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Atropos (/ ˈ æ t r ə p ɒ s /, Greek Ἄτροπος, , "inexorable" or "inevitable", literally "unturning", [37] was the cutter of the thread of life. She chose the manner of each person's death; and when their time has come, she cut their life-thread with her "abhorred shears". [38] Her Roman equivalent was Morta ("the dead one").
The Moirai, meaning "allotted portion" or "share", separated each sister into a different role in order to handle the fates of humans. The Fates were expected to appear within three days of a mortal's birth. [2] Clotho was the first of the three, known as "the spinner" because she wove the threads of human life while in the womb. [3]
The color red in Chinese culture symbolises happiness and it is also prominently featured during Chinese weddings. The two people connected by the red thread are destined lovers, regardless of place, time, or circumstances. This magical cord may stretch or tangle, but never break.
The term is derived from Ecclesiastes 12:6-7 in the Jewish Bible or Christian Old Testament.. As translated from the original Hebrew in The Complete Tanakh: [4] "Before the silver cord snaps, and the golden fountain is shattered, and the pitcher breaks at the fountain, and the wheel falls shattered into the pit.
Atropos (/ ˈ æ t r ə p ɒ s,-p ə s /; [1] [2] Ancient Greek: Ἄτροπος "without turn"), in Greek mythology, was the third of the Three Fates or Moirai, goddesses of fate and destiny.
Normally seen clothed in white, Lachesis is the measurer of the thread spun on Clotho's spindle, and in some texts, determines Destiny, or thread of life. [1] Her Roman equivalent was Decima. Lachesis was the apportioner, deciding how much time for life was to be allowed for each person or being. [2] She measured the thread of life with her rod.
In 2024, the poems were adapted by students of St. Mira’s College for Girls, Pune, as part of their theater course. The play, which brought the poems to life on stage, was designed and directed by Prathmesh Viveki. The first performance took place on October 26, 2024, at the Indulakshmi Auditorium.
The poem does not have a deep, hidden, symbolic meaning. Rather, it is simply pleasurable to read, say, and hear. Critical terminology becomes useful when one attempts to account for why the language is pleasurable, and how Byron achieved this effect. The lines are not simply rhythmic: the rhythm is regular within a line, and is the same for ...