00505--Nagarjuna and the Thief [by Osho}


A great master, Nagarjuna, was asked by a great thief.... The thief was well known over the whole kingdom and he was so clever, so intelligent that he had never been caught. 

Everybody knew -- he had even stolen from the king's treasury, many times -- but they were unable to catch him. 

He was very elusive, a master artist.

He asked Nagarjuna, "Can you help me? Can I get rid of my stealing? Can I also become as silent and blissful as you are?" It happened in a certain context.

Nagarjuna was the greatest alchemist that the East has given birth to. He used to live naked, with just a begging bowl, a wooden begging bowl, but kings worshipped him, queens worshipped him. 

He came to the capital and the queen touched his feet and said, "I feel very much offended by your wooden bowl. You are a master of masters; hundreds of kings and queens are your followers. I have prepared a golden bowl for you, studded with beautiful diamonds, emeralds. Please don't reject it -- it will wound me very much, it will hurt me very much. For three years great artists have been working on it, now it is ready."

She was afraid that Nagarjuna might say, "I cannot touch gold, I have renounced the world." But Nagarjuna did not say anything like that; he said, "Okay! You can keep my begging bowl, give me the golden one."

Even the queen was a little shocked. She was thinking that Nagarjuna would say, "I cannot accept it."

She wanted him to accept it, but still, deep in her unconscious somewhere was the old Indian tradition that the awakened one has to live in poverty, in discomfort, as if discomfort and poverty have something spiritual in them. There is nothing spiritual in them.

Nagarjuna said okay. He didn't even look at the golden bowl. He went away. The thief saw Nagarjuna moving outside the capital, because he was staying in a ruined temple on the other bank of the river. 

The thief said, "Such a precious thing I have never seen -- so many diamonds, so many emeralds, so much gold. I have seen many beautiful things in my life but never such a thing, and how did this naked man get hold of it, and how is he going to protect it? Anybody will be able to take it away from him, so why not me?"

The thief followed Nagarjuna. Nagarjuna heard his footsteps, he knew somebody was coming behind him. Nagarjuna reached the temple. The temple was an absolute ruin, no roof, no doors; just a few walls were left. He went inside a room without a roof, without a door, without windows.

The thief said, "How is he going to protect such a precious thing? It is only a question of hours." He sat outside the window, hiding behind a wall.

Nagarjuna threw the bowl outside the window. The thief was very much puzzled. The bowl fell just near his feet. He was puzzled: "What has this man done?" He could not believe his eyes, he was also shocked. He stood up -- even though he was a thief, he was a master thief and he had some dignity. 

He thanked Nagarjuna. 

He said, "Sir, I have to show my gratitude. But you are a rare man -- throwing out such a precious thing as if it is nothing. Can I come inside and touch your feet?"

Nagarjuna said, "Come in! In fact I have thrown the bowl out so that you could come in."

The thief could not understand what he was saying; he came in, he looked at Nagarjuna -- his silence, his peace, his bliss -- he was overwhelmed. He said, "I feel jealous of you. I have never come across a man like you. Compared to you, all others are subhuman beings. How integrated you are! How gone beyond the world! Is there any possibility for me too one day to attain such integration, such individuality, such compassion and such nonattachment to things?"

Nagarjuna said, "It is possible. It is everybody's potential."

But the thief said, "Wait! Let me tell you one thing. I have been many times to many saints and they all know me and they say, 'First you stop stealing, then anything else is possible. Without stopping stealing you cannot grow spiritually.' So please don't make that condition because that I cannot do. It is impossible. I have tried and I have failed many times. It seems that is my nature -- I have to go on stealing, so don't mention that. Let me tell you first so you don't make it a condition."

Nagarjuna said, "That simply shows you have never seen a saint before. Those must have all been ex-thieves; otherwise why should they be worried about your stealing? Go on stealing and do everything as skillfully as possible. It is good to be a master of any art."

The thief was shocked even more: "What kind of man is this?" And he said, "Then what do you suggest? What is right, what is wrong?"

He said, "I don't say anything is right or anything is wrong. Do one thing: if you want to steal, steal -- but steal consciously. Go tonight, enter into the house very alert, open the doors, the locks, but very consciously. And then if you can steal, steal, but remain conscious. And report to me after seven days."

After seven days the thief came, bowed down, touched Nagarjuna's feet and said, "Now initiate me into sannyas."

Nagarjuna said, "Why? What about your stealing?"

He said, "You are a cunning fellow! I tried my best: if I am conscious, I cannot steal; if I steal I am unconscious. I can steal only when I am unconscious. When I am conscious the whole thing seems so stupid, so meaningless. What am I doing? For what? Tomorrow I may die. And why do I go on accumulating wealth? I have more than I need; even for generations it is enough. It looks so meaningless that I stop immediately. For seven days I have entered into houses and come out empty-handed. And to be conscious is so beautiful. I have tasted it for the first time, and it is just a small taste -- now I can conceive how much you must be enjoying, how much you must be celebrating. Now I know that you are the real king -- naked, but you are the real king. Now I know that you have real gold and we are playing with false gold."

The thief became a disciple of Nagarjuna and attained to buddhahood.

00503--Kosa/ Indian Philosophy/ What is Kosa?


What is Kosa? Kosa / Indian Philosophy

kosa=sheath=cover=subtle body=treasury=lexicon

The individual self is enveloped within five subtle bodies: 

1. physical (annamaya kosa)
2. vital (pranamaya kosa)
3. mental (manomaya kosa)
4. consciousness (vijnanamaya kosa), and,
5. bliss (anandamaya kosa)

Each sheath is within the previous one and, thus they become subtler and subtler, one within the next. 


00501--THE MAIN CHARACTERISTICS OF MILTON'S POETRY


THE MAIN CHARACTERISTICS OF MILTON'S POETRY




The main characteristics of Milton's poetry are the following:
  1.   SUBLIMITY,
  2. SENSE OF BEAUTY,
  3. STATELINESS OF MANNER,
  4. MILTON'S HIGH SERIOUSNESS,
  5. A GREAT POETIC ARTIST,
  6. MILTON'S SUPERB IMAGINATION,
  7. MILTON'S SUGGESTIVE POWER,
  8. THE AUTOBIOGRAPHICAL ELEMENT,
  9. PURITANISM,
  10. CLASSICISM,
  11. MILTON'S VERSIFICATION, and,
  12. STYLE AND DICTION.

SUBLIMITY

Sublimity is the supreme quality of Milton's poetry.  His poetry elevates and uplifts us.  Milton lived a life of purity and his life bears the stamp of the nobility of his character.  Milton's subject is sublime, and he could never come down to the cheap love poetry.  Not lovers and lasses but God, Satan, Adam, Eve and Christ are the characters that Milton has introduced in his poetry.  In the "Nativity Ode" the subject is Christ who brought about religious regeneration in Europe.  In "Comus", Milton presents sublime thoughts about virtue.  'Paradise Regained' is an expression of the sublime thoughts that Milton had about God and Religion.

SENSE OF BEAUTY

The chief characteristics of Milton's poetry is his profound love of beauty in its various forms.  He is deeply sensitive to the beauties of external nature.  He shows the beauty of the countryside in 'L' Allegro'.  In 'Il Penseroso' he presents many landscapes of beauty for our delight.  In 'Paradise Lost' his sense of beauty is supreme.  In Book Four, he gives a glowing description of the beauty of Adam and Eve.


STATELINESS OF MANNER

With this sense of beauty is combined a stateliness of manner which gives a high dignity to Milton's poetry.  English poetry between the time of Shakespeare and Milton had many qualities.  But the quality of stateliness is imparted to it by the poetry of Milton.  Milton is always majestic.  The subjects he chooses are stately and the treatment too is stately.  His problems are of external interest and his genius can find full scope in dealing with grand themes; the problems of man, the redemption of humanity by Christ, and of the way of God to Man.

MILTON'S HIGH SERIOUSNESS

High seriousness marks both Milton's character and poetry.  There is a lack of humour in Milton's writing. His poetry never bothers about a big audience of admiring readers.  His desire is to have "fit audience though few."

A GREAT POETIC ARTIST

Milton is convinced that the vocation of the poet is lofty and to keep true to that vocation he writes poetry of great sublimity.  The artistic workmanship of the poet comes out everywhere.

MILTON'S SUPERB IMAGINATION

Only, a man of Milton's imagination could have shaped the Paradise Lost.  The theme of the epic is vast. The poet creates a world of heaven and hell which could only have been possible with the superb imagination that he has.  He has an imagination that can soar above time and space, and be at home in infinity.   

MILTON'S SUGGESTIVE POWER

Milton's suggestive power is the most striking characteristic of his poetry.  The effect of his poetry is produced, not by what it expresses, but by what it suggests.  We often hear of the magical influence of poetry.  This expression is most appropriate when applied to the writing of Milton.

THE AUTOBIOGRAPHICAL ELEMENT




PURITANISM


CLASSICISM


MILTON'S VERSIFICATION

STYLE AND DICTION



00500--Adjectives and adverbs - Exercise 1



Adjectives and adverbs - exercise 1

Write a few, a little, much or many to complete these sentences. Do not use some, any, or a lot of.

1 There's some food, but not ...... drink.
2 ............people arrived before the party started, but not many.
3 There's not ....................food in the cupboard.
4 She hasn't got ............................ friends.
5 T'm sorry, I haven't got .............................. time.
6 The receptionist didn't give me ..........................  information.
7 I can lend you ............................... money until tomorrow.
8 1 asked him to put ................................. milk in my coffee.
9 I've seen her ................................ Times this year, but not very often.
10 We only have ....................... petrol left.
11 She started feeling ill only ............................ days before the exam.
12 Not ............................... people come here in the winter.
13 Did they pay you .................................... money for working there?
14 There aren't ....................................... towns in this part of England.
15 I didn't drink ...................................... wine at the party.
16 There are only ...........................  people at the beach.
17 1 didn't have ............................ opportunity to talk to him.
18 The bank only lent me ..........................  money.
19 Can I ask you ............................. questions?
20 The journey was a short one: it didn't take ..........................  time.
21 Only ........................... students are going to fail the exam.
22 I don't think .......................  people will come tonight.
23 1 haven't done ............................ work today.
24 I gave the cat ............................. milk.
25 1 don't think I've made .....................................  mistakes.

ANSWERS

1 much 
2 A few 
3 much 
4 many 
5 much 
6 much 
7 a little 
8 a little
9 a few 
10 a little 
11 a few 
12 many 
13 much 
14 many 
15 much
16 a few 
17 much 
18 a little 
19 a few 
20 much 
21 a few 
22 many

23 much 
24 a little 
25 many

CONFUSABLES

00499--The Countess of Pembroke's Arcadia/ summary/ criticism/ Sir Philip Sidney/ ARCADIA





The Countess of Pembroke's Arcadia

 INTRODUCTION and CRITICISM


The Countess of Pembroke's Arcadia, also known simply as the Arcadia, is a  pastoral romance written by Sir Philip Sidney towards the end of the 16th century. It has an  important place in the history of English literature as  it is the first pastoral romance in English just as Spenser's The Shepherd's Calendar is the first verse pastoral romance.  Arcadia includes a number of lyrics and eclogues after the classical style though it is written mainly in prose.  


ARCADIA is the name of a mountainous district in the Peloponese, the domain of Pan, the god of shepherds.  The poem was written solely for the amusement of Sydney's sister, the Countess of Pembroke.  There was no intention of making money or literary fame from this creation.  Sydney started writing ARCADIA in 1580.  Not only did he not publish it but he also expressed his wish to destroy it while on his deathbed.  However it was published in 1586 posthumously, and it brought him great  fame.

Everything in ARCADIA is on the ideal plane.  Both the story and setting are far removed from reality.  David Daiches remarks, "Ideal love, ideal friendship, and the ideal ruler are, directly and indirectly, discussed, suggested and embodied."  According to Daiches the style of Arcadia is "highly conceited, full of elaborate analogies, balanced parenthetical asides, pathetic fallacies, symmetrically answering clauses, and other devices of an immature prose entering suddenly into the world of conscious literary device."   One of Sidney's constant devices is to take a word and toss it till its meaning is fully extracted with all its aesthetic beauty.  Sidney's reference to the cool wine which seems "to laugh for joy" as it nears a lady's lips is an example of the pathetic fallacy.  There are other examples like the water drops that slip down the bodies of dainty seem to weep for sorrow.  When the princesses put on their clothes, the clothes are described as 'gold'.  





00498--PREPOSITIONS - EXERCISE 4




PREPOSITIONS - EXERCISE 4

Use the most suitable prepositions to complete these sentences. Sometimes more than one answer is possible.

1. The dog ran ........... the tree five or six times.
2. We flew slowly .......... the suburbs of Paris.
3. I moved the baby ......... the fire.
4. The police ran ................... the crowd and arrested a young man.
5. If you put some money ............... here, the machine will start.
6. They had nowhere to stay so they slept .............. a bridge.
7. The town hall is .............. the library and the museum.
8. We watched the soldiers as they walked ................. our house on their way to the ship.
9. They ran out of the dressing-room .............. the football pitch.
10. London is ............... the south-east of England.
11. The dog stood .................... the door and waited.
12. They walked hand-in-hand ...................... the side of the canal.
13. I didn't want my mother to see her present, so 1 held it ............... my back.
14. The cat jumped .................... my arms and ran away.
15. I threw the stone ....................... the sea.
16. The bottles fell .................... the lorry and rolled ..................the hill.
17. It was too dark to see so he walked slowly, holding his arms ............... him.
18. I put a chair .................... the door to stop anyone coming in.
19. We crawled ....................... a hole in the fence.
20. What have you got ............. your hand?
21. The cat was sitting ............... the cupboard, looking down at me.
22. I was frightened. I could see him walking ................... me, with a very angry look on his face.
23. I tied the string ...................... my waist.
24. If you are feeling sick, you should sit a ............... chair and put your head ................... your knees.
25. The cat jumped out of the tree .................... the roof of my car.

ANSWERS

1. round 
 2. over 
 3. away from 
 4. into/through 
5. in 
6. under 
7. between
8. past 
9. onto 
10. in 
11. at 
12. along 
13. behind 
14. out of
15. into/in 
16. off... down 
17. in front of 
18. against/behind 
19. through

20. in 
21. on top of/on 
22. towards 
23. round 
24. on ... between 

00497-- PREPOSITIONS // EXERCISE 3


PREPOSITIONS // EXERCISE 3

Write these sentences, choosing the correct preposition.

1. They ran (across/opposite) the road.

2. We had a picnic on the hill (over/above) the village.

3. I put the ladder (against/up) the wall.

4. The snake moved quietly (through/across) the tall grass.

5. The mouse ran quickly (across/through) the path.

6. The cat walked slowly (on top of/along) the wall.

7. We sat (on top of/along) the cliffs and watched the sea.

8. Someone pushed a letter (under/below) the door.

9. She drove [between/through) the gates.

10. I held the parcel (behind/past) my back.

11. They walked (in front of/past) the school gate.

12. I pushed my bike (over/above) the bridge.

13. The bank clerk stood (against/towards) the wall.

14. We waited (down/under) a tree.

15. 1 put my suitcase (on top of/over) the wardrobe.

ANSWERS

1 across 2 above 3 against 4 through 5 across 6 along 7 on top of
8 under 9 through 10 behind 11 past 12 over 13 against 14 under
15 on top of

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00496--PREPOSITIONS // EXERCISE 2

.


PREPOSITIONS - 2

Supply the missing prepositions.

  1. I don't agree ......... your proposal.
  2. Mr Potter suffers ........ asthma.
  3. Please don't insist ........ paying the bill.
  4. I wouldn't think ....... borrowing money.
  5. These two pictures differ ...... each other.
  6. Choose ........ the two.
  7. Where did you read ..... it?
  8. I'm depending ......... you.
  9. We can only guess ....... the truth.
  10. Please wait ..... me.
  11. Knock ...... the door.
  12. Ask ....... the menu.
  13. I don't agree ...... you.
  14. How do you know ..... this?
  15. Does this jacket belong ...... you?
  16. Let's begin ....... tomato soup.
  17. Can you look ...... the children for tonight?
  18. I couldn't wish ....... a nicer office.
  19. We failed ........ our attempt to win the race.
  20. You can't reason ..... him.
  21. This pie tastes ........ onion.
  22. I don't believe ...... fairies.
  23. I succeeded ...... starting the engine.
  24. The police are looking ..... the robbers.


ANSWERS
  1. with/to
  2. from
  3. on
  4. of
  5. from
  6. between
  7. about
  8. on
  9. at
  10. for
  11. at
  12. for
  13. with
  14. about
  15. to
  16. with
  17. after
  18. for
  19. in
  20. with
  21. of
  22. in
  23. in
  24. for
.


00495--Prepositions// Exercise 1


PREPOSITIONS-1

Complete these sentences, putting the verbs into the gerund and using one of the following prepositions. Some of them are used more than once.

 about      of         in           to    after
 by          for        on          at    without

1 We talked .......(go) to France for our holiday.
2 I look forward .......(see) you again next year.
3 She's tired .........(work) for the company.
4 I'm very happy my parents ...........(come) home.
5 ..........(open) the front door, I walked slowly through it.
6 We got into the house .........(climb) through a window.
7 I'm looking forward ..................(work) with you.
8 Are you interested ...................(join) the committee?
9 I'm tired ...............(come) to the same place every week.
10 He's very keen ........................(swim) at the moment.
11 I'm worried Jane ................(get) to the airport on time.
12 I'm not interested ........................(hear) your excuses.
13 She's very good ..................(listen) to what people say.
14 This is used .........................(cut) metal.
15 The car drove off .........................(stop).

Answers


  1. about going
  2. to seeing
  3. of working
  4. about ... coming
  5. After opening
  6. by climbing
  7. to working
  8. in joining
  9. of coming
  10. on swimming
  11. about ... getting
  12. in hearing
  13. at listening
  14. for cutting
  15. without stopping

00494-- The summary/ plot of the story THE OPEN WINDOW by SAKI [H. H. MUNRO]



THE OPEN WINDOW- H. H. MUNRO (SAKI)



Summary of the Story
"The Open Window" beautifully portrays how Vera, a fifteen year old girl makes up stories at will, mindless of their outcomes. Framton Nuttel sets out on a trip intended as a "nerve cure". He finds himself in a strange situation that ultimately has a negative effect on his apparently nervous personality.  Vera tells two stories; one to Nuttel, and the other to her family.  Both the stories are convincing and imaginative ones, and thus justifies the conclusion made by the author;  'romance at short notice was her speciality'.

Plot of the Story

Framton Nuttel suffers from a nervous condition and has come to a village to spend some time alone as prescribed by the doctor. Nuttel's sister sets up introductions for him with a few members of the community as she used to live there earlier. 

His first visit is to the Sappleton family where he meets a fifteen-year-old girl named Vera, the niece of Mrs. Sappleton. The self possessed girl elegantly keeps Nuttel company while he waits. Vera conveys Nuttel some information about the family knowing that Nuttel has not met the Sappletons before . 

Vera informs Nuttel that three years before to the date, Mrs. Sappleton's husband and two younger brothers had gone on a hunting trip and had never returned. Vera gives descriptions about the clothes they were wearing, the dog that accompanied them, and the song that Mrs. Sappleton's younger brother sang on their way. Vera says that her grief-stricken aunt keeps the window open and watches out the window expecting their return. 

Coming downstairs Mrs. Sappleton tells Nuttel that she expects her husband and brothers to return at any moment. Nuttel listens to her, thinking that Mrs. Sappleton has in fact gone crazy. Suddenly, Mrs. Sappleton brightens as she tells Nuttel that they have returned from hunting. Nuttel looks at Vera and sees a shocked look on her face. She looked as if she has seen ghosts. This makes Nuttel worried and curious as he was facing opposite to the window. He turns only to see the "dead" hunters approaching the house. He becomes frightened and leaves the house in a rush without a word. 

Mrs. Sappleton doesn't understand Nuttel's strange behavior, but Vera explains the reason for his behaviour; that he is deathly afraid of dogs.


Not until the end of the story does the reader come to know that Vera has tricked Mr. Nuttel.  "Romance at short notice was her speciality" is the last line of the story which reveals the very theme of the story, and unveils the character Vera.

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