#scimiter

[jeeperso]

D&D Quotes Without Context

Ravenloft edition, Har-Akir arc, part 3

"Well, off to go tomb raiding once more. Let's hope the traps weren't made by a sadist.” “Oh, Nyx. You sweet summer child.”

"The local monsters no better than to attack a Vistani caravan, but we'll be on our own.” “We can make a few examples. They’ll learn about us fast. Just remember to leave a survivor.”

"At least it isn't vorpal rabbits. Stupid idiot just had to use magic to crossbreed rabbits with wolves.” “And that's what hand held explosives are for.”

"Suffer not The Love Guru to live…"

"Fear not children, hope has arrived! Why? Because WE ARE HERE!”

GM: The ogres are now moving in slow motion. OOC: BGM All-Star at .05 speed.

GM: Actually wait not. You catch the guy int he knee. He starts screaming. Edmund: "Ill fix that! I'm a doctor!” Jonni: “Stop crying! We’re rescuing you!”

Poom shoots the non-groveling one with a ray made of clocks. Nyx: ”Ewww, Poom, did you have to rot the ogre? Couldn't you have done some other form of damage so it doesn't explode in a shower of guts when that damaged?” Edmund: ”Apparently Ogres become more juicy with age.... “ Poom: "Only if you store it wrong.”

Jonni stands in mid air. “Here! Let me show you a big … bang… kind of atta… fuck it, fireball!”

“I AM THE GODDES OF HELLFIRE AND MOLASSES! AND I BRING YOU THE GIFT… OF FIRE!”

Gorbash: “It's Ogres, My Great Uncle always said they're often too stupid to realize they're already dead.” Jonni: “They are. Torm the Almost Unbeatable was nearly killed when one kicked him after he cut its head off. That was a good solstice festival.”

“I’d say you can take a bite out of them, but Ogres taste like crap.” Poom: "You have to pickle them first.”

"Easy now... Let me look you over... I think. You have an arrow to the knee.”

Azathoth: "Giant rubies are never a good thing.”

OOC: Oh, shit, it’s Akio Ohtori! Don’t get in any cars with him!

OOC: Put some sand in there. Maybe a helmet made from a skull.

“I, sir, am a Paladin. It is my sworn duty to keep the innocent from harm.” “He is. Trust me. It’s almost gotten us killed.” “Please, all of our virtues or vices have nearly gotten us killed at some point.”

The circus tent that walks like a man's heavy iron tread echoes through the halls.

Edmund: ”Which... might be quite..... Deadly. Assassins are rather known for it. “ Jonni: “I mean, so am I.”

OOC: DREAM WARRIORS ASSEMBLE!

The streets are empty, the buildings are basically empty shells like the set of a stage play. “Is there still booze?”

As you look around, you hear singing in the distance, along with the dragging of something. “Yeah, yeah, creepy dream demon 101.”

"Mouth eyes, cute. I've seen worse in my own nightmares.”

The ruby is gone, in its place is a deck of cards. Gorbash slaps Eddie's hand instinctively.

Poom: "I'm not sure I dream any more so much as have 'enforced family time’."

"Are you guys still in town? What happened?” “Minor delay, unrelated cursed nightmare shit. Nothing you need worry about.” "Right yeah, I forgot you guys are addicted to the side quests. Alright carry on.” “Yeah having a functioning conscience can be inconvenient.”

Jonni: “I think I can see the curvature of time, guys.”

Jonni flies back and does her sexy Identify dance on the wagon.

"DOG! I HAVE BEEN IMPRISONED IN THIS ACCURSED BOTTLE FOR 500 YEARS, I VOWED TO SLAY THE FIRST LIVING BEINGS I SAW WHEN I EXITED AND THAT SHALL BE YOUuuuu…" He lowers his scimiter and looks at Jonni. Then at her bottle. Then he quickly bows.

"I am the duke of boiling rage, hurler of 10,000 curses, collector of 10,00 skulls, who has brought low everyone who has insulted me.” "Your haircut is very fancy!” "Thank you.”

SANDSTORM! OOC: I had that book.

OOC: No fair! I’m using Mon-Ra in Spelljammer! Their the unholy spawn of Mum-Ra and Mon-Starr.

Jonni: “Their last name is ‘Golzana?’ I could have been making fun of that this whole time?!?”

OOC: FUCK THAT! JONNI NEEDS HER EYES FOR LOOKING AT TITTIES!

OOC: Also, bold of you to assume Jonni’s cylindrical shaped vessel has been a bottle.

“Mistress, can I chop this ones hands off? He wont leave my flask alone.” "No. I need my hands. For Reasons!”

Jonni: “Efreet don’t get powers from bottles. They only get into them at all for weird sex stuff.”

[libidomechanica]

“Motions; simple think of gaol”

—Tell me though, and or dry, and greate and Walters for     hell; tis doubted, no title, a circumstance, where to some stranged a forevered     if that once in that bee-like a Frisbee,

little, or thy self a smil’d, and every rage.     ’Ve none knew not—single for there cut off like in a causes cage. Like their land the     tenses from walls or kind, pray that Christ

breast. Which public shocks of prisoned our liberal noise     of death was not forerunners with their wont deceptive left slacks and as though to consequence     prescience, or relation in

their neck disting upon beat back in it remember     ever; quo’ she, stood the beheld his heaviest name, and bawled like happy, nest. His     pilgrim to bear of the wight, noy gynnes

the who explorators, glare the who in the     road man’s breather would keep that its wing’d exultation,—my heart mine. The sleep will your own.     And ever dying trees,—is everything

and blossoms they wholesome learn howl, groans, helpless     t were apple, sends are what in my verse. Motions; simple think of gaol rose—that I come     was Don Juan, who put in love been to

more from thinking around then rope to say, a bulky     volunteers the Lord Christmas welcome, for I will stars. A message feast she garden     of injury. Or heaven, not Momus

seen at dawn I rose odd miser subtle for     the catcher’s delights, torches given they told; now I choose is keep us closely both,     than go thro’ the scimitations, ’ where

maids and flower’d into the pails. It shore is last     more luxuriant life and the charming out that I would be done, lycius blisse, that he     memoration, with would be tendrils

with the wants to reel, nae travel, still the light and     ogle: tell me nothings to me crept: my mood into snatch’d the gas, put hot wake what I     would but worst’s surface. That brutal year,

we’llsay not meet, with loved with your desk for a glow’d     up to nine image shivering, and rufull flying and drank and closer such is swelling,     before my breath’d it be simultan,

’ as thou my added disconnected phrase—but     what it was t’other milk and tenor of that swing on the panacea, Sir! A might,     and he bird. As he garden, Maud,

firing ever came a human fact’s a hardly     love to lose; then he rents? No, like this know, the horror waist by Christ should retreat, and loved     with hymns, stop, not morn, and song; all the

best makes me little pall. In plenish’d the road: sweet     girlonds that beauty from off by five breeds. That all the bird most and fresh air we’se news, each     none baser birth, in the heart-beating

too wan, or what Eloquences, if all effection     thy fool. Passion still be it was gone to the heroes, name be concord no more, not     a school of her fair Syrinx returning

mute. Said of loue to order occasions, as     only limbs, but this will not lieth, and design part—never revolution wave, she screame.     Gave the captiues conventions, see! Where

the mail before! The mob stood buzzing day. The brittle     tent to sharpest maze. Who in this wooing the lamp-light, and in the strong, when you of     the wind a hollow a trembling plain’s

make the Fate what he ken, the prisoners if now cease.     These lives; here no more scope: we banners closer that was when the tyranne fellow, and God     know the gaining mouth is such golden

malt lawn, the lustre was for pale above me, and     carried up in an ever the grew hot, and midst those quite is sings that the probed the deserve.     At lead that morns high troops lang—take.

[wordofthehour]

Word of The Hour: sword

English: sword 1. hence, the emblem of judicial vengeance or punishment, or of authority and power 2. war; dissension 3. an offensive weapon, having a long and usually sharppointed blade with a cutting edge or edges. it is the general term, including the small sword, rapier, saber, scimiter, and many other varieties ------------ - French: épée - German: das Schwert, der Degen - Hindi: खड्ग - Italian: spada - Portuguese: espada - Spanish: espada ------------ Thank you so much for being a member of our community!

[dwellordream]

“Pamphlets and ballads do not make the parallels between domestic and political tyranny explicit; nor do they explore the implications of the parallel, particularly the possibility that a wife's or servant's active resistance might be justifiable. Yet in narratives about murderous husbands, as in those about murderous wives, domestic violence reveals the contradictions that undermine marriage from within. These narratives particularly expose the violence that underlies, and is even produced by, the fiction of subsumption, of two becoming one. Rather than reproducing the "plots" most typical of actual instances of wife-killing- an angry husband who loses his temper, or "correction" (abuse) that escalates into murder- the pamphlets and ballads dwell on excessive, ingenious brutality. 

Detailing husbands' violent refusals to act as protectors, partners, or lovers, these texts present the murders of wives as abuses not only of authority but of intimacy. They thus join with the accounts of petty treason that we have seen to articulate deep fears of sexual and domestic familiarities. In both kinds of narratives, spouses employ the physical vulnerability of the conjugal relation to assault rather than solace their partners' bodies. Representing particularly grotesque acts- throttling a bedridden invalid, clandestinely inserting poison into the vagina, roasting the murdered body as if it were meat- accounts of wife-murder depict husbands as enemies, rather than protectors or partners.

In presenting such intimate betrayals, many texts follow the model of the Judas kiss. After pretending to be reconciled to his pregnant wife, John Marketman, for instance, "took her about the neck Judas like as if he intended to kiss her, and all on a sudden thrust his accursed knife into, if not through her poor Heart, so that she fell down dead upon the spot." Another jealous husband, William Tite, perched his wife on his knee, kissed her and spoke lovingly to her, then "put his hand under her Apron, and ript up her bowels and belly, insomuch that the child which was in her womb, fell out on the ground, and sprawled before him." Thomas White, sitting close beside his wife, slowly and secretly maneuvered the point of his "scimiter" into his "pocket-hole" and "as he sate close by Her, he forc'd it in at her right Breast, and through her Body" to the amazement of others present in the room.* 

In all these cases, the husband not only exploits his wife's trust and physical proximity but acts out his betrayal in an unseemly way. Hunt reviewed consistory court wife-beating cases from 1711 to 1713 and relates: "One often gets the sense, reading these cases, of acts designed specifically for an audience. Men persistently abused their wives in front of relatives." " Similarly, representations of those husbands who kill their wives depict the murders as simultaneously intimate and theatrical. Pornographically conjoining violence, eros, and performance, the murders force into visibility a disturbing connection between marital sex and violence against women. The Examination, Confession, and Condemnation of Henry Robson Fish of Rye, Who Puysoned His Wife in the Strangest Maner That Hitherto Hath Bin Heard of (1598) explores this connection in even more extreme terms than the popular texts that begin with conjugal and end with the wife's disembowelment. 

In this pamphlet, the profligate Robson secs his wife's life as an obstacle to his release from debtor's prison. To eliminate her, another prisoner advises Robson to mix ratsbane and ground glass, and wrap this mixture "in the skinne of a shoulder of mutton, to the quantity of a hasle nut, or lesse, and in the night when his wife should next come to lie with him, [Robson] should convey it into her privie parts, which bee would warra[ n ]t without danger to him shuld kill her." When Robson's wife next pays him a conjugal visit, by "a dissembling shew of friendship" he "constrain[ s] her to stay all night," during which time she enjoys "the dearest nights pleasure that ever woma[n] had." Those scholars who have commented on this text sanitize Robson's act. 

One describes Robson's method as "filling his wife's genitals with a mixture of ratsbane and ground glass while she slept," although the text suggests that she was having sex with her husband, not sleeping; another describes Robson as "introducing rat poison into her vagina," decorously evading the means by which Robson "introduces" his carefully prepared depository." Clearly, Robson uses sexual penetration to poison his wife. Although the wife expects "pleasure" from sexual intercourse, physical intimacy empowers her husband to kill her "without danger to him," rather than mystically transforming husband and wife into "one flesh." 

An account of a less devious murder, A True Rendition of the Most Humble Murther Committed by Thomas White ... upun the Body of His Wife Mrs. Dorothy White (1682), reveals a similar concern with the complexities and dangers when spouses become one flesh occupied by antagonistic wills. Citing Genesis ("'This is now Bone of my Bone, and Flesh of my Flesh"), the title page asserts the husband's obligation to love his wife as he loves himself. The text then recounts the breakdown of this marital ideal; through his "vitious Practices" and "the Abuse of Himself with lewd Women," Thomas White contracts "that Disease which commonly is the Consequence of Uncleanness" and transmits it to his wife: "'Thus you see a Man, who by the Laws of God and Common Natural Duty, was Bound by all lawful means to take Care for the Welfare and Preservation both of the Souls and Bodie, of his Wife and Children, Contriving and Resolving the Ruine of both."

After White infects his wife, he proceeds to threaten her against disclosure so that she does not seek adequate medical attention; the text presents his subsequent murder of her as the logical consequence of neglecting to cherish her flesh as his. In some accounts of the murder of husbands, a wife's infidelity leads to her husband's death; in these two texts, a wife's fidelity enables her husband to kill her, suggesting the dangers of "due benevolence" for women. Like discussions of wife-beating, then, these texts explore what it means to be one flesh when the occupants of this shared body are at odds. The construction of husband and wife as one flesh, like the legal fiction that the husband subsumes his wife, assumes that the husband's and wife's interests correspond. 

In a vivid, often-cited image, Milton explicitly links the failed ideal of one flesh to tyranny. When husband and wife are incompatible, "instead of becing one flesh, they will be rather two carkasses chain'd unnaturally together; or as it may happ'n, a living soule bound to a dead corps, a punishment too like that inflicted by the tyrant Mezentius.” While Milton assumes that the husband is the victim of tyranny, writers more concerned that husbands themselves may act as tyrants similarly insist that the degeneration of "one flesh" into "two carkasses chain'd unnaturally together" subverts constructions of the subject and the couple as stable, self-preserving, cohesive: ''The wife is as a mans selfe. They two are one flesh. No man but a frantike, furious, desperate wretch will beat himselfe"; "What man will be so wicked as to strike, and beate, and ban, and curse his own flesh which is his lawful and absolute wife[ ? ]"

Yet accounts of wife-beating and wife-killing suggest that the masculine subject, and therefore the corporate subject forged when he subsumes his wife, could be fragile, fragmented, and self-destructive. Examining cases brought against brutal husbands in church courts, Martin Ingram argues that the community judged such men's domestic violence as a symptom of uncontrol and abnormality. For instance, in five cases of excessive, life-threatening wife-beating in Wiltshire, "all of the husbands involved showed signs of mental disturbance or instability." .. , One account of a husband's murder of his wife suggests that legal, literary, and moral texts so consistently attributed murderous husbands' actions to madness that husbands themselves might have exploited this convention. 

The Bloody Husband (1653) presents Adam Sprackling as dispassionately calculating his own insanity defense immediately after murdering his wife. According to a servant's testimony, Sprackling, who "loved his Dogs better than he loved his Wife," enjoined the servant to help him slaughter them: "Now let us kill the Dogs, and then they'll say we are mad indeed."' Subsequently, Sprackling pleads in court "that he was mad when he kill'd his Wife; and that he knew not what he did." .... According to The Bloody Husband, Sprackling manipulates the convention of the mad husband, and even his public persona ("He loved his Dogs better than he loved his Wife."), to defend himself. 

The servant's testimony that Sprackling calculated the effect of slaughtering the dogs combined with testimony that Sprackling "was of an habitual bloody disposition and practise" undermined the strategy and led to Sprackling's conviction. The narrative framing here (the story of the story that Sprackling devises) and the function of the courtroom as an arena of competing narratives draw attention to a cultural perception, produced and transmitted through popular accounts of actual crimes, that a man who would murder his wife was no longer a representative of order or authority. Like the emphasis on their instability, the emphasis on murderous husband's tyranny suggests that their actions bear no relation to acceptable assertions of domestic authority and reveal nothing about the distribution of power in marriage. 

Two Horrible and Inhumane Murders Done in Lincolneshire (1607), for instance, describes how John Dilworth silences his wife's justifiable complaints with several blows to her head, makes a fire, and then, "like a terrible torturing tyrant, tooke uppe the dead carcase, and laide it thereon, clothes and all, not forgetting to hang uppe blankets and coverlids before the windowes, to the end to hide the light this great fire did cast."  By offering the demonic image of Dilworth reveling before his wife's smoldering corpse, "as it were rejoycing at that his most hatefull, horrible, and hellish fact, like a most gracelesse and mercilesse miscreant," the text sidesteps the issue of the husband's responsibility; at the same time it qualifies his claims to authority. Such exaggerated, grotesque characterizations evade the relationship between wife-murder and the dominant ideology of male supremacy. 

…Like the peers who tried Castlehaven and the narratives circulating about his trial, however, most pamphlets and ballads deny transgressive husbands' attempts to justify their actions, labeling their interpretations of coverture as criminal and crazed. By the eighteenth century, conduct literature, legal discourses, and popular literature demonized wife abuse and "rhetorically" displaced it onto the lower classes, so that "wife beating became, for literate people, a particular mark of the inferiority and animality of the poor." Anticipating this trend, pamphlets remove "terrible, torturing tyrants" like John Dilworth from the continuum of husbandly authority, foreclosing the interrogation of husbandly power and its limits. While Heywood's An Apology for Acton ( 1612) suggests that murderous wives lurk everywhere in the disguise of the familiar and innocuous, a text such as Two Horrible and Inhumane Murders suggests that murderous husbands are monstrous exceptions, not husbands whose "legitimate" correction of their wives gets out of hand.”

- Frances E. Dolan, “Revolutions, Petty Tyranny, and the Murderous Husband.” in Dangerous Familiars: Representations of Domestic Crime in England, 1550 - 1700

[music-addiction-disorder]

kev ray This album has the ability to stay fresh with each listen. You don't need to be high to appreciate it,... but it never hurts. Favorite track: Nasa.

DOPE SMOKER - Nasa Legalize It (2017) Black Farm Records South West Wales

Tracklist: 1. Nirvana 03:50 2. Trenches 04:17 3. Legalize It 03:16 4. Nasa 03:24 5. Over 03:30 6. Scimiter 04:00 7. Widow 04:38 8. Ulvaner 04:24 9. Stone 03:41 10. Scars 04:08

- necro69mancer -

[disnapper]

#Birds #Birdsofindia #Birdsofindiansubcontinent #Northeastindia #ArunachalPradesh #Roing #Tiwarigaon #Mayodiapass #Mayodia #India #Canon7D #Scimiter #Babbler #Canon70200mm #70200mm #NeedID

[smellycatcreations]

Little Custom ECU enclosure for my uncles Scimiter, printed on my @anycubicofficial megax #plafilamentgrey #plafilamentrestocked #careculture #scimitaroryx #plafilaments #plafilamentspools #splitscimitar #plafilament3d #carecu #scimitarjacket #plafilamento #plafilament➡️ #scimitarclothing #anycubicmegax #plafilamentti #carecuts #scimitarhornedoryx #plafilamente #careculo #scimitar #carecurethrive #plafilamentsilkgold #plafilamentmurah #intags #plafilament #plafilamentcolors #carecut #plafilamentmanufacturer #scimitarwinglets #carecuica https://www.instagram.com/p/CasBoPMg6fh/?utm_medium=tumblr

[burgasbg]

Beautiful Gate

On the 29th or 80th of May 1458, Sultan Mehemet the Conqueror alighted from his horse at the gate of S. Sophia. It was most probably at the “ Beautiful Gate,” at the southern end of the noble inner narthex of the church, the entrance through which the Emperors of Constantinople usually proceeded to the cathedral. According to one account, the Sultan stooped down at the threshold, took some earth, and scattered it on his head in token of humiliation before God.

Entering, he saw a Moslem breaking the marble pavement. He struck at the vandal with a scimiter for daring to injure a building that belonged of right to the sovereign. Then, in what to the Eastern world was the Holy of Holies of Christendom, an imaum ascended the pulpit and cried aloud, “ There is no God but God, and Mahomet is His prophet” And so it has been ever since.

The Church of S. Saviour Pantepoptes, the All- Seeing (Eski Imaret Djamissi), the Church of S. Saviour Pantocrator, the All-Powerful (Zeirek Kiliss£ Djamissi), and the interior of S. Saviour-in- the-Chora (Kahriyeh Djamissi), recall the period of the Comneni and the Angeli (1081-1204).

In their erection ladies of considerable importance in the history of Constantinople had a part. The first was built by Anna Dalassena, the mother of Alexius I. Comnenus; the last was restored by his mother-in-law, Mary Ducaena, a Bulgarian princess famous for her beauty; the second was an erection of the Empress of John I. Comnenus, the daughter of Geysa I., King of Hungary.

These churches represent the age when Constantinople was stirred by the march of the earlier Crusades through the territory of the Empire, when Peter the Hermit and Godfrey de Bouillon encamped their followers within sight of the city walls, to be dazzled by the splendours of the Palace of Blachemae, and cajoled by the diplomacy of Alexius I. Comnenus. They also recall the time when Henrico Dandolo, the Doge of Venice, brought his fleet and the troops of the Fourth Crusade to the Golden Horn, and founded the short-lived Latin Empire of Constantinople.

It was on the terraced ground beside the Church of Pantepoptes that the Emperor Alexius Murtzuplus pitched his vermilion tents and drew up his reserve forces. There he stood to see the walls on the shore below attacked by the Venetian ships and carried by Frankish knights. From that position he fled at the approach of a body of the enemy’s horsemen, and under his un-stricken vermilion tent Count Baldwin of Flanders and Hainaut, soon to succeed him as Latin Emperor of Constantinople, spent the night of that memorable day.

[airaglub]

Beautiful Gate

On the 29th or 80th of May 1458, Sultan Mehemet the Conqueror alighted from his horse at the gate of S. Sophia. It was most probably at the “ Beautiful Gate,” at the southern end of the noble inner narthex of the church, the entrance through which the Emperors of Constantinople usually proceeded to the cathedral. According to one account, the Sultan stooped down at the threshold, took some earth, and scattered it on his head in token of humiliation before God.

Entering, he saw a Moslem breaking the marble pavement. He struck at the vandal with a scimiter for daring to injure a building that belonged of right to the sovereign. Then, in what to the Eastern world was the Holy of Holies of Christendom, an imaum ascended the pulpit and cried aloud, “ There is no God but God, and Mahomet is His prophet” And so it has been ever since.

The Church of S. Saviour Pantepoptes, the All- Seeing (Eski Imaret Djamissi), the Church of S. Saviour Pantocrator, the All-Powerful (Zeirek Kiliss£ Djamissi), and the interior of S. Saviour-in- the-Chora (Kahriyeh Djamissi), recall the period of the Comneni and the Angeli (1081-1204).

In their erection ladies of considerable importance in the history of Constantinople had a part. The first was built by Anna Dalassena, the mother of Alexius I. Comnenus; the last was restored by his mother-in-law, Mary Ducaena, a Bulgarian princess famous for her beauty; the second was an erection of the Empress of John I. Comnenus, the daughter of Geysa I., King of Hungary.

These churches represent the age when Constantinople was stirred by the march of the earlier Crusades through the territory of the Empire, when Peter the Hermit and Godfrey de Bouillon encamped their followers within sight of the city walls, to be dazzled by the splendours of the Palace of Blachemae, and cajoled by the diplomacy of Alexius I. Comnenus. They also recall the time when Henrico Dandolo, the Doge of Venice, brought his fleet and the troops of the Fourth Crusade to the Golden Horn, and founded the short-lived Latin Empire of Constantinople.

It was on the terraced ground beside the Church of Pantepoptes that the Emperor Alexius Murtzuplus pitched his vermilion tents and drew up his reserve forces. There he stood to see the walls on the shore below attacked by the Venetian ships and carried by Frankish knights. From that position he fled at the approach of a body of the enemy’s horsemen, and under his un-stricken vermilion tent Count Baldwin of Flanders and Hainaut, soon to succeed him as Latin Emperor of Constantinople, spent the night of that memorable day.

[lovelybulgaria]

Beautiful Gate

On the 29th or 80th of May 1458, Sultan Mehemet the Conqueror alighted from his horse at the gate of S. Sophia. It was most probably at the “ Beautiful Gate,” at the southern end of the noble inner narthex of the church, the entrance through which the Emperors of Constantinople usually proceeded to the cathedral. According to one account, the Sultan stooped down at the threshold, took some earth, and scattered it on his head in token of humiliation before God.

Entering, he saw a Moslem breaking the marble pavement. He struck at the vandal with a scimiter for daring to injure a building that belonged of right to the sovereign. Then, in what to the Eastern world was the Holy of Holies of Christendom, an imaum ascended the pulpit and cried aloud, “ There is no God but God, and Mahomet is His prophet” And so it has been ever since.

The Church of S. Saviour Pantepoptes, the All- Seeing (Eski Imaret Djamissi), the Church of S. Saviour Pantocrator, the All-Powerful (Zeirek Kiliss£ Djamissi), and the interior of S. Saviour-in- the-Chora (Kahriyeh Djamissi), recall the period of the Comneni and the Angeli (1081-1204).

In their erection ladies of considerable importance in the history of Constantinople had a part. The first was built by Anna Dalassena, the mother of Alexius I. Comnenus; the last was restored by his mother-in-law, Mary Ducaena, a Bulgarian princess famous for her beauty; the second was an erection of the Empress of John I. Comnenus, the daughter of Geysa I., King of Hungary.

These churches represent the age when Constantinople was stirred by the march of the earlier Crusades through the territory of the Empire, when Peter the Hermit and Godfrey de Bouillon encamped their followers within sight of the city walls, to be dazzled by the splendours of the Palace of Blachemae, and cajoled by the diplomacy of Alexius I. Comnenus. They also recall the time when Henrico Dandolo, the Doge of Venice, brought his fleet and the troops of the Fourth Crusade to the Golden Horn, and founded the short-lived Latin Empire of Constantinople.

It was on the terraced ground beside the Church of Pantepoptes that the Emperor Alexius Murtzuplus pitched his vermilion tents and drew up his reserve forces. There he stood to see the walls on the shore below attacked by the Venetian ships and carried by Frankish knights. From that position he fled at the approach of a body of the enemy’s horsemen, and under his un-stricken vermilion tent Count Baldwin of Flanders and Hainaut, soon to succeed him as Latin Emperor of Constantinople, spent the night of that memorable day.

[lovesbulgaria]

Beautiful Gate

On the 29th or 80th of May 1458, Sultan Mehemet the Conqueror alighted from his horse at the gate of S. Sophia. It was most probably at the “ Beautiful Gate,” at the southern end of the noble inner narthex of the church, the entrance through which the Emperors of Constantinople usually proceeded to the cathedral. According to one account, the Sultan stooped down at the threshold, took some earth, and scattered it on his head in token of humiliation before God.

Entering, he saw a Moslem breaking the marble pavement. He struck at the vandal with a scimiter for daring to injure a building that belonged of right to the sovereign. Then, in what to the Eastern world was the Holy of Holies of Christendom, an imaum ascended the pulpit and cried aloud, “ There is no God but God, and Mahomet is His prophet” And so it has been ever since.

The Church of S. Saviour Pantepoptes, the All- Seeing (Eski Imaret Djamissi), the Church of S. Saviour Pantocrator, the All-Powerful (Zeirek Kiliss£ Djamissi), and the interior of S. Saviour-in- the-Chora (Kahriyeh Djamissi), recall the period of the Comneni and the Angeli (1081-1204).

In their erection ladies of considerable importance in the history of Constantinople had a part. The first was built by Anna Dalassena, the mother of Alexius I. Comnenus; the last was restored by his mother-in-law, Mary Ducaena, a Bulgarian princess famous for her beauty; the second was an erection of the Empress of John I. Comnenus, the daughter of Geysa I., King of Hungary.

These churches represent the age when Constantinople was stirred by the march of the earlier Crusades through the territory of the Empire, when Peter the Hermit and Godfrey de Bouillon encamped their followers within sight of the city walls, to be dazzled by the splendours of the Palace of Blachemae, and cajoled by the diplomacy of Alexius I. Comnenus. They also recall the time when Henrico Dandolo, the Doge of Venice, brought his fleet and the troops of the Fourth Crusade to the Golden Horn, and founded the short-lived Latin Empire of Constantinople.

It was on the terraced ground beside the Church of Pantepoptes that the Emperor Alexius Murtzuplus pitched his vermilion tents and drew up his reserve forces. There he stood to see the walls on the shore below attacked by the Venetian ships and carried by Frankish knights. From that position he fled at the approach of a body of the enemy’s horsemen, and under his un-stricken vermilion tent Count Baldwin of Flanders and Hainaut, soon to succeed him as Latin Emperor of Constantinople, spent the night of that memorable day.

[libidomechanica]

Astrophel, and he

Astrophel, and he windowd him—she can he  is not so; I lost might of therewith  loves, and thrustice lost will I tell hell who buys  whom the strawe. For she topics ten,  that I have always with what 

fire while I rue the places  on you up like a little idle  than moanings divine Muse, that she knelt  by than invite terror, like a hot back and  de Vaux of Tryermaine to 

makes merimake. Thus to snatched fists. Old Susans  greatly did quake him the mountaind  chose disting tigers clown-accent came to  who only ten-spread they had been— down  in the owlet it in my heale 

oer her face was cleft at they  will I should change each make up came that he seemd  tower to me, whaever and now with  slowly roll in them. Unless survey  our knife. One lamental 

surgeons bene now becomes bene red my phrase of  what her vain it, meek came, and  stupidly admire, without thousand  ioyes resto! Is not say ’“tis a would  rhyme, let alas,” faded to hand? And 

by her so; yet my father dear, went. has  beauty han went Father wi my Phillis, And  the fields. the sea place the  back Night; the sons he was. The  name of old defended 

of pain? O well amends for hell in vaine,  and fires, withstood and thoughts are  his rage, like a they but given her  of want to known; the  who cathed side— a sight promise in verse have 

fleece is all me wont to say and  very treaches, or he bed, and victors compelld  him with other preserved  so. The bale— her sides seeing,  where the man whose Christance and pass 

thought renew! Where heroes, which gaping  to bear here, such conversation alone.  The fair nature; and green-spreadies carelessly,  carved strove of the night eyes and  spinning fatal stormy mastiffend back Nightingale 

enormous  is golden charred at: thought to affrayed. Their  weeds the pain, be it was, “ Johnnys left hys make their pray your love sound! Which  it crowing, gardens foot in the 

Seraskier is sair,” well were that work  like besmears after I wrote his life is  the injury of the moonlight I  heart loup like, which the rhymes, thou dissemble,  and to go below, and 

mock at the night; but sill say, ill never  command, and, or nestling, sweet from  washboard, So let curl round: “but beautiful you,  snow, now base: in the who misse the vulture?  All the scimitating to 

they drawest the seas, and lift a strange  the cries, that in prayed the  Pope is quickly founded it chance last  its like (Writers were cool radiant  it             thrice as she discontent the 

[wordofthehour]

Word of The Hour: sword

English: sword 1. hence, the emblem of judicial vengeance or punishment, or of authority and power 2. war; dissension 3. an offensive weapon, having a long and usually sharppointed blade with a cutting edge or edges. it is the general term, including the small sword, rapier, saber, scimiter, and many other varieties ------------ - French: épée - German: das Schwert, der Degen - Hindi: खड्ग - Italian: spada - Portuguese: espada - Spanish: espada ------------ Thank you so much for being a member of our community!

[bulgariafestivals]

Beautiful Gate

On the 29th or 80th of May 1458, Sultan Mehemet the Conqueror alighted from his horse at the gate of S. Sophia. It was most probably at the “ Beautiful Gate,” at the southern end of the noble inner narthex of the church, the entrance through which the Emperors of Constantinople usually proceeded to the cathedral. According to one account, the Sultan stooped down at the threshold, took some earth, and scattered it on his head in token of humiliation before God.

Entering, he saw a Moslem breaking the marble pavement. He struck at the vandal with a scimiter for daring to injure a building that belonged of right to the sovereign. Then, in what to the Eastern world was the Holy of Holies of Christendom, an imaum ascended the pulpit and cried aloud, “ There is no God but God, and Mahomet is His prophet” And so it has been ever since.

The Church of S. Saviour Pantepoptes, the All- Seeing (Eski Imaret Djamissi), the Church of S. Saviour Pantocrator, the All-Powerful (Zeirek Kiliss£ Djamissi), and the interior of S. Saviour-in- the-Chora (Kahriyeh Djamissi), recall the period of the Comneni and the Angeli (1081-1204).

In their erection ladies of considerable importance in the history of Constantinople had a part. The first was built by Anna Dalassena, the mother of Alexius I. Comnenus; the last was restored by his mother-in-law, Mary Ducaena, a Bulgarian princess famous for her beauty; the second was an erection of the Empress of John I. Comnenus, the daughter of Geysa I., King of Hungary.

These churches represent the age when Constantinople was stirred by the march of the earlier Crusades through the territory of the Empire, when Peter the Hermit and Godfrey de Bouillon encamped their followers within sight of the city walls, to be dazzled by the splendours of the Palace of Blachemae, and cajoled by the diplomacy of Alexius I. Comnenus. They also recall the time when Henrico Dandolo, the Doge of Venice, brought his fleet and the troops of the Fourth Crusade to the Golden Horn, and founded the short-lived Latin Empire of Constantinople.

It was on the terraced ground beside the Church of Pantepoptes that the Emperor Alexius Murtzuplus pitched his vermilion tents and drew up his reserve forces. There he stood to see the walls on the shore below attacked by the Venetian ships and carried by Frankish knights. From that position he fled at the approach of a body of the enemy’s horsemen, and under his un-stricken vermilion tent Count Baldwin of Flanders and Hainaut, soon to succeed him as Latin Emperor of Constantinople, spent the night of that memorable day.

[bulgariasofia]

Beautiful Gate

On the 29th or 80th of May 1458, Sultan Mehemet the Conqueror alighted from his horse at the gate of S. Sophia. It was most probably at the “ Beautiful Gate,” at the southern end of the noble inner narthex of the church, the entrance through which the Emperors of Constantinople usually proceeded to the cathedral. According to one account, the Sultan stooped down at the threshold, took some earth, and scattered it on his head in token of humiliation before God.

Entering, he saw a Moslem breaking the marble pavement. He struck at the vandal with a scimiter for daring to injure a building that belonged of right to the sovereign. Then, in what to the Eastern world was the Holy of Holies of Christendom, an imaum ascended the pulpit and cried aloud, “ There is no God but God, and Mahomet is His prophet” And so it has been ever since.

The Church of S. Saviour Pantepoptes, the All- Seeing (Eski Imaret Djamissi), the Church of S. Saviour Pantocrator, the All-Powerful (Zeirek Kiliss£ Djamissi), and the interior of S. Saviour-in- the-Chora (Kahriyeh Djamissi), recall the period of the Comneni and the Angeli (1081-1204).

In their erection ladies of considerable importance in the history of Constantinople had a part. The first was built by Anna Dalassena, the mother of Alexius I. Comnenus; the last was restored by his mother-in-law, Mary Ducaena, a Bulgarian princess famous for her beauty; the second was an erection of the Empress of John I. Comnenus, the daughter of Geysa I., King of Hungary.

These churches represent the age when Constantinople was stirred by the march of the earlier Crusades through the territory of the Empire, when Peter the Hermit and Godfrey de Bouillon encamped their followers within sight of the city walls, to be dazzled by the splendours of the Palace of Blachemae, and cajoled by the diplomacy of Alexius I. Comnenus. They also recall the time when Henrico Dandolo, the Doge of Venice, brought his fleet and the troops of the Fourth Crusade to the Golden Horn, and founded the short-lived Latin Empire of Constantinople.

It was on the terraced ground beside the Church of Pantepoptes that the Emperor Alexius Murtzuplus pitched his vermilion tents and drew up his reserve forces. There he stood to see the walls on the shore below attacked by the Venetian ships and carried by Frankish knights. From that position he fled at the approach of a body of the enemy’s horsemen, and under his un-stricken vermilion tent Count Baldwin of Flanders and Hainaut, soon to succeed him as Latin Emperor of Constantinople, spent the night of that memorable day.

[bulgariatours]

Beautiful Gate

On the 29th or 80th of May 1458, Sultan Mehemet the Conqueror alighted from his horse at the gate of S. Sophia. It was most probably at the “ Beautiful Gate,” at the southern end of the noble inner narthex of the church, the entrance through which the Emperors of Constantinople usually proceeded to the cathedral. According to one account, the Sultan stooped down at the threshold, took some earth, and scattered it on his head in token of humiliation before God.

Entering, he saw a Moslem breaking the marble pavement. He struck at the vandal with a scimiter for daring to injure a building that belonged of right to the sovereign. Then, in what to the Eastern world was the Holy of Holies of Christendom, an imaum ascended the pulpit and cried aloud, “ There is no God but God, and Mahomet is His prophet” And so it has been ever since.

The Church of S. Saviour Pantepoptes, the All- Seeing (Eski Imaret Djamissi), the Church of S. Saviour Pantocrator, the All-Powerful (Zeirek Kiliss£ Djamissi), and the interior of S. Saviour-in- the-Chora (Kahriyeh Djamissi), recall the period of the Comneni and the Angeli (1081-1204).

In their erection ladies of considerable importance in the history of Constantinople had a part. The first was built by Anna Dalassena, the mother of Alexius I. Comnenus; the last was restored by his mother-in-law, Mary Ducaena, a Bulgarian princess famous for her beauty; the second was an erection of the Empress of John I. Comnenus, the daughter of Geysa I., King of Hungary.

These churches represent the age when Constantinople was stirred by the march of the earlier Crusades through the territory of the Empire, when Peter the Hermit and Godfrey de Bouillon encamped their followers within sight of the city walls, to be dazzled by the splendours of the Palace of Blachemae, and cajoled by the diplomacy of Alexius I. Comnenus. They also recall the time when Henrico Dandolo, the Doge of Venice, brought his fleet and the troops of the Fourth Crusade to the Golden Horn, and founded the short-lived Latin Empire of Constantinople.

It was on the terraced ground beside the Church of Pantepoptes that the Emperor Alexius Murtzuplus pitched his vermilion tents and drew up his reserve forces. There he stood to see the walls on the shore below attacked by the Venetian ships and carried by Frankish knights. From that position he fled at the approach of a body of the enemy’s horsemen, and under his un-stricken vermilion tent Count Baldwin of Flanders and Hainaut, soon to succeed him as Latin Emperor of Constantinople, spent the night of that memorable day.