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Watching the news the other day, it occurred to me that people who have “words to live by” often begin to attack and even kill others. I thought back to my own angry youth, when I could easily use words to justify violent thoughts which might have become violent actions. Words are tools, and yet it seems that they can be more dangerous than gunpowder.

Imagine two men facing each other, pointing past one another. One is pointing at a tornado that is coming, and the other at a raging fire headed towards them. Each sees their own truth and is angry at the sight of the other’s hand. Each feels that the other’s hand is “wrong.” This may seem silly, but replace the tornado and fire with any modern issues, and the hands with words, and this scene describes how we often try to communicate.

We point past each other with our words, arguing as though we are looking at the same facts and experiences. We want to prove our words are the right ones, instead of learning to look at what the other’s words are pointing at. Words are seductive, and for all their undeniable usefulness, they also can lead us away from understanding when we focus on them, when we make them more important than the truth they are meant to point at.

There Are No Words To Live By

This isn’t just about communication with others. We focus on, and get trapped in a net of words that we use to explain the world to ourselves. We call things “right” or “wrong” for example, according to how they compare to our “definitions.” Unlike mathematics, though, word formulas and definitions can never be so precise. They cannot encompass the whole truth of reality. For example, with the least effort, you can create a circumstance where “stealing” would be right, and “helping” someone wrong.

This isn’t an argument against using language or logic. It is just that both only go so far. Like a car that takes you across the country or world, they are useful, but like a car, they are only useful in certain ways, and you have to get out of them when you arrive at your various destinations. Taking a car to the lake isn’t a problem, but taking it into the lake is. This is what we do when our words and logic take us to dangerous situations.
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The following article covers a topic that has recently moved to center stage–at least it seems that way. If you’ve been thinking you need to know more about unconditional love, here’s your opportunity.

When darkness turns to day, the sun moves over the horizon and touches everything in sight. This movement across the landscape brightens everything. Such an illumination awakens us all. We rise with energy moving in and through us allowing us to create a new day. A day unique from all the rest and creatively woven into our soul.

This is the landscape of our soul. As you can see, nature has a way of showing us just how powerful we are. The same power that created the moon and the stars and the movement of all space and time lies within the human heart. It is the heart of creation itself, and perhaps, the heart of our Creator.

Human beings are fortunate to be able to be aware of our awareness. This awareness gives us an opportunity to reflect on our soul and find blessing in being alive. Our consciousness of a creative force inside us guiding us into this world, through it, and eventually to our eternal home allows us to fulfill a purpose on this earth.

Such a purpose is beyond our own ability to really know. Yet, we can open our heart enough to allow our purpose to find us. This is done by recognizing that the things in life that really matter ARE the things in life that isn’t matter.
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The French Revolution constituted for the conscience of the dominant aristocratic class a fall from innocence, and upturning of the natural chain of events that resounded all over Europe; the old regime became, in their imaginary, a paradise lost. This explains why some romantic poets born in the higher classes were keen on seeing themselves as faded aristocrats, expelled from their comfortable milieu by a reverse of fortune or a design of destiny. Byron and Shelley are the prime instances of this vital pose. In The Giaour he writes on a vampiric character: “The common crowd but see the gloom/ Of wayward deeds and fitting doom;/ The close observer can espy/A noble soul, and lineage high.”

Byron departed from England leaving a trail of scandal over his marital conduct and since then saw himself as an exiled expatriate. Shelley was expelled from Oxford and he fell in disgrace by marrying an in-keeper’s daughter; he always struggled to reconcile his origin with his political ideas: “Shelley could find no way of resolving his own contradictory opinions” (Cronin, 2000).

This icon of the fallen aristocrat is rooted on another character revered by romantic poets: the fallen angel. As Mario Praz proves, miltonic Satan became the rebel figure of choice among romantic poets. Milton reversed the medieval idea of a hideous Satan and wrapped its figure with the epic grandeur of an angel fallen in disgrace. Many of the byronic heros share with Milton’s Satan this fallen-from-grace condition, such as Lara: “There was in him a vital scorn of all:/
As if the worst had fall’n which could befall,/ stood a stranger in this breathing world,/An erring spirit from another hurl’d” ( Lara XVIII 315-16)

There is another social factor that is behind the formation of the romantic myth of the vampire. In the early nineteen century, the foundations of what would later become a mass society were laid; the expansion of the press and of the reading public produced an increased diffusion for literary works and fostered movements such as the gothic and the sensation novel. Byron himself experienced the event of being turned into a proto-bestseller. The unification of literary taste and preferences that was a correlate to this social changes could not be more alien to the romantic notion of individual gusto and original sensibility. In order to combat this unifying forces, romantic poets revered the individual who stands outside society and is free from common concerns. Many of Byron’s heros look down on the masses from above, even though they walk among them and do not lean towards wordsworthian escapades into nature; they achieve to remain untainted by the masses in a sort of exile within the world akin to that of a ghost or a dammed spirit. This self-definition of Manfred is revelatory:

From my youth upwards
My spirit walk’d not with the souls of men,
Nor look’d upon the earth with human eyes;
The thirst of their ambition was not mine,
The aim of their existence was not mine;
My joys, my griefs, my passions, and my powers
Made me a stranger; though I wore the form,
I had no sympathy with breathing flesh, (Manfred II, ii, 50-58)

Not only Byron’s works contrived to produce the modern image of the vampire in relation to the Male Seducer archetype, but also some odd events in his life and the life of those surrounding him exercised a decisive influence. A critical study bundled with an anthology of vampire tales (Conde de Siruela, 2001) attributes to the short story The Vampire (1819) by John William Polidori the fixation of the “classical images of the literary vampire as a villanious, cold and enigmatic aristocrat; but, above all, perverse and fascinating for women”. Mario Praz, in the same line, also states that Byron was “largely responsible for the vogue of vampirism”. Polidori was the unfortunate doctor and personal assistant of Lord Byron who died half-crazy at 25. The idea for the tale published in 1819 came from the famous meetings at Villa Diodati on June 1816 between Byron, Percy Shelley, Mary Shelley and Polidori, in what was probably the most influential gathering for fantastic fiction in the history of modern literature. In order to pass the stormy and ether-fuelled nights, they agreed to write each one a ghost story. Mary Shelley (who was then 17 years old) got during these nights the idea of what later became Frankenstein and Polidori wrote the tale The Vampire that he would publish three years later. The story appeared in the New Monthly Magazine falsely attributed by the editor to Lord Byron (taking advantages of the aura of Satanism that surrounded the poet in the popular view to promote the sales of the magazine). A misguided Goethe hailed the story as the best that Lord Byron had ever written. The tale was, actually, a covert portrait of Lord Byron disguised as the vampire Lord Ruthven, a cruel gambler and killer of innocent girls. Polidori had introduced in the story fragments from an autobiographical and revengeful novel called Glenarvon written by Caroline Lamb, an ex-lover of Byron. The Lord´s reaction was a threat to the editor and the denouncing of a commercial imposture with his name. Eventually Stoker´s Dracula (1897) blended, according to Siruela (2001), this tradition derived from Polidori´s Lord Ruthven with some old romano-hungarian tales of wandering dead and enchanted castles, fixating thus the modern images of the vampire.
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Did you read the DaVinci Code or maybe see the movie? Did it get you interested in history and secret codes? You do not have to travel to Europe to see the true secrets from history; technology now lets us unlock the oldest secret code in the world, the bible code. For centuries there have been rumors about the secret codes of the bible. Now with the power of your home computer you can unlock the bible codes and see the truth for your self. Whether you are a true believer or a doubtful skeptic, evidence can be found with your own research on the secret codes of the bible.

Bible codes, sometimes referred to as Torah codes, have been part of the Jewish tradition and mystery for over 2000 years. In Hebrew (the language of the original bible) the bible codes are called Gematria which is a translation from ancient Greek which when translated in to English is numerology. Around the time that the Old Testament was written the Greeks were the world leaders in math, so it would be natural that they would influence the composers of the original bible codes. It is information like this that can be found in the software responsible for unlocking the bible codes.
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