Matthew 26 52 τότε λέγει αὐτῷ ὁ Ἰησοῦς Ἀπόστρεψον τὴν μάχαιράν σου εἰς τὸν τόπον αὐτῆς· πάντες γὰρ οἱ λαβόντες μάχαιραν ἐν μαχαίρῃ ἀπολοῦνται. Then Jesus said to him, "Put your sword back into its place; for all those who take up the sword shall perish by the sword. . . Word by word: Τότε - Then/ λέγει - says/ αὐτῷ - to him/ ὁ/ Ἰησοῦς - Jesus/ Ἀπόστρεψον - Return/ τὴν - the/ μάχαιράν - sword/ σου - of you / εἰς - into/ τὸν - the/ τόπον - place/ αὐτῆς - of it;/ πάντες - all/ γὰρ - for/ οἱ - those/ λαβόντες - having taken/ μάχαιραν - [the] sword,/ ἐν - by / μαχαίρῃ - [the] sword/ ἀπολοῦνται - will perish. . These are lines from the Book of Matthew, Chapter 26. It remarks on the shaky and dubious life of a warrior. War has been mentioned multiple times in the Holy Bible. In the Old testament, War against non-Israelites and pagans were looked upon as a good thing and seen as proof of YHWH’s people being victorious over all others since God is on their side. However, War between Israelites and killing fellow jews was seen as a bad thing. According to Jews of the time, The 6th Commandment (Do not kill) doesn’t extend to non-believers and that justifies Joshua’s conquest of the land of Cana’an, Moses slaughtering the Midanites. In the New Testament, War in any context was looked upon as a bad thing, however Christ (The Son Incarnate) acknowledged that war will continue as a part of human affairs till his second coming. Most Christian Saints and figures have then used the theory of Just War : That War should be the last resort and innocents must not be harmed.

What would people think of a white guy going to a shik/hindi/buddhist place of worship? I have studied them and know a decent amount and want to see it in person i'm very respectful quiet thinking. What do the dharmics think of the white man? Positive? negative? neutral? curiosity?

ए॑का च मे तिस्र॑श्च मे प॑ञ्च च मे सप्त॑ च मे न॑व च म ए॑कादश च मे त्र॑योदश च मे प॑ञ्चदश च मे सप्त॑दश च मे न॑वदश च म ए॑कविंशतिश्च मे त्र॑योविंशतिश्च मे प॑ञ्चविंशतिश्च मे सप्त॑विंशतिश्च मे न॑वविंशतिश्च म ए॑कत्रिंशच्च मे त्र॑यस्त्रिंशच्च मे। च॑तस्रश्च मेऽष्टौ॑ च मे द्वा॑दश च मे षो॑डश च मे विंशति॑श्च मे च॑तुर्विंशतिश्च मेऽष्टा॑विंशतिश्च मे द्वा॑त्रिंशच्च मे ष॑ट्त्रिंशच्च मे चत्वारिंश॑च्च मे च॑तुश्चत्वारिंशच्च मेऽष्टाचत्वारिंशच्च मे॥ —तैत्तिरीयसं॑हिता 4.7.11 . वाजसनेयसं॑हिता 18.24–26, मैत्रायणसं॑हिता 2.11.6, and काठकसं॑हिता 18.12 have similar sentences. . Translation: "One for me, three for me, five for me, seven for me, nine for me, eleven for me, thirteen for me, fifteen for me, seventeen for me, nineteen for me, twenty-one for me, twenty-three for me, twenty-five for me, twenty-seven for me, twenty-nine for me, thirty-one for me, thirty-three for me. Four for me, eight for me, twelve for me, sixteen for me, twenty for me, twenty-four for me, twenty-eight for me, thirty-two for me, thirty-six for me, forty for me, forty-four for me, forty-eight for me." . Word-by-word: I won't bother today; the grammar is very straightforward. . छ॑न्दस्/Meter: None . Ritual context: This formula is recited during the piling of the fire-altar (अग्निच॑यन). . Interpretation: The number-filled passage seems quite mysterious and uninterpretable at first glance, but is explained later in तैत्तिरीयसं॑हिता 5.4.8.5. It seems that "one and three are the meters of the Gods", while "four and eight are the meters of men", and by offering these verses, he wins the meters of Gods and men for himself ("for me"). He offers up to thirty-three because there are thirty-three Gods, and he thereby wins Their favor; he offers up to forty-eight because the ज॑गती meter (which we saw in yesterday's verse) has forty-eight syllables. The ज॑गती is apparently associated with cattle, so the sacrificer wins cattle by offering up to forty-eight. . Passages like this show the importance of fine ritual details and their symbolism in the Vedic religion, as well as the importance placed by the आ॑र्यs on meter and proper syllable-counts.

त्व॑मग्ने द्यु॑भिस् • तुव॑माशुशुक्ष॑णिः। तुव॑मद्भिय॑स् • तुव॑म॑श्मनस्प॑रि। तुवं॑ व॑नेभ्यस् • तुव॑मो॑षधीभियः। तुवं॑ नॄणां॑ • नृपते जायसे शु॑चिः॥ —ऋग्वेद॑ 2.1.1, तैत्तिरीयसं॑हिता 4.1.2.5.5, etc. . This is the metrically restored version. The सं॑हिता has eight deficient syllables with त्व॑म् for तुव॑म् in (once) the first line, (twice) the second line, (twice) the third line, and (once) the fourth line, and with अद्भ्य॑स् for अद्भिय॑स्, and with ओ॑षधीभ्यः for ओ॑षधीभियः. Note also that the सं॑हिता generally has नृणां॑ instead of metrically correct नॄणां॑. . Translation: "You, O अग्नि॑, (are born) through the days, desiring to shine forth. You (are born) from the waters. You (are born) from the stone. You (are born) from the forests. You (are born) from the plants. You, O king of men, are born, shining!" . Word-by-word: त्व॑म् "You", अग्ने < अग्नि॑, द्यु॑भिस् < दि॑व् "day", तुव॑म् < त्व॑म् "You", आशुशुक्ष॑णिस् < आशुशुक्ष॑णि < आ॑ शुच् "shine forth", तुव॑म् < त्व॑म् "You", अद्भिय॑स् < अ॑प् "water", तुव॑म् < त्व॑म् "You", अ॑श्मनस् < अ॑श्मन् "stone", प॑रि "from", तुव॑म् < त्व॑म् "You", व॑नेभ्यस् < व॑न "forest", तुव॑म् < त्व॑म् "You", ओ॑षधीभियस् < ओ॑षधी "plant", तुव॑म् < त्व॑म् "You", नॄणा॑म् < नृ॑ "man", नृ < नृ॑ "man", पते < प॑ति "lord", जायसे < जन् "bear", शु॑चिस् < शु॑चि "shining". . छ॑न्दस्/Meter: ज॑गती . Author: गृत्समद॑ . Ritual context: The verse seems to be used for a few different purposes. Most straightforwardly, it is used for the ritual of poking awake the fire in the morning and adding new fuel to the glowing embers (e.g. आश्वलायनश्रौतसू॑त्र 4.13). Other uses include the sóma-sacrifice (e.g. शाङ्खायनश्रौतसू॑त्र 11.9.8) and the piling of the fire-altar (e.g. तैत्तिरीयसं॑हिता 4.1.2.5.5).

उ॑पो अदर्शि • शुन्ध्यु॑वो न॑ व॑क्षः। नोधा॑ इवावि॑र् • अकृत प्रिया॑णि। अद्मस॑न्न॑ • ससतो॑ बोध॑यन्ती। शश्वत्तमा॑गात् • पु॑नरेयु॑षीणाम्॥ —ऋग्वेद॑ 1.124.4 . Translation: "(Her) breast has been perceived, as if bejeweled. Like नोध॑स्, She has made dear things apparent (to us). Awakening sleepers like a meal-companion, She has returned, latest of those (past dawns) that came." . Word-by-word: उ॑प अदर्शि < उ॑प दृश् "perceive", उ "indeed", शुन्ध्यु॑वस् < शुन्ध्यु॑ "bejeweled", न॑ "like", व॑क्षस् "breast", नोधा॑स् < नोध॑स्, इव "like", आवि॑स् "apparent", अकृत < कृ "make", प्रिया॑णि < प्रिय॑ "dear", अद्म < अ॑द्मन् "meal", स॑द् < सद् "sit", न॑ "like", ससत॑स् < सस॑न् < सस् "sleep", बोध॑यन्ती < बुध् "awaken", शश्वत् < श॑श्वत् "again", -तमा॑ < -तम "most", आ॑ अगात् पु॑नर् < आ॑ पु॑नर् गा "return", आ-ईयु॑षीणाम् < आ-ईयिवा॑न् < आ॑ इ "come". . छ॑न्दस्/Meter: त्रिष्टु॑भ् . Author: कक्षी॑वन् दैर्घतमस॑ . Ritual context: Surprisingly, I wasn't able to find any. As with most such hymns, it probably was used in a ritual originally but its purpose has perhaps been lost—doubtless a ritual performed at daybreak. . Interpretation: This verse is from a hymn praising उष॑स् (the Dawn), the most praised Goddess in the वे॑द. While the male Gods are the principal figures in theology, ritual, and metaphysics, Their female companions are also offered oblations in various sacrifices and praised in several hymns like this one, often with striking and beautiful imagery. Here the bright colors of the oncoming Dawn are compared to the Goddess revealing Her breast, and Her light shines on everything that is dear to us. She awakens us from sleep, and Her arrival in the morning is the most constant thing in the world, defining the very notion of a day.

अ॑तीहि मन्युषावि॑णम्। सुषुवां॑समुपा॑रणे। इमं॑ रातं॑ सुतं॑ पिब॥ —ऋग्वेद॑ 8.32.21, सामवेद॑ 1.2.12.1 . Translation: "Pass over him who presses (sóma) in anger, who presses (sóma) in sin. Drink this gifted pressed (sóma)!" . Word-by-word: अ॑ति इहि < अ॑ति इ "pass over", मन्यु < मन्यु॑ "anger", सावि॑नम् < सावि॑न् "presser", सुषुवां॑सम् < सुषुवा॑न् < सु "press", उपा॑रणे < उपा॑रण "sin", इम॑म् < अय॑म् "this", रात॑म् < रात॑ < रा "gift", सुत॑म् < सुत॑ < सु "press", पिब < पा "drink". . Meter: गायत्र॑ . Author: मे॑धातिथि काण्व॑ . Ritual context: This verse is possibly used in the महाव्रत॑, but I don't know the details of it. . Significance: (I found this verse while seeking other instances of सुषुवा॑न् from yesterday's verse.) Addressed to इ॑न्द्र, this verse asks Him to not to visit the sacrifices of those who perform the sóma-pressing angrily or after committing a sin, but instead to visit the reciter's own sacrifice to drink the sóma gifted to Him. This is interesting, because it implies that one who merely performs Vedic rituals for the sake of doing them, without genuinely "meaning" it or having honest intent (e.g. doing it while angry or to avoid the consequences of a sin), runs the risk of his sacrifice being ignored by the Gods. Actions and intent alike matter in the Vedic religion. .

सुते॑ अध्वरे॑ • अ॑धि वा॑चमक्रत। आ॑ क्रीळ॑यो न॑ • मात॑रं तुद॑न्तः। वि॑ षू॑ मुञ्चा • सुषुवु॑षो मनीषा॑म्। वि॑ वर्तन्ताम् • अ॑द्रयश्चा॑यमानाः॥ —ऋग्वेद॑ 10.94.14 . (This is the metrically restored version. The सं॑हिता has a deficient syllable with वा॑चमक्रता॑ क्रीळ॑यो. Note the extra syllable in the first line: theoretically it could be changed to सुते॑ऽध्वरे॑, but this probably wasn't the original form, as this line genuinely resembles a 12-syllable ज॑गती.) . Translation: "Over the pressed (sóma) sacrifice (the stones) raised their voice, like playing (children) annoying their mother. Release then (the stones) that have pressed and (release) the thought (of the sacrificer). Let them roll away, regarded as stones." . Word-by-word: सुते॑ < सुत॑ < सु "press", अध्वरे॑ < अध्वर॑ "sacrifice", अ॑धि "over", वा॑चम < वा॑च् "voice", अक्रत < कृ "do", आ॑ "here", क्रीळ॑यस् < क्रीडि॑ < क्रीड् "play", न॑ "like", मात॑रम् < मातृ॑ "mother", तुद॑न्तस् < तुद॑न् < तुद् "annoy", वि॑ मुञ्चा < वि॑ मुच् "release", सू॑ = सु॑ "well", सुषुवु॑षस् < सुषुवा॑न् < सु "press", मनीषा॑म् < मनीषा॑ "thought", वि॑ वर्तन्ताम् < वि॑ वृृृत् "roll away", अ॑द्रयस् < अ॑द्रि "stone", चा॑यमानास् < चा॑यमान < चाय् "regard". . Meter: Mostly त्रिष्टु॑भ्, but the first line is ज॑गती-style like most of the rest of this hymn . Author: अ॑र्बुद काद्रवेय॑, a serpent slain by इ॑न्द्र using snow . Ritual context: The hymn containing this verse is recited primarily during the मा॑ध्यंदिन स॑वन (midday pressing) of sóma: according to शाङ्खायनश्रौतसू॑त्र 7.15.17, after the previous verses have been recited during the actual pressing, this last verse is used to conclude the ceremony.

कुवि॑त्सु॑ नो ग॑विष्टये। अ॑ग्ने सं वे॑षिषो रयि॑म्। उ॑रुकृदुरु॑ णस्कृधि॥ —ऋग्वेद॑ 8.75.11, सामवेद॑ 2.17.4.2, तैत्तिरीयसं॑हिता 2.6.11.3, etc. . (This is the metrically restored version. The सं॑हिता has a deficient syllable with ग॑विष्टये॑ऽग्ने.) . Translation: "Will you indeed in war, O अग्नि॑, obtain treasure for us? O room-maker, make room for us!" . Word-by-word: कुवि॑द्, सु॑ "well", नस् < वय॑म् "we", ग॑विष्टये < ग॑विष्टि "war", अ॑ग्ने < अग्नि॑, सं वे॑षिषस् < स॑म् विष् "obtain", रयि॑म् < रयि॑ "treasure", उ॑रु < उरु॑ "room", कृत् < कृ "make", उरु॑ "room", नस् < वय॑म् "we", कृधि < कृ "make". . Meter: गायत्र॑ . Author: वि॑रूप आङ्गिरस॑ . Ritual context: This verse seems to have been used in a variety of ways, but the most common case was as part of the संवर्गेष्टि॑ (आपस्तम्बश्रौतसू॑त्र 19.25.12), a special sacrifice to अग्नि॑ in order to seize the strength and wealth of one's enemy (तैत्तिरीयसं॑हिता 2.4.3). .

Are there any secret societies in India? Where can one find them? There is even freemasonry in india.

>Rakhi Sawant converts to Islam for her Muslim boyfriend Masha Allah bht khubsurat h mera Islam dekho ek muslim ki mohabbat ne kese nikhaar diya Rakhi ko