them To illustrate: Heat and Cold, although "opposites," are really the same thing, the differences consisting merely of degrees of the same thing. Look at your thermometer and see if you can discover where "heat" terminates and "cold" begins! There is no such thing as "absolute heat" or "absolute cold"-the two terms "heat" and "cold" simply indicate varying degrees of the same thing, and that "same thing" which manifests as "heat" and "cold" is merely a form, variety, and rate of Vibration. So "heat" and "cold" are simply the "two poles" of that which we call "Heat"-and the phenomena attendant thereupon are manifestations of the Principle of Polarity. The same principle manifests in the case of "Light and Darkness," which are the same thing, the difference consisting of varying degrees between the two poles of the phenomena. Where does "darkness" leave off, and "light" begin? What is the difference between "Large and Small"? Between "Hard and Soft"? Between "Black and White"? Between "Sharp and Dull"? Between "Noise and Quiet"? Between "High and Low"? Between "Positive and Negative"? The Principle of Polarity explains these paradoxes, and no other Principle can supersede it. The same Principle operates on the Mental Plane. Let us take a radical and extreme example that of "Love and Hate," two mental states apparently totally different. And yet there are degrees of Hate and degrees of Love, and a middle point in which we use the terms "Like or Dislike," which shade into each other so gradually that sometimes we are at a loss to know whether we "like" or "dislike" or "neither." And all are simply degrees of the same thing, as you will see if you will but think a moment. And, more than this (and considered of more importance by the Hermetists), it is possible to change the vibrations of Hate to the vibrations of Love, in one's own mind, and in the minds of others. Many of you, who read these lines, have had personal experiences of the involuntary rapid transition from Love to Hate, and the reverse, in your own case and that of others. And you will therefore realize the possibility of this being accomplished by the use of the Will, by means of the Hermetic formulas. "Good and Evil" are but the poles of the same thing, and the Hermetist understands the art of transmuting Evil into Good, by means of an application of the Principle of Polarity. In short, the "Art of Polarization" becomes a phase of "Mental Alchemy" known and practiced by the ancient and modern Hermetic Masters. An understanding of the Principle will enable one to change his own Polarity, as well as that of others, if he will devote the time and study necessary to master the art. 

V. THE PRINCIPLE OF RHYTHM. "Everything flows, out and in; everything has its tides; all things rise and fall; the pendulum-swing manifests in everything; the measure of the swing to the right is the measure of the swing to the left; rhythm compensates."-The Kybalion.

LEGEND

History became Legend, 
Legend became Myth

And Some Things That Should Not Have Been Forgotten were lost.

Bollandist Hippolyte Delehaye describes a legend (as compared to a fable, myth, or tale) thus: 

“The Legend, on the other hand, has, of necessity, some historical or topographical connection. 

It refers imaginary events to some real personage, 
or it localises romantic stories in some definite spot. 

Thus one may speak of 
The Legend of Alexander or of Caesar.”

Hagiography (accounts of the lives of saints) is not intended to be history, but aims at edification, and sometimes incorporates subjective elements along with facts.

Legends presuppose an historical fact as basis or pretext.  

This historical fact may be modified by popular imagination.  

“Both elements maybe combined in very unequal proportions, and according as the preponderance is to be found on the side of fact or on that of fiction, the narrative may be classed as history or as legend.”

The legenda (literally, 'that which is for reading') included facts which were historically genuine, as well as narrative which Christians now class as unhistorical legend

Bruce Wayne : 

You're vigilantes.

Henri Ducard :

No, no, no.

A vigilante is just a man lost in the scramble for his own gratification.

He can be destroyed or locked up.

But if you make yourself more than just a man...if you devote yourself to an ideal...

...and if they can't stop you...

...then you become something else entirely.

Bruce Wayne : 

Which is?

Henri Ducard :

Legend, Mr. Wayne.

[meeting someone introduced as Ra's al Ghul] 

Bruce Wayne :

You're not Ra's al Ghul. 

I watched him die.

Henri Ducard : 

[from behind Bruce Wayne]  

But is Ra's al Ghul immortal?

[Bruce turns around to face Ducard] 

Henri Ducard : 

Are his methods supernatural?

Bruce Wayne : 

[to Ducard]  

Or cheap parlor tricks to conceal your true identity, "Ra's"?

Henri Ducard :

Surely, a man who spends his nights scrambling over the rooftops of Gotham wouldn't begrudge me dual identities?

Bruce Wayne : 

I saved your life.

Henri Ducard :

I warned you about compassion, Bruce.

Papa's Goods

And There's Injustice.

Living with that much Injustice from 
The Person Who was Supposed to Represent -- 

He's The One Who Tells You What the World is Going to Think of You.

And if He tells you you're bad -- 

That, forever –

Do You Really Want to Fuck a Priest, or Do You Want Really Want To Fuck God....?

Is that possible...?!

Oh, Yes....

ANDOR: 

You had better be right, Neeva, 

because Servant of Xoanon or not, a

if we fail, I will kill you. 

NEEVA: 

Xoanon has promised us victory. 

ANDOR: 

No. He has promised you. 

And you have promised us.

[Outside Xoanon's shrine]

(Where Leela cut through the wall fabric.) 

DOCTOR: (sotto) 

I must examine those relics. 

LEELA: (sotto) 

The Village was dangerous enough, but the shrine of Xoanon?

[Xoanon's shrine]

(The Doctor watches, unseen.) 

NEEVA: 

Speak to me, Xoanon, that I may know your will. 

Speak, Xoanon. Speak. 

WARRIOR [OC]: 

Shaman Neeva! 

It's time to leave! 

NEEVA: 

I'm coming. 

WARRIOR: 

Andor asks that you do not delay. 

NEEVA: 

I said I'm coming! 

(Neeva puts his spacesuit back on its stand, puts on another coat made of old bits of spaceship and a helmet fashioned from a spacesuit glove.)

[Outside Xoanon's shrine]

DOCTOR: 

I like the hat. 

Very fetching. 

LEELA: 

That was 
The Hand of Xoanon. 

DOCTOR: 

That was an armoured space glove, or what was left of one.

[Meeting room]

ANDOR: 
The attack must begin at once. 

NEEVA: 
Xoanon has spoken. 
We shall not fail.

[Xoanon's shrine]

DOCTOR: 

It's all clear. 

(He goes to the tables of relics.) 

DOCTOR: 

Amazing. You know, I had a feeling --
I had a feeling that Neeva was actually expecting to hear an answer to his prayer. 

LEELA: 

There wouldn't be much point in praying if he didn't. 

DOCTOR: 
I could quote you a few theologians who'd give you an argument on that. 

He was listening. 

FUGITIVE

[Captain's mess]

BELE: Putting the matter into the hands of your Starfleet Command is, of course, the proper procedure. How long will it be before we hear from them, Captain? 

KIRK: I expect the answer is already on its way. 

BELE: Well, then, let us drink to their wise solution to our problem. 

KIRK: Let's do that. 

SPOCK: Commissioner, Starfleet Command may not arrive at the solution you anticipate. There is the matter of the shuttlecraft which Lokai appropriated. The interrogation of that matter may be of paramount importance to Starfleet. 

BELE: Gentlemen, we are discussing a question of degree. Surely, stealing a shuttlecraft cannot be equated with the importance of murdering thousands of people. 

SPOCK: We do not know that Lokai has done that. 

BELE: One thing we are agreed on is that Lokai is a criminal. 

KIRK: No, Commissioner. The one thing we're agreed upon is that Lokai took a shuttlecraft. 

(Intercom whistle) 

KIRK: Excuse me. 

UHURA [OC]: Uhura to Captain Kirk. 

KIRK: Kirk here. 

UHURA [OC]: I have a communication from Starfleet Command, sir. 

KIRK: Yes, read it.

[Bridge]

UHURA: Starfleet Command extends greetings to Commissioner Bele of the planet Cheron. His urgent request to be transported to his planet with the man he claims prisoner has been taken under consideration.

[Captain's mess]

UHURA [OC]: It is with great regret that we cannot honour that request. Intergalactic treaty clearly specifies that no being can be extradited without due process. In view of the circumstances, we have no doubt that after a hearing at Starbase, Commissioner Bele will be permitted to retain his prisoner and be provided transportation 

KIRK: That's enough. Thank you. 

BELE: As always, Lokai has managed to gain allies. 

KIRK: Now, wait a minute, Commissioner, 

BELE: Even if they don't recognise themselves as being such. Yes, he will evade, delay, and escape again and in the process put thousands of innocent beings at each other's throats, getting them to kill and maim for a cause which they have no stake in, but which he will force them to violently espouse by twisting their minds with his lies, his loathsome accusations and his foul threats. 

KIRK: I can assure you, Commissioner, that our minds will not be twisted, not by Lokai, nor by you. 

BELE: It is obvious to the most simpleminded that Lokai is of an inferior breed. 

SPOCK: The obvious visual evidence, Commissioner, is that he is of the same breed as yourself. 

BELE: Are you blind, Commander Spock? Well, look at me. Look at me! 

KIRK: You're black on one side and white on the other. 

BELE: I am black on the right side. 

KIRK: I fail to see the significant difference. 

BELE: Lokai is white on the right side. All of his people are white on the right side. 

SPOCK: Commissioner, perhaps the experience of my own planet Vulcan may set an example of some value to you. Vulcan was in danger of being destroyed by the same conditions and characteristics which threaten to destroy Cheron. We were once a people like yourselves, wildly emotional, often committed to irrationally opposing points of view, leading, of course, to death and destruction. Only the discipline of logic saved my planet from extinction. 

BELE: Commander Spock, I am delighted that Vulcan was saved, but you cannot expect Lokai and people like him to act with self-discipline any more than you can expect a planet to stop orbiting its sun. 

KIRK: Let Lokai state his grievances. Hear him, listen to him. Maybe he can change. Maybe he wants to change his image. 

BELE: He cannot change. 

SPOCK: Change is the essential process of all existence. For instance, the people of Cheron must have once been mono-coloured. 

BELE: You mean like both of you? 

KIRK: There must have been a time, long ago no doubt, when that was true. 

(Intercom whistle)

KIRK: Excuse me. Kirk here. 

SCOTT [OC]: We're orbiting Ariannus, sir.

 

KIRK: Very good. Commence decontamination procedures when ready. Advise when complete. 

SCOTT [OC]: At once, sir. Scott out. 

BELE: I once heard that on some of your planets people believe they are descended from apes. 

SPOCK: The actual theory is that all life-forms evolved from the lower levels to the more advanced stages.