It all went down at the Gentlemen's Supper Club at Parcae during NBA All-Star Weekend in Toronto -- with Dwyane Wade, Carmelo Anthony and CP3 honoring Kobe with speeches and gifts.
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Alfred Agache The Three Parcae (1540-1550), by Marco Bigio, in Villa Barberini, Rome Fireback with Parcae In ancient Roman religion and myth, the Parcae (singular, Parca) were the female personifications of destiny who directed the lives (and deaths) of humans and gods. They are often called the Fates in English, and their Greek equivalent were the Moirai.
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The Parcae are the three goddesses of fate (tria fata): Nona, Decima, and Parca (singular of Parcae), also known as Partula in relation to birthing. Nona and Decima determine the right time for birth, assuring the completion of the nine-month term (ten in Roman inclusive counting).Tertullian, De anima 37.1. Parca or Partula oversees partus, birth as the initial separation from the mother's body (as in English '"postpartum").
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La Parca by Mexican artist Antonio García Vega. In Roman mythology, Morta was the goddess of death. She is one of the Parcae, related to the Roman conception of the Fates in Greek mythology, the Moirai. Her Greek equivalent is Atropos.
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The Seven Hathors who appear at the prince's birth to decree his fate may appear analogous to the Moirai or Parcae of Graeco-Roman mythology,Fahmy, Mohamed. Umbilicus and Umbilical Cord. Springer International Publishing. 2018. p. 29. Géza Róheim (1948).
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Alfred Agache, c 1885 The Triumph of Truth (The Three Parcae Spinning the Fate of Marie de Medici) (1622-1625), by Peter Paul Rubens (1577-1640) Nona was one of the Parcae, the three personifications of destiny in Roman mythology (the Moirai in Greek mythology and in Germanic mythology, the Norns), and the Roman goddess of pregnancy. The Roman equivalent of the Greek Clotho, she spun the thread of life from her distaff onto her spindle. Nona, whose name means "ninth", was called upon by pregnant women in their ninth month when the child was due to be born. She, Decima and Morta together controlled the metaphorical thread of life.
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Various scholars have argued that Snorri based his genealogy of Nótt on classical models.Bugge, pp. 100-01. They relate Narfi to Erebus, which would make , used in "Helgakviða Hundingsbana I" for a Norn who comes in the night, an appellation derived from the Parcae, who were Erebus' daughters.Bugge, p. 101.
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He did not believe that Parcae had been on my side. As far as I was concerned, I truly believed more in ancient mythology and Homer. I have always thought that a man can influence the faith by pure will. I trusted my love for music and longed to discover its magical world.
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40) in Blake in his time (Indiana University 1978). The image may also allude to the Three Fates — the Moirai of Greek mythology and the Parcae of Roman. Notwithstanding these allusions, critics point out that a contemporary trigger for Blake's inspiration probably was the return popularity of Shakespeare's play Macbeth.Emory University. "Blake. Hecate". Consulted on September 25, 2010.
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The profatio Parcae, "prophecy of Parca," marked the child as a mortal being, and was not a pronouncement of individual destiny.Breemer and Waszink, "Fata Scribunda," p. 248. The first week of the child's life was regarded as an extremely perilous and tentative time, and the child was not recognized as an individual until the dies lustricus.
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Even in invocations, which generally required precise naming, the Romans sometimes spoke of gods as groups or collectives rather than naming them as individuals. Some groups, such as the Camenae and Parcae, were thought of as a limited number of individual deities, even though the number of these might not be given consistently in all periods and all texts. The following groups, however, are numberless collectives.
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In Roman mythology, Decima was one of the three Parcae, or often known in English as the Fates. Nona and Decima were responsible for birth, while Morta was charged with overseeing death. They distributed to mankind all the good and bad things in life, and even Jupiter had to bend to their will. She measured the thread of life with her rod, like her Greek equivalent Lachesis.
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The Norns spin the threads of fate at the foot of Yggdrasil, the tree of the world. In Hurrian mythology the three goddesses of fate, the Hutena, was believed to dispense good and evil, life and death to humans. In Roman mythology the three Moirai are the Parcae or Fata, plural of "fatum" meaning prophetic declaration, oracle, or destiny. The English words fate (native wyrd) and fairy ("magic, enchantment"), are both derived from "fata", "fatum".
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The first series of satellites were codenamed "White Cloud" or "PARCAE", while second and third-generation satellites have used the codenames "Ranger" and "Intruder". The system is operated by the U.S. Navy and its main purpose was tactical geolocation of Soviet Navy assets during the Cold War. The NOSS satellites operate in clusters in low Earth orbit to detect radar and other electronic transmissions from ships at sea and locate them using the Time Difference Of Arrival technique.
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Theories have been proposed that there is no foundation in Norse mythology for the notion that the three main norns should each be associated exclusively with the past, the present, and the future; rather, all three represent destiny as it is twined with the flow of time. Moreover, theories have been proposed that the idea that there are three main norns may be due to a late influence from Greek and Roman mythology, where there are also spinning fate goddesses (Moirai and Parcae).
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Cicero, De Natura Deorum 3.17 (trans. Rackham) (Roman rhetorician 1st century B.C.):Cicero, De Natura Deorum 3.17 (trans. Rackham) (Roman rhetorician 1st century B.C.) > Their [Aether and Hemera's] brothers and sisters, whom the ancient > genealogists name Amor (Love), Dolus (Guile) [Dolos], Metus (Fear), Labor > (Toil), Invidentia (Envy), Fatum (Fate), Senectus (Old Age), Mors (Death), > Tenebrae (Darkness), Miseria (Misery), Querella (Complaint), Gratia > (Favour), Fraus (Fraud) [Apate], Pertinacia (Obstinacy), the Parcae (Fates), > the Hesperides, the Somnia (Dreams): all of these are fabled to be the > children of Erebus (Darkness) and Nox (Night) [Nyx].
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A Roman relief depicting a funeral feast The preface dedicates the book to Atedius Melior and summarizes the poems in it which focus on loss, object descriptions, and end with a genethliakon. 2.1 Glaucias Atedi Melioris Delicatus ("Glaucias, Melior's Boy Favorite") This is a long poem of consolation for the loss of Melior's lover, Glaucias. The weeping poet describes the funeral and explains the difficulty of the theme; Glaucias' birth, rearing, and death at the hands of the Parcae are recounted. Melior's dead friend, Blaesus, leads the boy to Elysium.
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In Roman legend, the Parcae were three goddesses who presided over the births of children and whose names were Nona ("Ninth"), Decuma ("Tenth"), and Morta ("Death"). They too were said to spin destinies, although this may have been due to influence from Greek literature.House of Theseus at Paphos Archaeological Park on Cyprus showing the three Moirai: Klotho, Lachesis, and Atropos, standing behind Peleus and Thetis, the parents of Achilles. In the Old Norse Völuspá and Gylfaginning, the Norns are three cosmic goddesses of fate who are described sitting by the well of Urðr at the foot of the world tree Yggdrasil.
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Other possible sources, aside from Shakespeare's imagination, include British folklore, such contemporary treatises on witchcraft as King James VI of Scotland's Daemonologie, the Norns of Norse mythology, and ancient classical myths of the Fates: the Greek Moirai and the Roman Parcae. Productions of Macbeth began incorporating portions of Thomas Middleton's contemporaneous play The Witch circa 1618, two years after Shakespeare's death. Shakespeare's witches are prophets who hail Macbeth, the general, early in the play, and predict his ascent to kingship. Upon killing the king and gaining the throne of Scotland, Macbeth hears them ambiguously predict his eventual downfall.
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Scholars connect the Germanic Matres with the dísir, valkyries, and norns attested largely in 13th century sources. The motif of triple goddesses was widespread in ancient Europe; compare the Fates (including Moirai, Parcae and Norns), the Erinyes, the Charites, the Morrígan, the Horae and other such figures. Rudolf Simek comments that the loose hair may point to maidenhood, whereas the head dresses may refer to married women, the snakes may refer to an association with the souls of the dead or the underworld, and the children and nappies seem to indicate that the Matres and Matronae held a protective function over the family, as well as a particular function as midwives.
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This obscure, but sublimely musical, masterpiece, of 512 alexandrine lines in rhyming couplets, had taken him four years to complete, and it immediately secured his fame. With "Le Cimetière marin" and "L'Ébauche d'un serpent," it is often considered one of the greatest French poems of the twentieth century. The title was chosen late in the poem's gestation; it refers to the youngest of the three Parcae (the minor Roman deities also called The Fates), though for some readers the connection with that mythological figure is tenuous and problematic. The poem is written in the first person, and is the soliloquy of a young woman contemplating life and death, engagement and withdrawal, love and estrangement, in a setting dominated by the sea, the sky, stars, rocky cliffs, and the rising sun.
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House of Theseus (at Paphos Archaeological Park, Cyprus), showing the three Moirai: Klotho, Lachesis, and Atropos, standing behind Peleus and Thetis, the parents of Achilles In ancient Greek religion and mythology, the Moirai (, also spelled Moirae or Mœræ;Moirai in Oxford Living DictionaryMoirai in Collins English Dictionary , "lots, destinies, apportioners"), often known in English as the Fates (), were the incarnations of destiny; their Roman equivalent was the Parcae (euphemistically the "sparing ones"), and there are other equivalents in cultures that descend from the Proto-Indo-European culture. Their number became fixed at three: Clotho ("spinner"), Lachesis ("allotter") and Atropos ("the unturnable", a metaphor for death). They controlled the mother thread of life of every mortal from birth to death. They were independent, at the helm of necessity, directed fate, and watched that the fate assigned to every being by eternal laws might take its course without obstruction.
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