Shayari Bazar

Um..." Hazel faltered. "You mean you won't... you're not going to-" "Claim your life?" Thantos asked. "Well, let's see..." He pulled a pure-black iPad from thin air. Death, tapped the screen a few times, and all Frank could think was: Please don't let there be an app for reaping souls. "I don't see you on the list," Thantos said. "Pluto gives me specific orders for escaped souls, you see. For some reason, he has not issued a warrant for yours. Perhaps he feels your life is not finished, or it could be n oversight. If you'd like me to call and ask-" "No!" Hazel yelped. "That's okay." "Are you sure?" Death asked helpfully. "I have video-conferencing enabled. I have his Skype address here somewhere...

How did your mother die?” asked Delk.“Car accident,” Katie replied, gazing out over the water. “She’d been to mass. A tire blew on the way home, and she was gone. I was nineteen, Pather’s age, when it happened. My brother was only eleven.” She paused. “I do know what you’re going through.” Katie looked at her.“Pather told you?” Katie nodded. Delk was glad Pather had told his sister; she was relieved not to have to tell the story again. “Does it ever . . . you know . . . get any better?”Katie shrugged her narrow shoulders and smiled. “In some ways it does, but it’s a bit like running a long race with a rock in your shoe. You get used to it, but it always hurts a little.

MortalityOh, why should the spirit of mortal be proud?Like a swift-fleeting meteor, a fast-flying cloud,A flash of the lightning, a break of the wave,He passes from life to his rest in the grave.The leaves of the oak and the willow shall fade,Be scattered around, and together be laid;And the young and the old, the low and the high,Shall molder to dust, and together shall lie.Yea, hope and despondency, pleasure and pain,Are mingled together in sunshine and rain;And the smile and the tear, the song and the dirge,Still follow each other, like surge upon surge.'Tis the wink of an eye - 'tis the draught of a breath -From the blossom of health to the paleness of death,From the gilded saloon to the bier and the shroudOh, why should the spirit of mortal be proud?

The TriflerDeath's the lover that I'd be taking;Wild and fickle and fierce is he.Small's his care if my heart be breaking-Gay young Death would have none of me.Hear them clack of my haste to greet him!No one other my mouth had kissed.I had dressed me in silk to meet him-False young Death would not hold the tryst.Slow's the blood that was quick and stormy,Smooth and cold is the bridal bed;I must wait till he whistles for me-Proud young Death would not turn his head.I must wait till my breast is wilted.I must wait till my back is bowed,I must rock in the corner, jilted-Death went galloping down the road.Gone's my heart with a trifling rover.Fine he was in the game he played-Kissed, and promised, and threw me over,And rode away with a prettier maid.

It may seem to you that your life is over now. Your future without the person you love is no future at all.Death is a head-on collision with your plans.But everything in life--the gold fillings of your teeth, the cotton of your sheets, the air you breathe, all the food you will ever eat--everything there is was born from a collision.Inside every single thing that lives is a debt to a distant star that died.Nothing new is ever created without one thing colliding into another.And something new is created when the person you love dies.Because they are not the only ones who die: you die, too. The person you were when you were with them is gone just as surely as they are.This is what you should know about losing somebody you love. They do not travel alone. You go with them.

Harry lost any sense of where they were: Streetlights above him, yells around him, he was clinging to the sidecar for dear life. Hedwig’s cage, the Firebolt, and his rucksack slipped from beneath his knees —“No — HEDWIG!”The broomstick spun to earth, but he just managed to seize the strap of his rucksack and the top of the cage as the motorbike swung the right way up again. A second’s relief, and then another burst of green light. The owl screeched and fell to the floor of the cage.“No — NO!”The motorbike zoomed forward; Harry glimpsed hooded Death Eaters scattering as Hagrid blasted through their circle.“Hedwig — Hedwig —”But the owl lay motionless and pathetic as a toy on the floor of her cage.

How can I begin to tell you how much I miss you without using those three common words that can't even start to express the magnitude nor the depth of my emotions. How can I write in my own blood while wanting to revert its color. The color of blood is similar to "I miss you". It has been raped by writers and lovers constantly, ever since Cain and Abel. I want to be able to create a new alphabet that can simply stand in front of you without bowing. I want to use new metaphors that would erupt like volcanoes between the phrases of my readers' souls. Metaphors such as your absence is similar to eating salt straight from the shaker while thirst is devouring my tongue. Metaphors such as the lack of your presence is like being straddled behind the glass of my own senses.

Elinor had read countless stories in which the main characters fell sick at some point because they were so unhappy. She had always thought that a very romantic idea, but she’d dismissed it as a pure invention of the world of books. All those wilting heroes and heroines who suddenly gave up the ghost just because of unrequited love or longing for something they’d lost! Elinor had always enjoyed their sufferings—as a reader will. After all, that was what you wanted from books: great emotions you’d never felt yourself, pain you could leave behind by closing the book if it got too bad. Death and destruction felt deliciously real conjured up with the right words, and you could leave them behind between the pages as you pleased, at no cost or risk to yourself.

O comportamento ritual não só revela realidades práticas e mundanas, é também um teatro vivo da psicologia colectiva e uma das mais ricas expressões da ideologia e crenças - mentalidade - de uma sociedade. Afinal de contas, como os antropólogos notaram, a religião é mais do que um padrão de relações sociais: é uma expressão da capacidade humana para imaginar a estrutura da sociedade. O ritual religioso não é apenas construção cultural: é uma forma de cognição que constrói modelos de realidade e paradigmas de comportamento. E dentro deste processo pelo qual a realidade é definida, o ritual da morte joga um papel central.

I'm like a machine being run over its RPM limit: The bearings are overheating - a minute longer, and the metal is going to melt and start dripping and that'll be the end of everything. I need a quick splash of cold water, logic. I pour it on in buckets, but the logic hisses on the hot bearings and dissipates in the air as a fleeting white mist. Well, of course, it's clear that you can't establish a function without taking into account what its limit is. And it's also clear that what I felt yesterday, that stupid "dissolving in the universe," if you take it to its limit, is death. Because that's exactly what death is - the fullest possible dissolving of myself into the universe. Hence, if we let L stand for love and D for death, then L = f (D), i.e., love and death...

This way of behaving, this way of feeling, so hysterical, so sad, when someone has died, I don't like at all and would like to avoid. It's not as if the whole thing has not happened before, it's not as if people have not been dying all along and each person left behind is the first person ever left behind in the world. What to make of it? Why can’t everybody just get used to it? People are born and they just can’t go on and on, but it is so hard, so hard for the people left behind; it’s so hard to see them go, as if it had never happened before, and so hard it could not happen to anyone else, no one but you could survive this kind of loss, seeing someone go, seeing them leave you behind; you don't want to go with them, you only don't want them to go.

It was awful to be Negro and have no control over my life. It was brutal to be young and already trained to sit quietly and listen to charges brought against my color with no chance of defense. We should all be dead. I thought I should like to see us all dead, one on top of the other. A pyramid of flesh with the whitefolks on the bottom, as the broad base, then the Indians with their silly tomahawks and teepees and wigwams and treaties, the Negroes with their mops and recipes and cotton sacks and spirituals sticking out of their mouths. The Dutch children should all stumble in their wooden shoes and break their necks. The French should choke to death on the Louisiana Purchase (1803) while silkworms ate all the Chinese with their stupid pigtails. As a species, we were an abomination. All of us.

BUT MOST PEOPLE ARE RATHER STUPID AND WASTE THEIR LIVES. HAVE YOU NOT SEEN THAT? HAVE YOU NOT LOOKED DOWN FROM THE HORSE AT A CITY AND THOUGHT HOW MUCH IT RESEMBLED AN ANT HEAP, FULL OF BLIND CREATURES WHO THINK THEIR MUNDANE LITTLE WORLD WAS REAL? YOU SEE THE LIGHTED WINDOWS AND WHAT YOU WANT TO THINK IS THAT THERE MAY BE MANY INTERESTING STORIES BEHIND THEM, BUT WHAT YOU KNOW IS THAT REALLY THERE ARE JUST DULL, DULL SOULS, MERE CONSUMERS OF FOOD, WHO THINK THEIR INSTINCTS ARE EMOTIONS AND THEIR TINY LITTLE LIVES OF MORE ACCOUNT THAN A WHISPER OF WIND.The blue glow was bottmless. It seemed to be sucking her own thoughts out of her mind.'No,' whispered Susan, 'no, I've never thought like that.'Death stood up abruptly and turned away. YOU MAY FIND OUT THAT IT HELPS, he said.

Oh Danny boy, the pipes, the pipes are callingFrom glen to glen, and down the mountain sideThe summer's gone, and all the flowers are dying'Tis you, 'tis you must go and I must bide.But come ye back when summer's in the meadowOr when the valley's hushed and white with snow'Tis I'll be here in sunshine or in shadowOh Danny boy, oh Danny boy, I love you so.And if you come, when all the flowers are dyingAnd I am dead, as dead I well may beYou'll come and find the place where I am lyingAnd kneel and say an "Ave" there for me.And I shall hear, tho' soft you tread above meAnd all my dreams will warm and sweeter beIf you'll not fail to tell me that you love meI'll simply sleep in peace until you come to me.I'll simply sleep in peace until you come to me.

You are so young, Lyra, too young to understand this, but I shall tell you anyway and you'll understand it later: men pass in front of our eyes like butterflies, creatures of a brief season. We love them; they are brave, proud, beautiful, clever; and they die almost at once. They die so soon that our hearts are continually racked with pain. We bear their children, who are witches if they are female, human if not; and then in the blink of an eye they are gone, felled, slain, lost. Our sons, too. When a little boy is growing, he thinks he is immortal. His mother knows he isn't. Each time becomes more painful, until finally your heart is broken. Perhaps that is when Yambe-Akka comes for you. She is older than the tundra. Perhaps, for her, witches' lives are as brief as men's are to us.