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But Iron - Cold Iron - is master of them all." So he made rebellion 'gainst the King his liege, Camped before his citadel and summoned it to siege. " Nay! " said the cannoneer on the castle wall, " But Iron - Cold Iron - shall be master of you all! " Woe for the Baron and his knights so strong, When the cruel cannon-balls laid 'em all along;
In this the iron pot proposes a journey together to the clay pot, which is only persuaded by the stronger pot's offer to protect him. When they are jostled together on their way, the clay pot is shattered and only has himself to blame. 'Only equals should associate' is the conclusion.
Being denser than the lithophiles, hence sinking lower into the crust at the time of its solidification, the chalcophiles tend to be less abundant than the lithophiles. [122] In contrast, gold is a siderophile, or iron-loving element. It does not readily form compounds with either oxygen or sulfur. [123]
A 19th-century drawing of Sun Wukong featuring his staff. Ruyi Jingu Bang (Chinese: 如意金箍棒; pinyin: Rúyì Jīngū Bàng; Wade–Giles: Ju 2-yi 4 Chin 1-ku 1-pang 4), or simply Ruyi Bang or Jingu Bang, is the poetic name of a magical staff wielded by the immortal monkey Sun Wukong in the 16th-century classic Chinese novel Journey to the West.
In the world of children's poetry, she was consistently praised for her skillful metered verse, free verse, nonsense verse, and social conscience. [38] Francisco X. Alarcón (1954–2016) first started writing poetry for children in 1997 after realizing there were very few books written by Latino authors. His poems are minimalist and airy, and ...
For example, in detecting a dissimilar coin in three weighings ( = ), the maximum number of coins that can be analyzed is = .Note that with weighings and coins, it is not always possible to determine the nature of the last coin (whether it is heavier or lighter than the rest), but only that the other coins are all the same, implying that the last coin is the ...
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The poem features words from "Philomythos" (myth-lover) to "Misomythos" (myth-hater) who defends mythology and myth-making as a creative art about "fundamental things". [4] It begins by addressing C. S. Lewis as the Misomythos, who at the time was sceptical of any truth in mythology: