7 : Conqueror Of Flames
Shizu dreams about her past; about when she was summoned by Leon and he had Ifrit possess her. She recalls the anguish she felt when the Ifrit residing inside her killed a new friend she made and the little monster they named together after she and Leon were considered enemies by the monster. Later, just as Shizu prepares to leave Rimuru's village with the adventurers, Ifrit once again takes control of her and unleashes his flames upon the village. With his water attacks proving ineffective, Rimuru copies Eren's ice magic spell to take care of Ifrit's minions. Discovering that he is immune to fire attacks, Rimuru swallows Ifrit, separating him from Shizu in the process. Now Ifrit lies trapped in Rimuru's stomach where he encounters the monstrous being known as Veldora.
7 : Conqueror of Flames
The threat of a tongue-lashing is not nearly enough for Alicent, however. She swipes Viserys's Valyrian-steel dagger and makes a move on Rhaenyra. We get a nice shot of Rhaenyra staring down the tip of the dagger, with the flames of the fireplace licking in the background, and we're reminded of the dagger's history, and its legacy.
While this isn't always the case, possessing a royal bloodline certainly increases the chances for one to awaken this power. Children Of conquerors have also held this power in the series. Charlotte Katakuri, the son of Big Mom, has access to Conqueror's Haki as this power can be passed down. Similarly, Yamato, Kaido's child, has access to it as well simply by virtue of being Kaido's kid.
Sanji, as fans know, is the son of Vinsmoke Judge. The Vinsmoke Family have, in the past, been the rulers of the North Blue. As such, they have often been described as conquerors in the past. Judge himself was known to be a hero of a war known as the Conquest of Four Kings. As such, it is without any doubt that could potentially have received this ability and that it sleeps within him currently.
Small flames stirred at the trunk of a tree and crawled away through leaves and brushwood. . . . One patch touched a tree trunk and scrambled up like a bright squirrel. . . . The squirrel leapt on the wings of the wind and clung to another standing tree, eating downwards.
One aspect of the vision is the portrayal of Jesus holding seven stars in his right hand. Such a motif is also found on coins of the Emperor Domitian. Sometime between 77 and 81, Domitian's infant son died. He was subsequently deified, and is portrayed on coins of Domitian, with seven stars. Ernest Janzen argues that the globe on which the infant stands represents world dominion and power, while the stars indicate his divine nature; he is depicted as "the son of (a) god" and "conqueror of the world." Although Domitian's son cannot be said to be holding the stars, some scholars have drawn parallels between the numismatic and biblical evidences. Frederick Murphy notes that "Revelation's image of Jesus with seven stars in his hand may be an allusion to that coin and an implicit critique of it. It is not the Roman imperial family that has cosmic significance, but Jesus."
"The Prince That Was Promised" (sometimes called "the Prince Who Was Promised" or "the One Who Was Promised", and also referred to as "the Lord's Chosen, "the Son of Fire", and "the Warrior of Light") is a prophesied savior in the religion of the Lord of Light. According to the prophecy, this figure would be born "amidst salt and smoke" and pull a sword named Lightbringer from flames, which they would use to combat an impending darkness. The prophecy was originally written in High Valyrian, and this led to a misunderstanding in translation, as the Valyrian word for to "prince" is gender-neutral. The accurate name for this prophesied savior is "the Prince or Princess That Was Promised", indicating that it could be a man or a woman.
This mandala is dedicated to the deity Yamantaka, Conqueror of Death, and represents his celestial palace. A meditating Buddhist proceeds from the outer rim inward, moving from the earthly world to various levels of spiritual growth and knowledge. The ultimate goal is to attain total enlightenment, or nirvana, at the center. There Yamantaka is represented by the blue vajra (VAHJ-rah), or thunderbolt, symbolizing compassion. In the mandala's outer corners, symbols of the five senses are reminders that true knowledge comes through spiritual enlightenment, not from our fleeting perceptions. Smell is represented by a perfumed elixir bubbling up from a conch shell (upper left). A lute (lower left) stands for hearing, and a blue disc mirror (lower right) for vision. Peaches (upper right) symbolize taste. A flowing silk scarf, for touch, appears in all four corners. The circular rim's outermost ring, representing the earthly world, shows eight burial grounds with images of suffering and decay: skeletons, floating limbs, scavenging animals, trees, mountains, and burial mounds called stupas, symbolic of the Buddha's life and teaching. Next comes a circle of flames in a rainbow pattern of bright colors, then a ring of vajras, and finally a band of lotus petals, signifying spiritual purity and representing various deities. Now we encounter the square walls of Yamantaka's palace, with gates at the four compass points. The palace is filled with symbols, including masked guardians, umbrellas, jewel trees, wheels, and deer. Within the innermost square, which is divided into triangular quadrants, is a circle containing symbols of nine Buddhist deities, with Yamantaka at the center. This is the realm of perfect enlightenment. All mandalas represent an invitation to enter the Buddha's awakened mind. Tibetan Buddhists believe that in each person's mind there is a seed of enlightenment that can be discovered by contemplating a mandala. The mandala's design denotes the order and harmony of an enlightened mind. Order is shown through symmetrical organization, tight structure, and the use of geometric forms such as the square and the circle. The complex symbols and calculated combination of primary colors express the principles of wisdom and compassion that underlie Tantric Buddhist philosophy.
And for the former; we know not what some men call courage and valour, but sure we are king David was one that wanted neither, famous in Israel for his valour, and renowned through the world for his victories, that made single combat with the giant, and dyed the Philistines in their own blood, that made war with a witness, and proved most victorious in it; yet he it is here, as great a sword-man, as stout a warrior as he was, that comes in upon Rogate pacem, and not only bids us pray, but prays also for peace himself. It is the conqueror's prayer. Again, with the poor, weak shepherds, that perhaps had no valour in them, there was a company of heavenly soldiers, saith St. Luke, and sure we are that they had valour and courage in them enough; yet their prayer was for peace too, Gloria in excelsis Deo, et pax in terris. It is votum militare, it comes from the mouths of soldiers them-selves; they praise it, and pray for it, they sing of it, and wish it, where they wish any good; neither know they what better thing they should wish to men, than peace upon earth. So it is the soldier's prayer also, not the gown-man's alone, nor the weak man's prayer only, but the wise and the valiant and the stout man's too. And being so, we may be certain it is neither cowardice to pray for peace, nor courage to call for broils and troubles. 041b061a72