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An attractive young woman--with dark features and a pale complexion--uses a classical guitar to cover herself in an elegant and mysterious pose, displaying her beautiful guitar-shaped figure nonetheless.
I'm still trying to 'bond' with her skintone, which is so very unusual. It kinda reminds me of MRM? Hmmm...
Eid al Fitr is an important religious holiday celebrated by Muslims worldwide that marks the end of Ramadan.
This young woman was celebrating with her family and many others at Canada Place in Vancouver. She has an almost angelic smile.
So delighted to have another beauty from Sharon Avital to join my ever growing family! Previously, she had been named named Asia , but I felt her personality evoked an earthy connection with nature that Dakota suited her perfectly.
I also tried my hand at blushing a PN body that would match her Sunshine Holiday complexion. Dang, you should see her body without the clothes but we are trying to be more discriminate here as for she is making her debut after all!
Well, I am thrilled to have her and I am so proud to be sharing one of my lovely girls with you on Mother's Day!
Happy Mother's Day to you all!!
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Vishnu (/ˈvɪʃnuː/; Sanskrit: Viṣṇu) is a popular Hindu deity, the Supreme God of Vaishnavism (one of the three principal denominations of Hinduism) and one of the three supreme deities (Trimurti) of Hinduism. He is also known as Lord Narayana and Lord Hari. As one of the five primary forms of God in the Smarta tradition, He is conceived as "the Preserver or the Protector" within the Trimurti, the Hindu Trinity of the divinity.
In Hindu sacred texts, Vishnu is usually described as having dark complexion of water-filled clouds and as having four arms. He is depicted as a blue being, holding a padma (lotus flower) in the lower left hand, the Kaumodaki gada (mace) in the lower right hand, the Panchajanya shankha (conch) in the upper left hand and the discus weapon Sudarshana Chakra in the upper right hand.
Adherents of Hinduism believe Vishnu's eternal and supreme abode beyond the material universe is called Vaikuntha, which is also known as Paramdhama, the realm of eternal bliss and happiness and the final or highest place for liberated souls who have attained Moksha. Vaikuntha is situated beyond the material universe and hence, cannot be perceived or measured by material science or logic. Vishnu's other abode within the material universe is Ksheera Sagara (the ocean of milk), where he reclines and rests on Ananta Shesha, (the king of the serpent deities, commonly shown with a thousand heads). In almost all Hindu denominations, Vishnu is either worshipped directly or in the form of his ten avatars, the most famous of whom are Rama and Krishna.
The Puranabharati, an ancient text, describes these as the dashavatara, or the ten avatars of Vishnu. Among the ten described, nine have occurred in the past and one will take place in the future as Lord Kalki, at the end of Kali Yuga, (the fourth and final stage in the cycle of yugas that the world goes through). These incarnations take place in all Yugas in cosmic scales; the avatars and their stories show that gods are indeed unimaginable, unthinkable and inconceivable. The Bhagavad Gita mentions their purpose as being to rejuvenate Dharma, to vanquish those negative forces of evil that threaten dharma, and also to display His divine nature in front of all souls.
The Trimurti (three forms) is a concept in Hinduism "in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma the creator, Vishnu the maintainer, preserver or protector and Shiva the destroyer or transformer." These three deities have also been called "the Hindu triad" or the "Great Trinity", all having the same meaning of three in One. They are the different forms or manifestation of One person the Supreme Being or Narayana/Svayam Bhagavan.
Vishnu is also venerated as Mukunda, which means God who is the giver of mukti or moksha (liberation from the cycle of rebirths) to his devotees or the worthy ones who deserve salvation from the material world.
ETYMOLOGY
The traditional explanation of the name Vishnu involves the root viś, meaning "to settle" (cognate with Latin vicus, English -wich "village," Slavic: vas -ves), or also (in the Rigveda) "to enter into, to pervade," glossing the name as "the All-Pervading One". Yaska, an early commentator on the Vedas, in his Nirukta, (etymological interpretation), defines Vishnu as viṣṇur viṣvater vā vyaśnoter vā, "one who enters everywhere". He also writes, atha yad viṣito bhavati tad viṣnurbhavati, "that which is free from fetters and bondages is Vishnu".
Adi Shankara in his commentary on the Sahasranama states derivation from viś, with a meaning "presence everywhere" ("As he pervades everything, vevesti, he is called Vishnu"). Adi Shankara states (regarding Vishnu Purana, 3.1.45): "The Power of the Supreme Being has entered within the universe. The root viś means 'enter into'." Swami Chinmayananda, in his translation of Vishnu Sahasranama further elaborates on that verse: "The root vis means to enter. The entire world of things and beings is pervaded by Him and the Upanishad emphatically insists in its mantra 'whatever that is there is the world of change.' Hence, it means that He is not limited by space, time or substance. Chinmayananda states that, that which pervades everything is Vishnu."
SACRET TEXTS - SHRUTI & SMRITI
Shruti is considered to be solely of divine origin. It is preserved as a whole, instead of verse by verse. It includes the four Vedas (Rigveda, Yajurveda, Samaveda and Atharvaveda) the Brahmanas, the Aranyakas and the Upanishads with commentaries on them.
Smṛti refers to all the knowledge derived and inculcated after Shruti had been received. Smrti is not 'divine' in origin, but was 'remembered' by later Rishis (sages by insight, who were the scribes) by transcendental means and passed down through their followers. It includes the Bhagavata Purana and the Vishnu Purana which are Sattva Puranas. These both declare Vishnu as Para Brahman Supreme Lord who creates unlimited universes and enters each one of them as Lord of Universe.
SHRUTI
VAISHNAVA CANON
The Vaishnava canon presents Vishnu as the supreme being, rather than another name for the Sun God, who also bore the name Suryanarayana and is considered only as a form of Vishnu.
VEDAS
In the Yajur Veda, Taittiriya Aranyaka (10-13-1), Narayana suktam, Lord Narayana is mentioned as the supreme being. The first verse of Narayana Suktam mentions the words "paramam padam", which literally mean "highest post" and may be understood as the "supreme abode for all souls". This is also known as Param Dhama, Paramapadam, or Vaikuntha. Rig Veda 1:22:20a also mentions the same "paramam padam". This special status is not given to any deity in the Vedas apart from Lord Vishnu/Narayana.[citation needed] Narayana is one of the thousand names of Vishnu as mentioned in the Vishnu Sahasranama. It describes Vishnu as the All-Pervading essence of all beings, the master of - and beyond - the past, present and future, one who supports, sustains and governs the Universe and originates and develops all elements within. This illustrates the omnipresent characteristic of Vishnu. Vishnu governs the aspect of preservation and sustenance of the universe, so he is called "Preserver of the universe".
Vishnu is the Supreme God who takes manifest forms or avatars across various ages or periods to save humanity from evil beings, demons or Asuras. According to the extant Hindu texts and traditions, Lord Vishnu is considered to be resident in the direction of the "Makara Rashi" (the "Shravana Nakshatra"), which is about coincident with the Capricorn constellation. In some of the extant Puranas, and Vaishnava traditions, Vishnu's eye is considered to be situated at the infinitely distant Southern Celestial Pole.
Following the defeat of Indra and his displacement as the Lord of Heaven or Swarga, Indra asks Lord Vishnu for help and thus Lord Vishnu takes his incarnations or avatars to Earth to save mankind, thus showing his position as Supreme God to all of creation.
In the Puranas, Indra frequently appears proud and haughty. These bad qualities are temporarily removed when Brahma and/or Shiva give boons to Asuras or Rakshasas such as Hiranyaksha, Hiranyakashipu and Ravana, who are then able to defeat Indra in wars between Devas and Asuras. The received boons often made Asuras virtually indestructible.
Indra has no option but to seek help from Vishnu. Indra prays before Vishnu for protection and the Supreme Lord obliges him by taking avatars and generating himself on Earth in various forms, first as a water-dweller (Matsya, fish), then as an amphibious creature (Kurma avatar or Tortoise), then as a half-man-half-animal (Varaha the pig-faced, human-bodied Lord, and Narasimha the Lord with lion's face and claws and a human body). Later, Vishnu appears as human beings (Vamana the short-heighted person), Parashurama, Rama, Krishna, Buddha and finally as Kalki for performing his task of protecting his devotees from demons and anti-religious entities.
Vishnu's supremacy is attested by his victories over those very powerful entities. It is further attested by the accepted iconography and sculptures of Vishnu in reclining position as producing Brahma emerging from his navel. Brahma the creator is thus created in turn by Vishnu out of his own person. Instead Vishnu takes various avatars to slay or defeat those demons. But it is to be noted that Vishnu also provided boons to Akupresura, a bear faced demon who was destroyed by Lord Shiva.
Vishnu's actions lowered Indra's ranking among Hindu deities and led to the ascendancy of Vishnu.
Few temples are dedicated to the Sun or Suryanarayana, nor indeed Indra, nor does Indra figure largely in the Hindu religion.
Indra is almost completely absent from the deities considered as the chief or most important deity.
RIGVEDA
In the Rigveda, Vishnu is mentioned 93 times. He is frequently invoked alongside other deities, especially Indra, whom he helps in killing Vritra and with whom he drinks Soma. His distinguishing characteristic in the Vedas is his association with light. Two Rigvedic hymns in Mandala 7 are dedicated to Vishnu. In 7.99, Vishnu is addressed as the god who separates heaven and earth, a characteristic he shares with Indra.
The Rig Veda describes Vishnu as younger brother to Indra as Vamana. In Vaishnava canon the 'Vishnu' who is younger brother to Indra is identified as Vamana, Avatar of Vishnu, hence referred to as Vishnu by Vaishnavites. Vishnu is the Supreme God who lives in the highest celestial region, contrasted against those who live in the atmospheric or terrestrial regions. Vishnu is content with mere prayer, unlike almost all of the other gods who receive sacrificial offerings such as Havis, which is given using clarified butter, or Soma. Later foreign translators have view that Vedas place Indra in a superior position to Vishnu's Avatar of Vamana but in fact Vamana helps Indra by restoring his Kingdom.
An alternate translation is provided by Wilson according to Sayana:
When Thy (younger brother) Viṣṇu (Vamana) by (his) strength stepped his three paces, then verily thy beloved horses bore thee. (Rigveda 8:12:27)
Wilson mentions Griffith's possible translation as a footnote. However the following verse from Rigveda renders the above translation by Wilson more probable.
Him whose three places that are filled with sweetness, imperishable, joy as it may list them, Who verily alone upholds the threefold, the earth, the heaven, and all living creatures. (Rig veda 1:154:4)
Wilson offers an alternate translation for Rigveda 10:113:2:
Viṣṇu offering the portion of Soma, glorifies by his own vigor that greatness of his. Indra, the lord of heaven, with the associated gods having slain Vritra, became deserving of honour. (Rigveda 10:113:2)
This verse sees Vishnu as one who is glorified by his own strength, while Indra became deserving of honor after having slain Vritra only in association with other gods.
However Vishnu's praise for other gods does not imply worship. Wilson translates:
Viṣṇu, the mighty giver of dwellings praises thee, and Mitra and Varuna; the company of Maruts imitates thee in exhilaration. (Rigveda 8:15:9) (page 280)
The following verses show categorically Vishnu as distinguished from other gods in Rigveda.
He who presents (offering) to Viṣṇu, the ancient, the creator, the recent, the self-born; he who celebrates the great birth of that mighty one; he verily possessed of abundance, attains (the station) that is to be sought (by all). (Rigveda 1:156:2) (page 98)
No being that is or that has been born, divine Viṣṇu, has attained the utmost limit of thy magnitude, by which thou hast upheld the vast and beautiful heaven, and sustained the eastern horizon of Earth.(Rigveda 7:99:2) (page 196)
The divine Viṣṇu, the best of the doers of good deeds, who came to the pious instituter of rite (Indra), to assist (at its celebration), knowing (the desires of the worshiper), and present at the three connected period (of worship), shows favor to the Arya, and admits the author of the ceremony to a share of the sacrifice. (Rigveda 1:156:5) (page 99)
Jan Gonda, the late Indologist, states that Vishnu, although remaining in the background of Indra's exploits, contributes by his presence, or is key to Indra's success. Vishnu is more than a mere companion, equal in rank or power to Indra, or sometime the one who made Indra's success possible.
Descriptions of Vishnu as younger to Indra are found in only the hymns to Indra, but in a kathenotheism religion like that of the Rigveda, each god, for a time, is supreme in the mind of the devotee.
In the Rig Vedic texts, the deity or god referred to as Vishnu is the Sun God, who also bears the name 'Suryanarayana'. By contrast, the 'Vishnu' referred to in 'Vishnu Purana', 'Vishnu Sahasranamam' and 'Purusha Sooktham' is Lord Narayana, the Consort of Lakshmi. Vaishnavites make a further distinction by extolling the qualities of Vishnu by highlighting his differences from other deities such as Shiva,[citation needed] Brahma or Surya.
THREE STEPS
Hymn 7.100 refers to the celebrated 'three steps' of Vishnu (as Trivikrama) by which he strode over the universe and in three places planted his step. The 'Vishnu Suktam' (RV 1.154) says that the first and second of Vishnu's strides (those encompassing the earth and air) are visible to men and the third is in the heights of heaven (sky). This last place is described as Vishnu's supreme abode in RV 1.22.20:
The princes evermore behold / that loftiest place where Vishnu is / Laid as it were an eye in heaven.(trans. Griffith)
Griffith's "princes" are the sūri, either "inciters" or lords of a sacrifice, or priests charged with pressing the Soma. The verse is quoted as expressing Vishnu's supremacy by Vaishnavites.
Though such solar aspects have been associated with Vishnu by tradition as well as modern-scholarship, he was not just the representation of the sun, as he moves both vertically and horizontally.
In hymns 1.22.17, 1.154.3, 1.154.4 he strides across the earth with three steps, in 6.49.13, 7.100.3 strides across the earth three times and in 1.154.1, 1.155.5,7.29.7 he strides vertically, with the final step in the heavens. The same Veda also says he strode wide and created space in the cosmos for Indra to fight Vritra. By his stride he made dwelling for men possible, the three forming a symbolic representation of the dwelling's all-encompassing nature. This nature and benevolence to men were Vishnu's enduring attributes. As the triple-strider he is known as Trivikrama and as Urukrama, for the strides were wide.
BRAHMANAS
The Brahmanas are commentaries on the Vedas and form part of the Shruti literature. They are concerned with the detail of the proper performance of rituals. In the Rigveda, Shakala Shakha: Aitareya Brahmana Verse 1 declares: agnir vai devānām ava mo viṣṇuḥ paramus, tadantareṇa sarvā anyā devatā - Agni is the lowest or youngest god and Vishnu is the greatest and the highest God.
The Brahmanas assert the supremacy of Lord Vishnu, addressing him as "Gajapati", the one whom all sacrifices are meant to please. Lord Vishnu accepts all sacrifices to the demigods and allots the respective fruits to the performer In one incident, a demonic person performs a sacrifice by abducting the Rishis (sages), who meditate by constantly chanting God's name. The sacrifice is meant to destroy Indra. But the rishis, who worship Indra as a demigod, alter one pronunciation of the Veda Mantra, reversing the purpose of the sacrifice. When the fruit of the sacrifice is given and the demon is on the verge of dying, he calls to Vishnu, whom he addresses as Supreme Godhead and "the father of all living entities including himself".
Aitareya Brahmana 1:1:1 mentions Vishnu as the Supreme God. But in the Vaishnava canon, in different ages, with Vishnu in different avatars, his relationship with the asuras or demons, was always adversarial. The asuras always caused harm, while the sages and devas or celestial beings, did penance and called to Vishnu for protection. Vishnu always obliged by taking an avatar to vanquish the asuras. In the Vaishnava canon, Vishnu never gave or granted any boons to the asuras, distinguishing him from the gods Shiva and Brahma, who did. He is the only God called upon to save good beings by defeating or killing the asuras.
Sayana writes that in Aitareya Brahmana 1:1:1 the declaration agnir vai devānām ava mo viṣṇuḥ paramus,tadantareṇa sarvā anyā devatā does not indicate any hierarchy among gods. Even in Rigveda Samhita, avama and parama are not applied to denote rank and dignity, but only to mark place and locality.
In Rigveda 1:108:9,: yadindrāghnī avamasyāṃ pṛthivyāṃ madhyamasyāṃ paramasyāmuta sthaḥ | i.e., in the lowest place, the middle (place), and the highest (place). Agni, the fire, has, among the gods, the lowest place; for he resides with man on the earth; while the other gods are either in the air, or in the sky. Vishnu occupies the highest place. The words avama and parama are understood as 'First' and 'Last' respectively. To support this claim, Sayana adduces the mantra (1,4. As'val. Sr. S. 4, 2), agnir mukham prathamo devathanam samathanam uttamo vishnur asit, i.e., Agni was the first of the deities assembled, (and) Vishnu the last.
In the Kausitaki Brahmana (7.1) Agni is called Aaradhya (instead of avama), and Visnu parardha(instead of parama),i.e., belonging to the lower and higher halves (or forming the lower and higher halves). The Vishnu Purana gives tremendous importance to the worship of Vishnu and mentions that sacrifices are to begin only with both the lighting of fire or 'Agni', pouring of sacrificial offerings to Vishnu in 'Agni' so that those offerings reach and are accepted by Vishnu. Worship of Vishnu through Yajnas (or Homams) and other rituals, will not achieve the desired result if Agni's role is neglected.
Muller says "Although the gods are sometimes distinctly invoked as the great and the small, the young and the old (Rig veda 1:27:13), this is only an attempt to find the most comprehensive expression for the divine powers, and nowhere is any of the gods represented as the subordinate to others. It would be easy to find, in the numerous hymns of the Veda, passages in which almost every single god is represented as supreme and absolute."
However this notion is not completely correct as per the following verses, which shows Rigveda describe one or more gods as subject to other god(s).
Him whose high law not Varuna nor Indra, not Mitra, Aryaman, nor Rudra breaketh, Nor evil-hearted fiends, here for my welfare him I invoke, God Savitar, with worship. (Rigveda 2.038.09)
I invite to this place, with reverential salutations, for my good, that divine Savita, whose functions neither Indra, nor Varun.a, nor Mitra nor Aryaman nor Rudra nor the enemies (of the gods), impede. (Rigveda 2.038.09)
SMRITI
VISHNU SMRITI
The Vishnu Smṛti, is one of the later books of the Dharmashastra tradition of Hinduism and the only one that focuses on the bhakti tradition and the required daily puja to Vishnu, rather than the means of knowing dharma. It is also known for its handling of the controversial subject of the practice of sati (self-immolation of a widow on her husband's funeral pyre). The text was composed by an individual or group. The author(s) created a collection of the commonly known legal maxims that were attributed to Vishnu into one book, as Indian oral culture began to be recorded more formally.
BHAGAVATA PURANA
Vishnu is the only Bhagavan as declared in the Bhagavata 1:2:11 in the verse: vadanti tat tattva-vidas tattvam yaj jnanam advayam brahmeti paramatmeti bhagavan iti sabdyate, translated as "Learned transcendentalists who know the Absolute Truth call this non-dual substance as Brahman, Paramātma and Bhagavan."
VISHNU PURANA
In the Vishnu Purana (6:5:79) the personality named Parashara Rishi defines six bhagas:
aiśvaryasya samagrasya vīryasya yaśasaḥ śriyaḥ
jñāna-vairāgyayoś caiva ṣannāḥ bhaga itīṇganā
Jiva Gosvami explains the verse in Gopala Champu (Pūrva 15:73) and Bhagavata Sandarbha 46:10:
jñāna-śakti-balaiśvarya-vīrya-tejām.sy aśeṣataḥ
bhagavac-chabda-vācyāni vinā heyair guṇādibhiḥ
"The substantives of the word bhagavat (bhagavat-śabda-vācyāni) are unlimited (aśeṣataḥ) knowledge (jñāna), energies (śakti), strength (bala), opulence (aiśvarya), heroism (vīrya), splendor (tejas), without (vinā) objectionable (heyair) qualities (guṇādibhiḥ)."
SANGAM LITERATURE
Tamil Sangam literature (300BCE to 500CE) mentions mAyOn, or the dark one, as the supreme deity who creates, sustains and destroys the universe. Paripadal 3 describes the glory of Thirumal in the most superlative terms.
Paripadal by kaduvan iLaveyinanAr:
"thIyinuL theRal nI poovinuL naaRRa nI kallinuL maNiyu nI sollinuL vaaymai aRaththinuL anbu nI maRaththinuL mainthu nI vEthaththu maRai nI boothaththu madhalu nI vencudar oLiyu nI thingaLuL aLiyu nI anaiththu nI anaiththinut poruLu nI"
The last line states that Lord Vishnu is the supreme deity who is the inner controller (Antaryamin) of the entire universe. This is one of the Lord's glories, which is first mentioned in Vedas and later propounded by Alwars in Prabhandams and Sri Vaishnavaite Acharyas in various commentaries
The Sri Ranganathaswamy Temple and Vishnu, Lakshmi is mentioned in Tamil works of literature of the Sangam era, including the epic Silapadikaram (book 11, lines 35–40):
āyiram viritteḻu talaiyuṭai aruntiṟaṟ
pāyaṟ paḷḷip palartoḻu tētta viritiraik kāviri viyaṉperu turuttit tiruvamar mārpaṉ kiṭanta vaṇṇamum
On a magnificent cot having a thousand heads spread out, worshipped and praised by many, in an islet surrounded by Kaveri with bellowing waves, is the lying posture of the one who has Lakshmi sitting in his chest.
THEOLOGICAL ATTRIBUTES
The actual number of Vishnu's auspicious qualities is countless, although his six most-important "divine glories" are:
Jnana (Omniscience); defined as the power to know about all beings simultaneously;
Aishvarya (Sovereignty), derived from the word Ishvara which means unchallenged rule over all;
Shakti (Power or Energy), the capacity to make the impossible possible;
Bala (Strength), the capacity to support everything by will and without any fatigue;
Virya (Vigour), the power to retain immateriality as the Supreme Spirit or Being in spite of being the material cause of mutable creations;
Tejas (Splendor), which expresses self-sufficiency and the capacity to overpower everything by spiritual effulgence.
Other important qualities attributed to Vishnu are Gambhirya (inestimatable grandeur), Audarya (generosity), and Karunya (compassion). Natya Shastra lists Vishnu as the presiding deity of the Sṛngara rasa.
The Rigveda says: Vishnu can travel in three strides. The first stride is the Earth. The second stride is the visible sky. The third stride cannot be seen by men and is the heaven where the gods and the righteous dead live. (This feature of three strides also appears in the story of his avatar Vamana/Trivikrama.) The Sanskrit for "to stride" is the root kram; its reduplicated perfect is chakram (guņa grade) or chakra (zero-grade), and in the Rigveda he is called by epithets such as vi-chakra-māņas = "he who has made 3 strides". The Sanskrit word chakra also means "wheel". That may have suggested the idea of Vishnu carrying a chakra.
FIVE FORMS
In Shree Vaishnavism, another school dating from around the 10th century AD, Vishnu assumes five forms:
In the Para Form, Para is the highest form of Vishnu found only in Sri Vaikunta also called Moksha, along with his consort Lakshmi, (and Bhumi Devi and Nila devi, avatars of Lakshmi) and surrounded by liberated souls like Ananta, Garuda, and a host of Muktas (liberated souls).
In the Vyuha form, Vishnu assumes four forms, which exercise different cosmic functions and controls activities of living beings.
In the Vibhava form, Vishnu assumes various manifestations, called Vibhavas, more popularly known as Avataras from time to time, to protect the virtuous, punish evil-doers and re-establish righteousness.
In the Antaryami; "Dwelling within" or "Suksma Vasudeva" form, Vishnu exists within the souls of all living beings and in every substance.
In the Arcavatara or Image manifestation, Vishnu is visible and therefore easily approachable by devotees since Para, Vyuha, Vibhava and Antaryami forms can only be imagined or meditated upon because they are beyond our reach. Such images can be
Revealed by Vishnu, for example, a self-manifested (Swayambhu) icon (murti), e.g. The Mahavishnu Temple at Tirunelli, The Sri Ranganathaswamy Temple at Srirangam, The Tirumala Venkateshwara Temple, etc.; or
Installed by Devas or celestial beings such as such as Guruvayur Temple installed by Vayu; or
Installed by humans, and consecrated according to Vaishnava Agama shastras or scriptures such as Lord Jagannatha of Jagannath Temple (Puri) at Puri.
RELATIONS WITH OTHER DEITIES
SHIVA
The three gods of the Trimurti clan are inseparable and in harmony in view of their common vision and universal good. They are perfectly ideal in all respects.
Both Asuras and Devas played supportive roles in this story by keeping company with Vishnu in his incarnated forms. Hanuman is a vanara who is completely dedicated to Rama. He gives Vishnu company and obeys his command, while playing an important part in Rama's life. He is regarded in Vaishnava canon because it is through blessings that Hanuman is born. Thus, Hanuman, Vishnu's constant companion, with his idol appearing temples of Rama, Krishna and Narasimha, i.e. all of Vishnu's avatars, is considered by Vaishnavas.
Syncretic forces produced stories in which the two deities were shown in cooperative relationships and combined forms. Harihara is the name of a combined deity form of both Vishnu (Hari) and Shiva (Hara). This dual form, which is also called Harirudra, is mentioned in the Mahabharata.
LAKSHMI
Vishnu's consort is Lakshmi, the goddess of wealth (also known as Maya). The Samvit (the primary intelligence/dark matter) of the universe is Vishnu, while the other five attributes emerge from this samvit and hence Maya or dark energy of the universe is Lakshmee is his ahamata, activity, or Vishnu's Power. This power of God, Maya or Shakti, is personified and has multiple names: Shree, Lakshmi, Maya, Vishnumaya or Mahamaya. She is said to manifest as Kriyashakti, (Creative Activity) and Bhutishakti (Creation). This world requires Vishnu's creativity. He therefore needs Lakshmi to always be with Him. Her various avatars as Lord Vishnu's consorts are Varahavatar (Bhoodevi) or Bhoomi, Ramavatar Seeta, Krishnavatar Rukmini)
SARASWATI & GANGA
According to Brahma Vaivarta Purana, Lord Vishnu had three wives Lakshmi, Saraswati and Ganga. Due to their constant quarrelsome nature among them. Once Ganga tried to be close with Vishnu, this rebuked Saraswati but Lakshmi tried to pacify them but faced a curse rather. As per the curse, Lakshmi to appear as Tulasi. Sarawati cursed Ganga to run as a river in the world and Saraswati was cursed to run as a river in the netherworld. After this, Lord Vishnu transformed and became Brahma and Shiva to pacify Saraswati and Ganga.
GARUDA
Vishnu's mount (Vahana) is Garuda, the eagle. Vishnu is commonly depicted as riding on his shoulders.
ICONOGRAPHY
According to various Puranas, Vishnu is the ultimate omnipresent reality and is shapeless and omnipresent. However, a strict iconography governs his representation, whether in pictures, icons, or idols:
He has four arms and is male: The four arms indicate his all-powerful and all-pervasive nature. His physical existence is represented by the two arms in the front, while the two arms at the back represent his presence in the spiritual world. The Upanishad Gopal Uttartapani describes the four arms.
The Shreevatsa mark is on his chest, symbolizing his consort Lakshmi.
He wears the auspicious "Kaustubha" jewel around his neck and a garland of vaijayanti flowers (Vanamala). Lakshmi dwells in this jewel, on Vishnu's chest.
A crown adorns his head: The crown symbolizes his supreme authority. This crown sometimes includes a peacock feather, borrowing from his Krishna-avatar.
He wears two earrings: The earrings represent inherent opposites in creation — knowledge and ignorance; happiness and unhappiness; pleasure and pain.
He rests on Ananta, the immortal and infinite snake.
Vishnu is always to be depicted holding four attributes:
A conch shell or Shankha, named Panchajanya, is held by the upper left hand. It represents Vishnu's power to create and maintain the universe. Panchajanya represents the five elements or Panchabhoota – water, fire, air, earth and sky or space. It also represents the five airs or Pranas that are within the body and mind. The conch symbolizes that Vishnu is the primeval Divine sound of creation and continuity. It also represented as Om. In the Bhagavad Gita, Krishna avatara states that of sound vibrations, 'He is Om'.
The Chakra, a sharp, spinning, discus-like weapon, named "Sudarshana", is held by the upper right hand. It symbolizes the purified spiritualized mind. The name Sudarshana is derived from two words – Su, which means good, superior, and Darshana, which means vision or sight; together. The Chakra represents destruction of ego in the awakening and realization of the soul's original nature and god, burning away spiritual ignorance and illusion, and developing higher spiritual vision and insight to realize god.
A mace or Gada, named "Kaumodaki", is held by the lower right hand. It symbolizes that Vishnu's divine power is the source of all spiritual, mental and physical strength. It also signifies Vishnu's power to destroy materialistic or demonic tendencies (Anarthas) that prevent people from reaching god. Vishnu's mace is the power of the Divine within us to spiritually purify and uplift us from our materialistic bonds.
A lotus flower or Padma is held by the lower left hand. It represents spiritual liberation, Divine perfection, purity and the unfolding of Spiritual consciousness within the individual. The lotus opening its petals in the light of the Sun is indicative of the expansion and awakening of our long dormant, original spiritual consciousness in the light of god. The lotus symbolizes that god is the power and source from which the universe and the individual soul emerges. It also represents Divine Truth or Satya, the originator of the rules of conduct or Dharma, and Divine Vedic knowledge or Jnana. The lotus also symbolizes that Vishnu is the embodiment of spiritual perfection and purity and that He is the wellspring of these qualities and that the individual soul must seek to awaken these intrinsic Divine qualities from Vishnu by surrendering to and linking with Him.
To this may be added, conventionally, the vanamaala flower garland, Vishnu's bow (Shaarnga/Kodand) and his sword Nandaka. A verse of the Vishnu Sahasranama stotram states;vanamālī gadhī shārngī shanki chakri cha nandaki / shrīmān nārāyaņo vişņo vāsudevo abhirakşatu//; translation: Protect us Oh Lord Narayana who wears the forest garland,who has the mace, conch, sword and the wheel. And who is called Vishnu and the Vasudeva.
In general, Vishnu's body is depicted in one of the following three ways:
Standing on a lotus flower, often with Lakshmi, his consort, beside him on a similar pedestal.
Reclining on the coiled-up thousand-hooded Shesha Naga, with Lakshmi seated at his feet; the assemblage rests on the "Kshira Sagar" (ocean of milk). In this representation, Brahma is depicted as sitting on a lotus that grows out of Vishnu's navel.
Riding on the back of his eagle mount, known as Garuda. Another name for Garuda is "Veda atma"; Soul of the Vedas. The flapping of his wings symbolizes the power of the Divine Truth of Vedic wisdom. Also the eagle represents the soul. Garuda carrying Vishnu symbolizes the soul or jiva atma carrying the Super soul or Param atma within it.
AVATARS
Ten avatars (dashavatara) of Vishnu are the most prominent: Apart from the most prominent incarnations there are believed to more.
The most commonly believed incarnations of Vishnu are:
Matsya, the fish that kills Damanaka to save the vedas and also saves Manu from a great flood that submerges the entire Earth.
Kurma, the turtle that helps the Devas and Asuras churn the ocean for the nectar of immortality.
Varaha, the boar that rescues the Earth and kills Hiranyaksha.
Narasimha, the half-lion half human, who defeats the demon Hiranyakashipu.
Vamana, the dwarf that grows into a giant to save the world from King Bali.
Parashurama, "Rama of the battle axe", a sage who appeared in the Treta Yuga. He killed Kartavirya Arjuna's army and clan and then killed all the kshatriyas 21 times.
Rama, the prince and king of Ayodhya who killed the Demon King Raavan.
Krishna, the eighth avatar of Vishnu, who takes part in the Mahabharata epic. Krishna is worshipped as the Supreme Avatar of Vishnu (Supreme Personality of Godhead) in Gaudiya-Vaishnava philosophy.
Buddha, the ninth avatar of Vishnu.
Kalki, the tenth Avatar of Vishnu and said to be the harbinger of the end Kali Yuga. This avatar of Vishnu is yet to come.
Some versions of the above list include Hayagreeva among the Dashavataras while some include Buddha as ninth avatar of Vishnu. Another 22 avatars are given in Chapter 3, Canto 1 of the Bhagavata Purana, although it states that "the incarnations of the Lord are innumerable, like rivulets flowing from inexhaustible sources of water".
BEYOND HINDUISM
SIKHISM
Guru Granth Sahib of Sikhism mentions Vishnu, one verse goes:
The true Vaishnaav, the devotee of Vishnu, is the one with whom God is thoroughly pleased. He dwells apart from Maya. Performing good deeds, he does not seek rewards. Spotlessly pure is the religion of such a Vaishnaav; he has no desire for the fruits of his labors. He is absorbed in devotional worship and the singing of Kirtan, the songs of the Lords Glory. Within his mind and body, he meditates in remembrance on the Lord of the Universe. He is kind to all creatures. He holds fast to the Naam, and inspires others to chant it. O Nanak, such a Vaishnaav obtains the supreme status.
BUDDHISM
While some Hindus consider Buddha as an incarnation of Vishnu, Buddhists in Sri Lanka venerate Vishnu as the custodian deity of Sri Lanka and protector of Buddhism. Lord Vishnu is also known as upulvan, or uthpala varna, meaning "Blue Lotus coloured". Some postulates that Uthpala varna was a local deity who later merged with Vishnu while another belief is that Uthpala Varna was an early form of Vishnu before he became a supreme deity in Puranic Hinduism. According to Chronicles "Mahawamsa", "Chulawamsa" and folklore in Sri Lanka, Buddha himself handed over the custodianship to Vishnu. Others believe that Buddha entrusted this task to Sakra(Indra) and Sakra delegated this task of custodianship to god Vishnu. In contrary to vedic Hinduism, in assimilation of Hindu god Vishnu into Sinhalese Buddhism, Vishnu becomes a mortal being and a Bodhisattva aspiring Buddhahood. Additionally, Vishnu is considered as the god of home and hearth representing mercy, goodness, order and stability. Many Buddhist and Hindu shrines are dedicated to Vishnu in Sri Lanka. In addition to specific Vishnu "Kovils" or "devalayas", all Buddhist temples necessarily house shrine rooms (Devalayas) closer to the main Buddhist shrine dedicated to Vishnu. John Holt in his groundbreaking study examines the assimilation, transformation, and subordination of the Hindu deity Vishnu within the contexts of Sri Lankan history and Sinhala Buddhist religious culture. He then explores the role and rationale of medieval Sinhala kings in assimilating Visnu into Sinhala Buddhism. According to Holt the veneration of Vishnu in Sri Lanka is evidence of a remarkable ability, over many centuries, to reiterate and reinvent culture as other ethnicities have been absorbed into their own. Though the Vishnu cult in Ceylon was formally endorsed by Kandyan kings in early 1700s, Holt states that vishnu images and shrines are among conspicuous ruins in the medieval capital Polonnaruwa. In Buddhist mythology, when Vishnu failed to traverse the universe in three steps, he was given the title "Ardha Vishnu (Half-Vishnu)" and when Vishnu banished demons from the Vaishali (Vishala)in India, he became "Mulu Vishnu or Whole Vishnu". The extreme significance of god Vishnu in Sinhala society is reflected in recitals of the traditional "Offerings to dwarfs and crossing the door frame (bahirwayanta dola pideem saha uluwahu peneema)" that starts with Sri Vishnu invocation.In the recitals,mentioning of the aspiring Buddhahood of Vishnu which is of prime importance to Buddhists and wishes for him to live five thousand and more years highlight the central role of Vishnu in the psyche of Sri Lankan Buddhists.
OTHERS
James Freeman Clarke, Richard Leviton, James Cowles Prichard, and others have noted the similarities between Vishnu and Ancient Egyptian God Horus.
During an excavation in an abandoned village of Russia in the Volga region, archaeologist Alexander Kozhevin excavated an ancient idol of Vishnu. The idol dates from between the 7th and 10th centuries. In the interview Kozhevin, stated that, "We may consider it incredible, but we have ground to assert that Middle-Volga region was the original land of Ancient Rus. This is a hypothesis, but a hypothesis, which requires thorough research"
THOUSAND NAMES OF VISHNU
Vishnu's many names and followers are collected in the Vishnu Sahasranama, (Vishnu's thousand names) from within the larger work Mahabharata. The character Bheeshma recites the names before Krishna on the battlefield of Kurukshetra, praising him (Vishnu) as the supreme god. These Sahasranama are regarded as the essence of all Vedas by followers of Vaishnavism, who believe sincere chanting of Vishnu Sahasranama results in spiritual well-being and a greater awareness of God.
The names are generally derived from the Anantakalyanagunas (meaning: infinite auspicious attributes).
According to the Siddhartha-samhita there are twenty-four forms of Lord Vishnu. The twenty-four forms are
Vasudeva
Sankarshana
Pradyumna
Anirudha
Keshava
Narayana
Madhava
Govinda
Vishnu
Madhusudana
Trivikrama
Vamana
Sridhara
Hrishikesha
Padmanabha
Damodara
Purushottama
Achyuta
Narasimha
Janardana
Hari
Krishna
Adhokshaja
Upulvan, Uthpala Varna - In Sri Lanka, Vishnu is also referred to as Upulvan ( Blue Lotus Coloured)
WIKIPEDIA
Somewhat inspired by The Swing by Jean Honore Fragonard 🎨 I’d like to imagine this is what Antoinette would be up to on a hot summer’s day in Versailles 🌸🌷🌺💖🙌💖 Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimmed;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wand'rest in his shade,
When in eternal lines to Time thou grow'st. So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.
It takes a very close look to see the complex complexion of a spiny desert lizard. This chubby one spends the afternoon
lying in a shady part of our front porch when the temperature
is over 100. It is about 9" long.
Alfred B Bales……………………………….......49 Canadian Batt
Name: BALES Initials: A B
Rank: Private Regiment: Canadian Infantry (Alberta Regiment) Unit Text: 49th Bn.
Date of Death: 07/04/1916 Service No: 436662
Grave/Memorial Reference: I. A. 22. Cemetery: MENIN ROAD SOUTH MILITARY CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=95745
There is a picture of Private Alfred Benjamin Bales on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read
Private Bales was born at Norwich, 21st October 1892 and was educated at the Model and Municipal Secondary School. He enlisted in December 1914 and was killed in action at Ypres, 7th April 1916.
The 8 year Alfred appears on the 1901 Census at 19 Magdalen Street in the Parish of St Clements. This is the household of his parents, Ernest William, (aged 37 and a Saddle & Harness Maker and Leather Dealer from Norwich), and Anna Maria, (aged 39 and from Morwich). Their other children are:-
Anna Maud……………aged 12.………………born Norwich
Ernest William…………aged 11.………………born Norwich
Alfred Benjamin was baptised at St Clements on the 22nd December 1899. His birth date is simply given as 1882. Parents are Ernest William, a Saddler and Anna Maria. The family are living at Magdalen Street.
Alfred also appears on the NORWICH CATHEDRAL - BOYS MODEL SCHOOL WAR MEMORIAL
www.roll-of-honour.com/Norfolk/NorwichBoysModelSchool.html
The enlistment papers for Private Alfred Benjamin Bales can be seen on line here:-
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
They confirm he was born Norwich, but gives date of birth as the 18th October 1892. He gives his next of kin as E Wm Bales residing at 17 Magdalen Street. He was single and gave his occupation as farmer, (plus an undecipherable word). He had no previous military experience. At the time of his medical examination on the 25th January 1915 he was 22 years and three months, stood 5 foot 7 inches tall, with light brown hair, blue eyes, and a fair complexion.
It was the 31st Battalion that was the Albert Regiment. The 49th was the Edmonton Regiment. The battalion has no Battle Honours relating to the period of Alfred’s death.
en.wikipedia.org/wiki/List_of_infantry_battalions_in_the_...
The 49th was in action at the St Eloi craters at this time, in one of the many pointless actions of the war based on the poor quality of the Army high command.
From Chapter 5 of the Nicholson Matrix, there is a description of the action, though no specific reference to the 49th but there is to the 31st .
Throughout 4 and 5 April the whole of the Canadian front line came under almost continual bombardment. The intensity of the German fire was described by a British artillery officer who had been in the Ypres Salient for the past year as far greater than any he had hitherto experienced.39 Both battalion sectors were hard hit, and 200 yards of trench in the 27th Battalion’s area were completely demolished. The destruction of the sandbag parapet in one of the 31st Battalion’s trenches exposed the Canadians to enfilade machine-gun fire from position 85 as well as to sniping from the German lines, only 150 yards away. Although each man dug his own slit trench in the mud, casualties mounted rapidly. By noon on the 4th every second man in one of the 27th’s forward companies had been hit. The battalion commander, Lt.-Col. I. R. Snider, was forced to thin out his front line, leaving in front of the craters only bombing parties supplied by battalions of the 5th Brigade and four Lewis gun detachments from the 5th Brigade Machine Gun Company. He had no contact with the 31st Battalion on his left. On the evening of 5 April small parties from the 28th Battalion were sent out to station themselves in the four big craters and act as snipers and observers until these could be trenched and garrisoned. There is doubt that the positions which they occupied were actually the designated craters. Later that same night the 29th Battalion began relieving the badly depleted forward companies of the 27th Battalion.40
This relief dragged out interminably. The incoming troops, burdened with extra equipment, had to struggle forward in a long line through the mud and congestion of the same narrow communication trench that was being used by pioneers moving up to work on the craters and by other parties coming to the rear, many of them wounded. The exchange was still in progress when at 3:30 a.m. on the 6th, following an intense barrage, the Germans attacked with two battalions* astride the road which ran from St. Eloi south-eastward to Warneton and before its destruction had passed between the sites of the 3rd and 4th craters. Effective resistance was impossible. West of the road the two relieving companies were not yet in position, having failed to find the positions manned by the 5th Brigade. They could do little more than deflect the tide of the German attack eastward, where it quickly wiped out the machine-gun posts and flowed through the resulting gap in front of the central craters. The eastern wing of the assault was held up momentarily by crossfire from the 31st Battalion’s machine-guns, which also repelled attacks against Craters 6 and 7 and the line to the east. Artillery fire on the enemy’s lines of approach by all available British field guns failed to stop the attackers, some of whom got through by splitting into small groups. The Germans quickly secured Craters 2 and 3 and from these points of vantage soon spread into Craters 4 and 5. In less than three hours the enemy had regained all the ground taken from him between 27 March and 3 April. 41
The Canadians launched local counter-attacks with the minimum of delay. The only feasible way to regain the craters seemed to be by bombing, but the element of surprise was missing and the efforts accomplished nothing. On the right bombers of the 27th and 29th Battalions attempting to reoccupy Craters 2 and 3 were caught in the mire and shot down before they could get close enough to fling their grenades. On the left Brig.-Gen. Ketchen ordered the 31st Battalion, reinforced with a detachment from the 28th, to retake Craters 4 and 5. But their unfamiliarity with the ground and the complete absence of recognizable landmarks caused the attackers to repeat the mistake made by British troops ten days earlier. Forced to make their approach from the side, they lost direction and occupied Craters 6 and 7, reporting that they had regained 4 and 5. German shellfire during the remainder of 6 April and on succeeding days isolated the two craters that the Canadians were holding, so that no reconnoitring officer could reach them in daylight. Because of bad weather no air photograph of the positions was taken from the 8th until the 16th. The mistake was to persist throughout that entire period.†42 The occupants of the two craters could see on their right the high edge of what they believed to be Crater 3 (The Mound), but which was in reality No. 5. On the night of 6-7 April the 28th Battalion sent out 75 bombers, supported by two companies, to regain this objective. Enemy shellfire and heavy rain held them up. Losing their way in the darkness they occupied a group of craters north of No. 4, and there captured several small German patrols. They had failed to attain their objective, or even identify it correctly. During the night the 4th Canadian Brigade (Brig.-Gen. R. Rennie) relieved the 6th Brigade, which had suffered 617 casualties in its four days of fighting.43 For the next week confusion was to persist with respect to the exact positions held by the Canadians.
cefresearch.com/matrix/Nicholson/Transcription/
Background to the creation of the battalion is here
www.lermuseum.org/ler/rh/ch1_page05.html
The same source has no mention of the 49th being involved in the St Eloi action
www.lermuseum.org/ler/rh/ch2_page03.html
Mack Billin,……………………………..............14th Essex Regiment
Name: BILLIN, MACK
Rank: Private Regiment/Service: Essex Regiment Unit Text: 13th Bn.
Date of Death: 13/11/1916 Service No: 28341
Grave/Memorial Reference: Pier and Face 10 D. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=768669
(Note - different Battalion)
No match on Norlink
The 6 year old Mack is recorded at 10 New Yard in the Parish of St Pauls. This is the household of his parents, Mark, (aged 36 and a Shoemaker from Norwich), ans Alice, (aged 29 and from Norwich). Their other children are:-
Alice…………………….aged 8.………………….born Norwich
Herbert………………….aged 5.………………….born Norwich
Lily………………………aged 7 months…………born Norwich
Walter……………………aged 7 months…………born Norwich
Monday 13th November 1916. Day 136
The Battle of the Ancre, the final battle of the Somme Campaign began today.
13th Essex (Part of 6 Brigade) - Redan Ridge
2nd Div attacked Redan Ridge north of Beaumont Hamel with 6 Bde on the left and 5 Bde on the right. 99 Bde was in reserve. 5 Bde formed up in No Man’s Land and, staying close to the creeping barrage, took the German front line with little difficulty. 2nd Bn, Highland Light Infantry and 24th Royal Fusiliers pressed on to Beaumont Trench. The Fusiliers blocked the trench because 6 Bde’s advance had fallen behind. They fought off some German bombing attacks.
6 Bde had real problems. Fog and mud slowed the advance as did fire from the Quadrilateral. Added to which the German wire was intact. Troops from the brigade’s four battalions entered the German trenches where they were pinned down by MG fire.
By 7.30 am only 5 Bde was ready to move on to the second objective, Frankfurt Trench. Only a few men reached this objective and soon withdrew. Also at 7.30am 99 Bde began to move forward to support the attack but orders for an advance by the brigade were cancelled and 2nd Div began to consolidate on it’s captured trenches. 6 Bde was withdrawn to re-org.
forum.irishmilitaryonline.com/showthread.php?t=9058&p...
14th (Reserve) Battalion
Formed at Brentwood in September 1915 from depot companies of 13th Bn.
Moved to Northampton in January 1916 and went on in the May to Aldershot.
1 September 1916 : converted into 98th Training Reserve Battalion of 23rd Reserve Brigade at Aldershot.
I suspect therefore Private Billin fell in the company of many from the 13th Essex, rather than the 14th Essex as shown on the church roll of honour as that unit never made it to france and had already effectively ceased to exist.
William Chilvers………………………………...1st Norfolks
Name: CHILVERS, WILLIAM
Rank: Lance Corporal Regiment/Service: Norfolk Regiment Unit Text: 1st Bn.
Age: 37 Date of Death: 31/07/1916 Service No: 3/10187
Additional information: Son of Mr. and Mrs. Chilvers, of Garden House, Newton, St. Faith's, Norwich; husband of Anna Elizabeth Gray (formerly Chilvers), of 12, Thoroughfare Yard, Magdalen St., Norwich.
Grave/Memorial Reference: Pier and Face 1 C and 1 D. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=760002
No match on Norlink
No obvious match on the 1911 or 1901 census However on the 1911 census there is a William born circa 1857 in Norwich now recorded in St Faiths district.
On the 1891 census that William is living at 52 Albany Road in the Parish of St Clements and is a Brush Finisher by trade. His wife is Amelia, aged 33 and a General Shop-keeper from Norwich. The eldest of their children is our man, “Willy”, aged 12 and born Norwich. Their other children are:-
Maud…………….aged 9.………………born Norwich
George…………..aged 8.……………….born Norwich
May……………aged 6.…………………born Norwich
Amelia…………aged 3.…………………born Norwich
Henry…………..aged 1.…………………born Norwich.
The Chilvers also have a lodger living with them, Harriet Harwood, (aged 25 and a Boot Machinist from Norwich), and her one year old daughter, Rosa.
On the 1901 census the family have moved to 69 Spencer Street in the Parish of St James with Pockthorpe. “Willie” has moved out, not surprisingly really as the family has grown to include
Nellie………….aged 9.…………………born Norwich
Laura………….aged 7.………………….born Norwich
Fred……………aged 6.…………………born Norwich
Edith V…………aged u/1.………………born Norwich
I initially found a baptismal record for a William Chilvers, but in the light of the above this is possibly the right person, its just that the dates don’t tie up. A William Chilvers, son of a William (Brush Finisher by occupation) and Amelia, took place at St Stephens, Norwich on 27th January 1879, and his birth date was given as 11th August 1877, which does not marry up to any of the other dates above. The family were living at Butcher’s Court, St Stephens.
I believe William’s brother Henry is recorded on the St Faiths War Memorial, which ties in with the family location in 1911
www.flickr.com/photos/43688219@N00/2871580378/
The 1st Norfolks were relieving a fellow Brigade Unit, the 1st Bedfords, on the day that Private Chilvers died.
31st July 1916
OPERATION ORDERS NO.7 1/BEDFORDSHIRE RGT. Ref. Sheet LONGUEVAL 31st July 1916
1. The Battn. will be relieved at dark by 1/NORFOLK Rgt.
2. On Relief Battn. will withdraw to area East of Church, where they will get into SLIT Trenches they dug on arrival in LONGUEVAL last night.
3. O.C. Coys. will report their arrival in this area to Battn. H.Q.
4. O.C. Coys. will send one guide each to Bn.H.Q. at once to guide NORFOLK coys up.
5. Later (about 11 p.m.) the 1/CHESHIRE RGT. will arrive in the area.
6. On arrival of 1/CHESHIRE Rgt, coys will withdraw independently to POMMIERS Redoubt, without being relieved.
7. O.C. Coys. will report the final departure of their coys to Bn.H.Q.
Report on Operations 30 July - 1st August 1916. REF. Sheet LONGUEVAL 1/BEDFORDSHIRE RGT 30.7.'16 6.45 P.M.
Orders received to reinforce in LONGUEVAL 2/K.O.S.B. holding Line. 1/R.W.Kents in support. Leading platoon moved off at 6.53 p.m. and reached LONGUEVAL at 7.45 p.m. relieving 1/R.W.KENTS 10.12 p.m. O.C. 2/K.O.S.B. reported that his men were retiring from Line S.11.d.9/5 to S.11.c.5/8. A & C Coys were directed to proceed with guides of K.O.S.B. to hold & consolidate this line. B & D Coys were directed to hold line S.11.d.9/5 to S.17.b.0/9. It was proposed to withdraw K.O.S.B. into reserve at dawn. 11.45 p.m. Message received by O.C. K.O.S.B. that GORDONS 51st DIVISION were in Sunken Road & that K.O.S.B. were to bomb towards them. 31.7.'16 12.10 A.M. Enemy started intense bombardment 12.45 A.M. Orderly returned from A & C Coys & reported K.O.S.B. Guides could not show them the way up to front line. O.C. A & C Coys were instructed to establish themselves on the Line B.C.D.E. (S.11.d.4/8 to S.11.c.5.5) & to send out patrols to ascertain if any K.O.S.B. were holding forward line. 2.30 A.M. All Coys reported heavy casualties [2 officers Killed & several wounded]. B & D Coys reported themselves to be in position as ordered from S.11.d.5/5 to S.11.b.0/9. Two wounded prisoners were taken by 'A' Coy. Reinforcements had been asked for at 10.54 A.M. O.C. D Coy reported that he had been able to get in touch with Division on right. O.C. C Coy reported that owing to mist darkness & shell fire it was impossible to recognise the line B.C.D.E, that he was in touch with K.O.S.B. & would establish himself in the forward position at dawn. Telephone communication established between Bn. H.Q. & front line 6.25 A.M. Order received from Bde to relieve K.O.S.B. who were to move into reserve. O.C. C.Coy. reported by Telephone that his patrols were unable to get forward. Two Machine Guns enfilading NORTH STREET & heavy sniping from his front. Companies were now as follows: - D.Coy from PICCADILLY to NORTH ST. on DUKE ST. B.Coy. continuing this line into DELVILLE WOOD. A.Coy. crossroads NORTH ST./FLERS RD. to ORCHARD. C.Coy. in support of A.Coy. with refused flank about S.11.d.8/3 & two platoons North of FLERS Rd. about S.11.d.4/4. C.Coy. were still endeavouring to gain touch with 2nd Divn. The position taken up could be seen from the opposite ridge & any movement attracted heavy shell fire. There was also considerable sniping from the direction of FLERS Rd. 6.0. P.M. 1/NORFOLK RGT. arrived and relieved 2/K.O.S.B. and the forward BEDF. coys, who were moved back to reserve position E. of Church. 10.30 P.M. 1/CHESHIRE RGT. arrived & relief of 1/BEDF. R. was completed by Midnight. 1/BEDF. R. returned to POMMIERS REDOUBT. 11 P.M. A patrol from C.Coy. trying to get into touch with 2nd Division approached the German line in NORTH of DELVILLE WOOD & attracted a big burst of fire.
Source www.bedfordregiment.org.uk/1stbn/1stbtn1916appendices.html
William John Chilvers………………………… .1st Rifle Brigade
Name: CHILVERS Initials: W J
Rank: Rifleman Regiment/Service: Rifle Brigade Unit Text: 1st Bn.
Date of Death: 29/03/1918 Service No: S/37032
Grave/Memorial Reference: I. J. 17. Cemetery: POINT-DU-JOUR MILITARY CEMETERY, ATHIES
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=257132
The index to the Great War Roll of Honour confirms that Rifleman Chilvers was a William J.
No match on Norlink
There is a William John born circa 1899 in Norwich and now recorded in the district of Forehoe on the 1911 census, but otherwise there are plenty of William’s from Norwich and of the right sort of age. This individual, aged 2, is recorded at 99, Norfolk Street, in the Parish of St Stephens. This is the household of his parents, John Rackham, (aged 50 and a Gardener from Morton, Norfolk), and Anna Chilvers, (aged 23 and from Norwich)
Divisional Battle Honour
First Battle of Arras. 28 Mar 1918
At 3am on Thursday 28 March the early morning stillness was shattered by the chaotic din of a terrific German bombardment. Shortly after 7am German infantry attacked. Unaided by fog and, in places, going forward in mass formations, they met with devastating fire from British artillery and well-sited machine guns.
South of the Scarpe German infiltrations via communication trenches forced 3rd and 15th Divisions back from their front lines by 8.30am; gradual withdrawals were made to the rear of the Battle Zone; despite great pressure no effective breakthroughs were made. The greatest German efforts were made north of the Scarpe: attacking across difficult ground enemy infantry successfully progressed up the valley between 4th and 56th Division positions forcing British fighting withdrawals to the Battle Zone; despite repeated attacks the line held.
www.cwgc.org/spring1918/content.asp?menuid=34&submenu...
Charles Goulder………………………………....1st Norfolks
Name: GOULDER, CHARLES
Rank: Private Regiment/Service: Norfolk Regiment Unit Text: 1st Bn.
Age: 35 Date of Death: 27/07/1916 Service No: 3/8037
Additional information: Son of Henry and Sophia Goulder, of 49, Fishergate St., Norwich; husband of Sarah Goulder, of I, Tiger Yard, Fishergate St., Norwich.
Grave/Memorial Reference: Pier and Face 1 C and 1 D. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=786634
No match on Norlink
The 23 year old Charles , a Shoe Finisher from Norwich, is recorded on the 1901 Census at 49 Fishergate Street in the Parish of St Edmund. This is the household of his Step-father, William Eames, a 63 year old Tailor and Licensed Victualler from Bedford, and mother, Sophia Eames, (aged 53 and a Publican from Norwich). Making up the household is Charles brother John H Y Goulder, aged 26, and like his brother, a shoe finisher from Norwich.
Charles isn’t obviously on the 1891 Census., but on the 1881 one the “40” year old Sophia Goulder is a widow, living at what looks like Little Bull Close in the Parish of St Paul, with no occupation, and head of a household of 8, of which Charles is the youngest. Sophia also seems to be absent from the Genes Re-united transcription of the 1891 census, both as a Goulder and as an Eames.
Charles was baptised in the church of St Simon and St Jude on the 5th February 1878. His birth date was shown as the 26th December 1877. His father is listed as John Henry, a Labourer, and his mother is Sophia. They are listed simply as residing in the Parish of St Pauls.
Note none of these dates and ages from the Census & Baptismal record tie in with him being 35 in 1916, so I guessed he must have lied about his age.
Thursday 27th July 1916. Day 27
Delville Wood
At 7.10am after a one hour barrage on Delville Wood the 1st Bn, KRRC and 23rd Bn, Royal Fusiliers of 99 Bde, 2nd Div began their advance from the south. By 9am they had occupied a line 50 yards from the northern edge of the wood. At 9.30am a German attack forced back the right side of the line slightly so that it ran just east of King St.
In conjunction with 2nd Div, 1st Norfolk Regt and 1st Bedfordshire Regt of 15 Bde, 5th Div attacked the west end of the wood and Longueval village. The Bedfords linked up with 2nd Div in the northern end of the wood. Longueval was occupied almost as far as Duke Street
That night 17th Middlesex and 2nd South Staffords (6 Bde) relieved 99 Bde. 95 Bde relieved 15 Bde.
Source forum.irishmilitaryonline.com/showthread.php?t=9058&p...
REPORT ON OPERATIONS 26/28 JULY 1/BEDFORDSHIRE Rgt 26.7.'16 11.15.P.M.
The Battalion left its Bivouac POMMIERS REDOUBT and marched to Brigade Advanced H.Q. Here owing to very heavy Barrage & poison Gas shells in the Valley the Battalion halted for two hours. The Barrage was still intense but a fresh wind made advance possible & only two cases of gas poisoning have been reported. Shell fire was moderately severe in the valley and increased as the old German Second line Trenches were approached. 27.7.'16 [Capt. PARKER wounded] 3.50 A.M. Battn arrived in position of assembly in German 2nd Line Trenches and improved cover 5.30 A.M. Operation Orders received & communicated to Company Commanders. 7.0 A.M. A & B Coys in accordance with orders, left to take up their position in Reserve trenches at LONGUEVAL. 7.40 A.M. Report received from O.C. 1/NORFOLKS that owing to heavy shell fire, he required assistance 8.20 A.M. OC 1/BEDFORDSHIRE Rgt arrived at H.Q. 1/NORFOLK Rgt in LONGUEVAL having arranged for A & B Coys to assault the second line in conjunction with NORFOLKS & for C & D Coys to pass through & take third line. O.C. 16/ROYAL WARWICKSHIRE Rgt was requested to occupy front line trenches when these were vacated by C & D Coys. A & B Coys had at 7.30 A.M. occupied first line at 'E' & reserve trenches at 'B'. 9.00 A.M. C Coy arrived at E D Coy arrived at B and A Coy pushed across towards German Redoubt at F where the two leading NORFOLK Coys were being held up [100 prisoners surrendered here] Lt. FYSON with his platoon attacked house at G and took 32 prisoners. 9.5 A.M. C Coy advanced across PRINCES Street but were held up by Machine Gun fire from House at Cross Roads (I). This house was taken by a party of NORFOLK bombers. At the same time, two platoons of A Coy reached position marked H & K near FLERS Road where they were in touch in [sic] the ROYAL FUSILIERS on their right. A German counterattack was met with LEWIS Gun & Rifle fire, the estimated Enemy Casualties being 50. Several small posts were observed on the Ridge, apparently protected by wire. 9.30 A.M. C Coy crossed PRINCES STREET and took up a position parallel with NORTH Street joining up the two leading NORFOLK coys. They were unable to progress further owing to heavy Machine Gun fire from DUKE Street. They consolidated their position. 1 Officer & 30 men went forward from B Coy at C to reinforce a Coy of NORFOLKS at A. This coy was held up by Machine Gun fire from direction of DUKE Street & was unable to advance. STOKES Mortar Battery was asked to cooperate, but did not come into action. Later, heavy Artillery was asked to bombard this post. While awaiting this & the opportunity to advance, B & D Coys endeavoured to improve their cover under a hurricane bombardment.
6.30 P.M. ROYAL FUSILIERS on right, owing to heavy shell fire, retired and out line at K & H was slightly withdrawn to cover exposed flank. 7.0 P.M. B Coy received orders to retire to German Second Line trenches, leaving one platoon to hold line at A. A similar order was sent to D Coy but did not reach there and a second order was sent at 8.0 P.M. 9.0 P.M. C Coy tried to establish itself on East side of NORTH ST. but had to withdraw. They consolidated in touch with NORFOLKS & the SOUTH STAFFORDS of 2nd Division 28.7.'16 6 A.M. 1/D.C.L.I. & 1/E.SURREYS arrived & took over the line & the Battalion withdrew to POMMIERS Redoubt.
15th Infy. Bde. 1st Bedfords
The Brigadier-General Commanding wishes to express to all ranks of the Brigade his great admiration at the magnificent manner in which they captured the Village of LONGUEVAL yesterday. To the 1st NORFOLK Regiment and the 1st BEDFORDSHIRE Regiment and some of the 16th ROYAL WARWICKSHIRE Regiment, who were able to get into the enemy with the bayonet, he offers his heartiest congratulations. He knows it is what they have been waiting and wishing for many months. The 1st CHESHIRE Regiment made a most gallant and determined effort to reach their objective and failed through no fault of their own. The way in which the Troops behaved under the subsequent heavy bombardment was worthy of the best traditions of the British Army The Brigade captured 4 Officers and 159 other ranks 28/7/1916
Source www.bedfordregiment.org.uk/1stbn/1stbtn1916appendices.html
Walter Green………………………………........1st Norfolks
Name: GREEN, WALTER
Rank: Private Regiment/Service: Norfolk Regiment Unit Text: "B" Coy. 2nd Bn. Age: 33 Date of Death: 09/12/1915 Service No: 3/10638
Additional information: Son of Osborne Green, of Norwich; husband of Alice Maud Campbell (formerly Green), of 6, Peacock St., Norwich.
Memorial: DOIRAN MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1649433
Note - different Battalion.
No match on Norlink
The 18 year old Walter, a Printers Labourer from Norwich, is recorded on the 1901 census at 76 Silver Street, in the Parish of St James, Pockthorpe. This is the household of his brother-in-law, Jacob Sexton, (aged 31 and a Boot & Shoe Maker from Norwich.), and presumably his sister, Jacob’s wife, Rose Sexton, (aged 28 and from Norwich).. As well as four Sexton children, the household also contains Rose and Walter’s brother, Robert, (aged 21 and a Builder’s labourer from Norwich), and their father, Osborn Green, a 57 year old widowed Gas Works Labourer from Norwich.
On the 1891 census, the 47 year “Osborne” was already a Widower, although described there as an Engine Driver at a Gas Works. The address is difficult to decipher, but looks like 8, Harwardson’s Yard, in the Parish of St Paul.
Walter appears to have been baptised in the church of St James with Pockthorpe on the 15th March 1885. His birth date is given as 23rd July 1882. His parents are shown as “Osmond” and Martha. The father’s occupation is shown as Labourer. The family live at “Stewardsons” Yard.
Note to self - I’m sure I’ve seen something like Hawardsons Yard down Magdalen Street - go and check.
Not quite sure how Private Green ended up being commemorated on the Doiran. His unit was besieged in Kut in Iraq at this time if he was a 2nd Battalion man, or in the trenches on the Somme if he was a 1st Battalion man.
Ernest Grimwood………………………………..7th Norfolks
Name: GRIMWOOD, ERNEST JAMES
Rank: Private Regiment/Service: Norfolk Regiment Unit Text: 7th Bn.
Age: 18 Date of Death: 12/08/1916 Service No: 9675
Additional information: Son of Mrs. Annie Grimwood, of 5, Thoroughfare Yard, Magdalen St., Norwich.
Grave/Memorial Reference: Pier and Face 1 C and 1 D. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=787840
Brother of Robert below
No match on Norlink
The 2 year old Ernest is recorded on the 1901 census at 15 Handford Cut, Ipswich. This is the household of his parents, William, (aged 31 and a Boot Machinist from Ipswich), and Annie, (aged 28 and from Ipswich). Their other children are:-
Annie…………………….aged 4.……………….born Ipswich
Horace…………………aged 7.…………………born Ipswich
Robert…………………..aged 6.…………………born Ipswich
William…………………aged 9.…………………born Ipswich
Neither Ernest or Robert appear to be on the 1911 Census.
Saturday 12th August 1916. Day 43
7th Norfolk Regt and 9th Essex Regt captured Skyline Trench.
forum.irishmilitaryonline.com/showthread.php?t=9058&p...
(It must subsequently have been re-taken by the Germans. As the Oxs and Bucks Light Infantry seem to have sustained heavy casualties “taking” Skyline trench on the 14th and holding it against the subsequent counter-attacks until relieved. The 1st/1st Bucks Regiment also seemes to have been engaged in an attack to take the Skyline Trench on the 14/15th August)
Robert Grimwood……………………………….8th Norfolks
Name: GRIMWOOD, ROBERT
Rank: Private Regiment/Service: Norfolk Regiment Unit Text: 8th Bn.
Age: 20 Date of Death: 19/07/1916 Service No: 16154
Additional information: Son of Mrs Annie Grimwood, of 5, Thoroughfare Yard, Magdalen St., Norwich.
Grave/Memorial Reference: Pier and Face 1 C and 1 D. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=787844
Brother of Ernest above
No match on Norlink
See Ernest above for census details
Wednesday 19th July 1916. Day 19
Delville Wood
Fighting continued in Delville Wood all day. 53 Bde (18th Div) had been sent to reinforce 9th Div. 8th Norfolks attacked from south west of Longueval at 7am and occupied the southern part of Delville Wood. The 10th Essex, 6th Royal Berkshire Regt and 8th Suffolks were sent to the attack with little success.
Source forum.irishmilitaryonline.com/showthread.php?t=9058
6th Royal Berkshire War Diary for the day
3.30AM - Bn arrived at S22d Valley. CO rejoined with orders which were read and explained. Bn ready to move off at 4AM.
5.14 - Norfolks report Zero time to be 6.15AM.
5.40 - Norfolks commence to move off towards LONGUEVAL which was over a mile off. Enemy shell road to LONGUEVAL with field guns. Long halts cause delay and congestion in road.
7.5 - No 13 Platoon D Coy Berks moves off as leading platoon of the Bn. Enemy shelling road heavily with guns of all calibre. Many casualties from shell fire. Norfolks not yet attacked though barrage lifted.
9.0 - Entrance to village reached.
9.49 - B9 stating Barrage will lift at 11AM received.
10.50 - BM12 " " " " 11AM by 50 yards a minute received.
11.40 - Norfolks report S portion of wood clear. Battn starts to move on to wood.
11.55 - Bn in position in S portion of wood and in touch with Essex on right but very weak owing to heavy losses from shell fire. MG opened fire on to the leading platoons of D Coy from the NW corner of the Southern half of wood. This gun had not been reported by Norfolks.
NOON - CO arranged for rebombardment to start at 1pm for 30 minutes and for assault to take place after.
1pm - Heavies falling short among our own men. Shrapnel bursting short.
1.30pm - Barrage lifted. It was impossible to tell that a bombardment was on as the rate of fire was so slow and Coys had to be informed that it was time to attack. Germans brought heavy barrage on PRINCES ST line and opened with MGs on advancing troops. D Coy unable to advance owing to MG from a house somewhere on their left. C & B advanced about 150yds but suffered heavy casualties and were finally forced to drop back to the lines PRINCES ST where they started to dig in.
1.50 - Owing to heavy fire on working parties AC & B Coys forced to retire to original line - about 80 yds S of PRINCES ST.
2.15 - Coys ordered to consolidate on the line they hold. Bde calls for situation - reported verbally see back of message B729.
2,36 - Situation explained to Suffolks and Stokes Gun asked for but not received.
3.5 - Situation explained to Bde. MGs sent into the line proposed to hold. 4 guns under 2Lt Gilbert.
3.37 - Situation sent to Bde - work of consolidation of the line 120yds S of PRINCES ST complete. Efforts being made to deepen the line 40yds S of PRINCES ST.
4.10 - Preparations complete for further effort to advance on our left but owing to inability to get in touch with Suffolks on left advance was impossible. Reported to Brigade.
4.45 - Our heavies dropping short and causing casualties among our own men. Reported to Brigade.
5.30 - Situation reported to Brigade.
6.45 - Casualties reported to Brigade.
8.40 - Situation reported to Brigade.
9.40 - 2Lt GC Hollis arrived with details of arrangements for attack by RW Fus at dawn - circulated to other Battns for information.
9.50 - German counter attacked on left edge of wood and in the village - rifle and machine gun fire for ten minutes - attack apparently driven off.
10.40 - Details of new attack received from Bde.
10.45 - Details of change in dispositions received from Norfolks and arrangements made to comply with this.
10.50 - BM45 received from Bde and timed at 8.45pm. As Norfolks message was later and after conference with Essex it was decided to act on the Norfolks information. Wires to Brigade all broken.
11.50 - Heavy shelling by Germans.
Source www.thewardrobe.org.uk/wardiary.php
Jack Grigglestone……………………………….1st Norfolks
Name: GRIGGLESTONE Initials: J
Rank: Private Regiment/Service: Norfolk Regiment Unit Text: 1st Bn.
Date of Death: 20/12/1914 Service No: 6361
Grave/Memorial Reference: Panel 4. Memorial: YPRES (MENIN GATE) MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=907979
No match on Norlink
There is a 17 year old John Grigglestone on the 1901 census, who is listed at 7, Fishergate in the Parish of St Edmunds. John’s occupation is shown as “Soldier”. This is the household of his widowed mother, Mary Ann, (aged 38 and a Dressmaker from Norwich). Making up the household is her other son, William, aged 14 and a Boot Finisher from Yarmouth.
There is also a 7 year old John, born Ballater, Scotland, who is listed at 49, Peacock Street, in the Parish of St Paul. This is the household of his parents, George, (aged 45 and a Cabinet Makers Clerk, from Berr in Ireland), and Isabella, (aged 37 and from Fuchibridge in Scotland). Their other children are:-
Geoffrey……………………aged 1.……………………born Norwich
Henry P…………………….aged 10.…………………born Tricomalee, Ceylon
Isabella……………………..aged 3.…………………..born Norwich
William…………………….aged 5.…………………..born Ballater, Scotland
On the 1911 census, the individual who was a soldier now appears to be listed as a “Jack”. There is no trace of the younger John.
Battalion War Diary
17/12/14-28/12/14 Relieved DCLI at MESSINES. Very bad, wet approach
1914-1918.invisionzone.com/forums/lofiversion/index.php/t...
*There is no reference to any casualties during this period. While fellow Brigade unit the 1st Cheshire’s records no action, there is this in the War diary of the 1st Bedfords, another Brigade Unit.
20 Dec 1914 Heavy bombardment of enemy's trenches, to cooperate with attack from other parts of our line, during yesterday, & to a lesser extent today. Enemy did not respond with much rifle fire, but shelled our trenches. About 12 yards of our front trench blown in by heavy explosive shell, & machine gun damaged. 2 men killed, 2 wounded by 'snipers'.
Source: www.bedfordregiment.org.uk/1stbn/1stbtn1914diary.html
William G Guyton………………………………3rd Lincs
Name: GUYTON, WILLIAM GEORGE
Rank: Private Regiment/Service: Lincolnshire Regiment Unit Text: 1st Bn.
Age: 24 Date of Death: 22/10/1915 Service No: 15599
Grave/Memorial Reference: I. 9. Cemetery: DIVISIONAL CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=93259
Note - different Battalion
No match on Norlink
The 1911 census has a William Guyton, born circa 1891 in Norwich and still resident there.. However, this individual doesn’t appear to be on the Genes Re-united transcription of the 1901 census for England & Wales., and he was probably just to young to have made the 1891 census.
Bit of background on the family name can be found here
Robert Hawes……………………………….......Royal Engineers
Most likely
Name: HAWES Initials: R P
Rank: Pioneer Regiment/Service: Royal Engineers Unit Text: 126th Field Coy.
Date of Death: 17/09/1916 Service No: 84676
Grave/Memorial Reference: IV. D. 61. Cemetery: HEILLY STATION CEMETERY, MERICOURT-L'ABBE
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=271203
The Great War Roll of Honour confirms that Pioneer Hawes is a Robert P.
There are several possible Robert’s with a Norwich connection on both the 1901 and 1911 census, but none are down as a Robert P. and there is nothing currently in the most likely searches of the Baptismal records - (baptised Norwich, date range 1881 - 1901, surname Hawes).
No match on Norlink
The 126th Field Company were attached to the 21st Division and supported the brigades of that Division in the attacks and counter-attacks at Fler-Courcelette during the period 15th - 22nd July.
Source www.reubique.com/126fc.htm
www.firstworldwar.com/battles/flers.htm
www.historyofwar.org/articles/battles_flers_courcelette.html
Alfred Walter Jay……………………………….Australian Infantry Force
Name: JAY, ALFRED WALTER
Rank: Private Regiment/Service: Australian Infantry, A.I.F. Unit Text: 50th Bn.
Age: 23 Date of Death: 26/09/1917 Service No: 3421
Additional information: Son of Walter and Eliza Jay, of 8, Peacock St., Norwich, England.
Grave/Memorial Reference: Panel 7 - 17 - 23 - 25 - 27 - 29 - 31. Memorial: YPRES (MENIN GATE) MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=924472
No match on Norlink
The 8 year old Alfred, born Norwich, is recorded on the 1901 census at 46 Peacock Street, in the Parish of St Saviours. This is the household of his parents, Walter, (aged 37 and a Bricklayers Labourer from Norwich), and Eliza, (aged 30 and from Norwich).
Alfred was baptised in St Clements on the 18th September 1892. His parents were listed as Walter, a labourer by trade, and Eliza. No date of birth is listed. The family were living at Peacock Street.
The Army Records can be seen on line at the Australian National Archive
naa12.naa.gov.au/NameSearch/Interface/ItemDetail.aspx?Bar...
naa12.naa.gov.au/scripts/Imagine.asp?B=7372245
Alfred Walter Jay, a seamen by trade, enlisted at Adelaide, South Australia on the 26th January 1917 as part of the ninth re-enforcements of the 50th Battalion. He gave his age as 25th, his birthplace as Norwich in the UK, and his next of kin as his mother, Eliza Jay, of no 8, Peacock Street, Norwich.
He is described as 5 feet 6 inches tall, weighing 150lbs, with brown hair, blue eyes and a fresh complexion.
His distinctive marks include tattoo’s on both upper arms.
He embarked at Adelaide on the 10th February 1917, on HMAT “Seeang Bee”, arriving at Devonport on the 2nd May. The same day he “marched in from Australia” to the 13th Training Battalion at Codford . By the 6th August he was dispatched to France for his final training.
On the 7th September he was marched out to his unit, who record him as being taken on strength on the 10th. On the 26th he is recorded as being killed in action.
His records note that he was buried half a mile west of Westhoek - (the grave must have been destroyed in subsequent fighting as he is now commemorated on the Menin Gate memorial.
In his will, in which he bequeaths everything to his mother, he lists his Australian bank account, so it doesn’t look as if he was a seaman stranded in Australia. The records include a receipt signed by Eliza Jay for his personal effects.
Early in 1917, the battalion participated in the advance that followed the German retreat to the Hindenburg Line, and attacked at Noreuil on 2 April. For his actions at Noreuil Private Joergen Jensen was awarded the Victoria Cross. Later that year, the focus of AIF operations moved to the Ypres sector in Belgium. There the battalion was involved in the battle of Messines between 7 and 12 June and the battle of Polygon Wood on 26 September. Another winter of trench routine followed.
Source : www.awm.gov.au/units/unit_11237.asp
50th Battalion War Diary
One of the appendices of the War Diary for September 1917 is the Commanding Officer’s report on the Battalions actions from 22nd to 27th September on ridge S E of Zonnebecke.
On the 22nd Sept the Bn was billeted in Canal area.
Prior to moving forward packs and all baggage were dumped, all ranks being then ready to move wearing “Fighting Order”. From the Canal area, routes forward to YPRES and WESTHOEK were reconnoitred by Officers and N.C.O’s of all Coys. A red stripe was painted on the back of Steel Helmet for 50th Bn, attacking Red Line and Blue for 49th and 51st Bn attacking Blue Line.
The Bn move to YPRES on the 23rd September 1917.
Two bombs, extra 100 rounds S.A.A & 4 sandbags per man, also 80 picks and 80 shovels were issued to each company. At 6.30 pm the Bn left for WESTHOEK & relieved the 52nd Bn, relief being completed by 10.20 pm, the 52nd Bn moving forward & taking over front Line.
On 24th Sept. routes from WESTHOEK to Front Line were reconnoitred by all officers, number of NCO, scouts and runners. Ground to be captured was well looked over & valuable information given by 52nd Bn officers.
On 25th Sept, Orders for attack were issued. Bn was given a 540 yard Frontage and had to attack to a depth of 750 yards. Task being to capture first objective, “RED LINE”, 49th & 51st Bn. then moving through to their Objective, “BLUE LINE”, 300 yards in advance of RED LINE.
Attack was carried out on four lines, each Coy in 100 YDS frontage.
Order of battle being from right to left, - “A”, “B”, “C” and “D” Coys.
Total number taking part in attack being 19(?) officers, 530 Other Ranks.
An extra water bottle and two days preserved rations were issued at 9 p.m on 25th Sept.
Casualties to midnight on 25th Sept. 14 O.R. killed, 1 Off 15 O.R wounded.
26th September 1917. Bn left WESTHOEK 1 am moving by platoons in single file 100 Yds interval between Platoons to front line and were formed up on tape ready to attack by 4.30 am.
Zero was at 5.50 am.
To this time there were no casualties.
Moving to position of assembly and forming on the tape were well done. Bn had a good start for the attack. On advancing under barrage troops in a few instances moved to close and casualties were sustained a few also being by short shooting of some batteries.
Barrage generally was very good.
Troops gained objective at 6.50 am, very few casualties to this time had been caused.
With a few exceptions no general resistance was met with. Germans surrendering very freely, one party of enemy only holding a group of four concrete dugouts causing most trouble, but were cleared up by previously detailed mopping-up party. 2 M.G’s, 3M.T.M’s & 15 enemy being captured from these dugouts. Mopping up did not cause much trouble, dugouts and all other likely places were bombed. Mopping up platoons of all Coys reported mopping up completed & rejoined their Coys about 10 minutes after objective had been reached.
Direction was easily maintained, connecting files between Head of Column being of assistance beside direction being maintained from left Flank. 4th Bde. The Bn.guiding section was also of assistance.
Consolidation was not difficult, digging was easy though wet & not much trouble was caused by enemy shelling., M.G’s or snipers.
The Bn dug in by establishing a series of posts which were afterwards connected up making an almost a continuous trench of an average depth of 6ft, sandbags being used for making fire steps.
Strong posts were constructed one on each flank, Left flank being covered by 3 Vickers, 2 T.M’s, Right Flank by 1 T.M.
Retaliation on front line was not heavy until about a hour & a half after zero hour when RED LINE and area behind was fired on continuously by 5.9’s and 4.8’s and indirect M G fire. Snipers & M G fire by this time
Had become very consistent, and were causing a great deal of trouble to Front Line and Support Line.
As this Bn was holding RED LINE nothing very definite can be said, although counter-attacks were made on both flanks and S.O.S signals being sent up. Our artillery response was almost immediate.
Although effect of M.G. barrage could not be observed the barrage was very thick, well maintained, and sounded good.
All communications from front line to rear were done by runner, it being not practicable to use & maintain telephonic communication. Visual work was attempted but owing to no suitable cover it was impossible to work through from front line.
Communication to aeroplane from front line was done by lighting RED FLARES 20 minutes after objective had been gained. From Battalion H.Qrs to Bde the communication was mostly maintained by telephone, runners being used on special occasions. Two messages were dispatched from same place & time to same destination, one by pigeon and one by telephone. Phone message arrived two minutes before pigeon. This was the only message sent by pigeon.
R.A.P was established really too far away from the objective but owing to lack of suitable accomodation this was unavoidable, consequently long carries were necessary making evacuation of wounded slow & giving much extra work to Regimental StretcherBearers.
It is thought than an improvement in the medical arrangements would have been an addition of bearers from a Field Ambulance.
The Battalion was relieved by Coys from Battalions of 49th and 51st on the morning of 27th September 1917, relief being completed by 5.50 am.
The 50th Bn then moved to old front line, being relieved from there by 46th Bn at 10 pm on 27th Sept.1917.
Counter attack was attempted at 6.45 pm on this night. Attack was evidently made on a broad frontage, S.O.S signals going up from our two flanks. No S.O.S was fired from the Bde frontage and enemy was not seen on our front.
Our artillery S.O.S barrage was most intense and presumably attack did not develop but was dispersed by artillery.
Total Casualties from operations
4 Officers
174 Other ranks
Killed
35 Other Ranks
Wounded
4 Officers
139 Other Ranks.
Source: www.awm.gov.au/cms_images/AWM4/23/AWM4-23-67-15.pdf
Wednesday 26th September 1917 - Day 52
Rainfall 0.5mm
Today marks the start of the Battle for Polygon Wood, lasting until 3rd October.
Zero Hour was 5.50 am.
4th Australian Div
The Australians attacked at 6.45 am almost an hour after Zero Hour. Whether this was planned or not I don’t know.
13 Bde
13 Bde attacked with the 50th Bn, supported by 49th and 51st Bns. On their way to the Green Line the 50th captured 2 machine guns and 19 prisoners. They then advanced to the Blue Line . 51st Bn moved up and captured the Brick Yard in Zonnebeke, in touch with 3rd Div. At 4 pm and 6 pm , German troops massing for a counterattack were dispersed with artillery.
forum.irishmilitaryonline.com/showthread.php?t=11535&...
www.aif.adfa.edu.au:8080/showPerson?pid=152718
William Henry Jewson (Major)…………………4th Norfolks
Name: JEWSON, WILLIAM HENRY
Rank: Major Regiment/Service: Norfolk Regiment Unit Text: 4th Bn.
Age: 42 Date of Death: 19/04/1917
Additional information: Son of George and Mary Jewson, of Tower House, Bracondale, Norwich.
Grave/Memorial Reference: Panels 12 to 15. Memorial: JERUSALEM MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1645790
There is a picture of Major Jewson on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read:-
Major Jewson was the eldest son of Alderman George Jewson of Norwich. He was killed in action 18th April 1917
(Note - this date is different to CWGC by a day)
The 1911 census has a Henry Jewson, born Tombland Norwich and recorded in Norwich, born circa 1876. The same individual doesn’t appear to be on the 1901 or 1891 or 1881 census.
On the 1901 census his parents are listed at 10 Cotman Road, Thorpe St Andrews. His father George is a timber merchant from Hertfordshire, his mother Mary. J from Norwich. The Jewsons have these children living with them:-
Dorothea………………..aged 16.………………..born Norwich
John C…………………..aged 11.………………..born Norwich
Kathleen S T……………aged 13.………………..born Norwich
As well as two live in servants. Which raises the question of where was Henry. If he was at boarding school, was it outside England and Wales, and why send a child away at the age of 4/5. If the Jewson’s had their children public school educated, why was John at home.
Oh the joys of the internet - some of the missing period is accounted for by the Roll of Honour site for the former pupils of The Leys School, Cambridge.
Jewson was born in 1876. Son of George and Mary Jewson, of Tower House, Bracondale, Norwich. He came to The Leys in 1891 at the age of 15 and went into School House.
On leaving school, Jewson worked for the family timber business in Norwich and was well known for his religious and philanthropic commitments. He founded and led a Boys Brigade Company and held a commission in the Territorial Army.
At the outbreak of war, Jewson re-joined the Norfolk Regiment, serving with distinction in the Dardanelles, Egypt and Palestine. He was killed in action during the Battle of Gaza on 19 April 1917. He was aged 42 and had reached the rank of Major.
Source: www.roll-of-honour.com/Cambridgeshire/CambridgeLeysSchool...
The history of the 1/4th and 1/5th Territorial Battalions in the Great War is so closely connected that it is possible and desirable to avoid repetition by dealing with both in the same section. They were together in the same brigade during the whole of the operations in which they took part in Gallipoli, Egypt, and Palestine, and even for a few days were amalgamated in a composite battalion.
The order for mobilization reached both battalions on the evening of August 4, 1914, a few hours before the formal declaration of war. Next morning the 1/4th Battalion assembled at the Drill Hall in Chapel Field, Norwich, and was billeted in the City of Norwich Schools on the Newmarket Road.On August 11th, the 1/4th Battalion left by special train for Ingatestone in Essex.
Listed amongst its officers at the time of mobilisation was Captain W H Jewson.
Source: user.online.be/~snelders/sand.htm
19th April 1917 During the 2nd Battle of Gaza,
Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.
The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.
The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.
To the right (west) of Tank Redoubt, the 3rd Camel Battalion, advancing in the gap between two redoubts, actually made the furthest advance of the battle, crossing the Gaza-Beersheba Road and occupying a pair of low hills (dubbed "Jack" and "Jill"). As the advances on their flanks faltered, the "Camels" were forced to retreat to avoid being isolated.
en.wikipedia.org/wiki/Second_Battle_of_Gaza
More than a thousand one hundred of the men of the 54th posted killed wounded or missing were from the two Norfolk regiment battalions, equating to 75% of their strength. Eastern Daily Press "Sunday" section May 5, 2007
en.wikipedia.org/wiki/Second_Battle_of_Gaza
John King……………………………….............1st Lincs
Name: KING, JOHN
Rank: Private Regiment/Service: Lincolnshire Regiment Unit Text: 1st Bn.
Age: 19 Date of Death: 09/06/1918 Service No: 51970
Additional information: Son of E. Charles and Matilda King, of 11, Long's Yard, Fishergate, Norwich.
Grave/Memorial Reference: XVII. F. 17. Cemetery: TERLINCTHUN BRITISH CEMETERY, WIMILLE
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=4026031
The first rest camps for Commonwealth forces were established near Terlincthun in August 1914 and during the whole of the First World War, Boulogne and Wimereux housed numerous hospitals and other medical establishments. The cemetery at Terlincthun was begun in June 1918 when the space available for service burials in the civil cemeteries of Boulogne and Wimereux was exhausted. It was used chiefly for burials from the base hospitals, but Plot IV Row C contains the graves of 46 RAF personnel killed at Marquise in September 1918 in a bombing raid by German aircraft. In July 1920, the cemetery contained more than 3,300 burials, but for many years Terlincthun remained an 'open' cemetery and graves continued to be brought into it from isolated sites and other burials grounds throughout France where maintenance could not be assured.
CWGC www.cwgc.org/search/cemetery_details.aspx?cemetery=202753...
No match on Norlink
The 1 year old John, born Wroxham, is recorded on the 1901 census at 5, Baileys Yard, Norwich, in the Parish of St Pauls. This is the household of his parents, Edward Chas, (aged 27 and a basket maker from Limpenhoe, Norfolk), and Matilda, (aged 22 and from Stalham). The Kings also have a daughter, Annie Lama, aged 3 and born Belaugh.
The 1st Lincs were part of the 21st Division. According to the Regimental Warpath web-site, the Division includes amongst its battle honours
Battle of the Aisne. 27 May-7 Jun 1918, including the attack on Bligny and Bois des Buttes.
www.warpath.orbat.com/divs/21_div.htm
The German attack succeeded in pushing the Allies across the Aisne and down as far as the Marne at Chateau Thierry, capturing the towns of Soissons and La Fere-en-Tardenois as they did so.
Absolutely fascinating thread here about the battle, although 1st Lincs only get mentioned in passing
1914-1918.invisionzone.com/forums/index.php?showtopic=44335
By late May the battalion was holding positions in the Romigny sector when it was warned at 8:00pm on the 26th to expect a German assault the following morning. For the next three days the 1st Lincolns withheld repeated attacks by large numbers of German troops. When the battalion was ordered to fall back on the 29th at 7:00pm only 8 officers and 42 men remained unwounded and with the battalion
Source: www.21stdivision1914-18.org/georgewilliamboyall.htm
Arthur Leeste……………………………….......2/4th Norfolks
No surname Leeste or Leest or Leste on the CWGC database
No Leeste on the Great War Roll of Honour
No match on Norlink
No match for this surname on the 1901 or 1911 census or common variants. There is a surname Least, but they seem to live almost entirely in the North East.
2/4th Battalion
Formed in Norwich in September 1914 as a Second Line Battalion. Disbanded in UK in June 1918.
File name: 10_03_003781a
Binder label: Special Cards: Stock Cards
Title: Use Whittmore's Bayberry Glycerine Soap for the skin & complexion. Use Whittemore's Lava Soap for office or home use in removing ink and other stains. [front]
Date issued: 1870-1900 (approximate)
Physical description: 1 print : chromolithograph ; irreg. image of shaving brush 5 x 14 cm.
Genre: Advertising cards; Cut-paper works
Subject: Shaving equipment; Soaps
Notes: Title from item.
Statement of responsibility: Clinton Man'f'g Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Strobist Info:
1) Einstein in 27: Silver Beauty dish in front of subject 45 degree
2) Einstein behind the camera(slightly left) firing white V block as fill
3) 2 einsteins in strip box with grid behind the subject left right
4) another einstein in standard reflector with grid firing medium gray background.
www.facebook.com/TheMazePhotography
©2015 Levent Eryilmaz
Please don't use this image on websites, blogs or other media without my explicit permission.
© rogerperriss@aol.com All rights reserved.
Four girls, four seasons: autumn.
Enjoying the warmth of the autumn sun she seemed perfectly at one with the countryside - her hair and complexion in harmony the colours of the evening sun and fruit trees.
Daniella was staying with us over the summer and loved being able to sunbathe in this secluded part of our garden – she was happy to be photograhed but didn't want nude photos of her posted on the net so we have to be content with this portrait.
Oct. 2022 – chosen as the cover photo for the
"PEOPLE ENJOYING NATURE" group.
Parvati (Devanagari: पार्वती, IAST: Pārvatī) is known as the motherly form of Mother Goddess Gauri Jagadamba, Parvati is another form of Shakti, the wife of Shiva and the gentle aspect of Maha Devi or Durga, the Great Goddess. Parvati is considered to be a complete incarnation of Adi Parashakti or Goddess Durga, with all other Goddesses being her incarnations or manifestations. Parvati is nominally the second consort of Shiva, the Hindu God of destruction and rejuvenation. However, she is not different from Sati, being the reincarnation of Shiva's first wife. Parvati is the mother of the Gods Ganesha, Kartikeya, Ashoka Sundari. Some communities also believe her to be the sister of Vishnu. She is also regarded as the daughter of King Himavan. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is depicted having four, eight or ten arms, and is astride on a tiger or lion. Generally considered a benevolent Goddess, Parvati also has wrathful incarnations, such as Durga, Kali, Tara, Chandi, and the Dasha Mahavidyas (ten great wisdoms), Tripur Sundari (Shodashi), Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagla Mukhi, Matangi and Kamala, as well as benevolent forms like Katyayani, Maha Gauri, Kamalatmika, Bhuvaneshwari and Lalita.
ETYMOLOGY
Parvata is one of the Sanskrit words for "mountain"; "Parvati" translates to "She of the mountains" and refers to Parvati being born the daughter of Himavan, lord of the mountains and the personification of the Himalayas. Other which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains). Parvati's name is also sometimes considered a form of 'pavitra', meaning 'sinless' or 'holy' in Sanskrit. Her consort is Shiva and she is the sagun swaroop of the Supreme Being Adi Parashakti that is the material form of the supreme power.
She is also known by 108 names from the Durga Saptashati. These include Durga (invincible), Shakti (power), Ambika ('dear mother'), Gauri ('fair complexioned'), Bhairavi ('ferocious'), Kali ('dark'), Umā, Lalita, Mataji ('revered mother'), Sahana ('pure'), Maheshwari ('great goddess'). Bhavani, Shivaradni ('Queen of Shiva'), and many hundreds of others. The Lalita sahasranama contains an authoritative listing of 1,000 names of Parvati.
Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati in earlier texts, but in the Ramayana, it is used as synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't').
The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama is a philosophical matter. It suggests that the one calm and placid wife, Uma, in times of danger, can transfer back to her primal fierce and angry or (sometimes) Maternal nature as Kali, who stands uncloaked, with a foot on her husband's chest. The twin opposite colors, white and black represent the two opposing nature of the Goddess. Parvati is also the goddess of love and devotion, or Kamakshi.
GODDESS OF POWER
Parvati is the source of all the powers and weapons. She is the base of all kinds of powers that are used for doing any work. It is also believed that without her, Shiva remains as Shava or Corpse, for she is the ultimate source of power for all beings, gods and Devas. That is why she is considered as goddess of power. According to the Devi Bhagavatam, she is the most powerful of all. When her anger reaches its peak, she can destroy the whole universe in just seconds. Even Trinity i.e. Brahma, Vishnu and Shiva, never try to make her angry at any cost.
Sarvarupe Sarveshe Sarvashakti Samanvite Bhayebhyastrahi no devi durge devi namostute
It translates to: We bow down to Devi Durga, who is source of all forms (sarvarupe), who is the goddess of all beings (sarveshe), in whom all power exists (Sarvashakti samanvite) and who destroys all fear (bhaye bhyastrai no devi).
RISE TO PROMINENCE
Parvati herself does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Both textual and archaeological evidence suggests Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains.
Prof. Weber suggests that like Shiva is combination of various Vedic gods Rudra and Agni, the Puranic Parvati is a combination of Uma, Haimavati, Ambika and earlier Parvati, identified as wives of Rudra; of others like Kali, who could be a wife of Agni and of Gauri and others inspired by Nirriti. Tate suggests Parvati is a mixture of the Vedic goddess Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.
BIRTH AND MARRIAGE
The Puranas repeatedly tell the tale of Sati's marriage to Shiva against her father Daksha's wishes and her subsequent self-immolation at Daksha's sacrifice, leaving Shiva grief-stricken and having lost interest in worldly affairs. In the Brahma Vaivarta Purana, Sati appears before Shiva, in her divine form, and reassures him that she will return as the daughter of Himavan. Sati is reborn as Parvati, the daughter of Himavat and Minavati, and is named Parvati, 'daughter of Himavant '. Sati, as well as Parvati, are considered manifestations of Mahadevi, the great Goddess. In the Ramayana, the river goddess Ganga is depicted as the elder sister of Parvati. In the Harivamsa, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena perform extreme austerities to appease the goddess Adi Shakti. Pleased with their penance the Adi Shakti agrees to be born as their daughter. When born goddess Parvati has four arms and manifests a divine light which pervades the entire Himalaya region on the auspicious tritiya day. Mena implores to the child to withdraw its four armed form and make herself visible as a two armed normal child to which the goddess agrees and becomes a normal girl child.
Parvati is depicted as interested in Shiva's tales and appearance from her very birth and eventually remembering her previous life as Sati. As Parvati grows into a young woman, she begins tapas (austerities) to please Shiva to grant her wish to reunite with him. She is portrayed as surpassing all other ascetics in austerity, undergoing severe mortifications and fasting. Finally, Shiva tests her devotion by appearing himself in disguise to criticize Shiva. Untouched by the act, Parvati retains her desire for Shiva, compelling him to marry her. After the marriage, Parvati moves to Mount Kailash, the residence of Shiva.
Kalidasa's epic Kumarasambhavam ("Birth of Kumara") details with matchlessly lyrical beauty the story of the maiden Parvati: her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, the subsequent marriage of Parvati and Shiva, the birth of Kumara, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.
MAIN FORMS OF PARVATI
As per devi bhagwata Purana, Goddess Parvati is lineal progenitor of all other goddesses. She is one who is source of all forms of goddesses. She is worshiped as one with many forms and name. Her different mood brings different forms or incarnation.
- Durga is demon fighting form of this Goddess, and some texts suggest Parvati took the form of Goddess Durga to kill Demon Durgam.
- Kali is another aspect that was assisted by Goddess Chandi while fighting with rakta bija. She was born from the forehead of the goddess. But many interpretations of scriptures suggests that it was Goddess Chamunda who has gotten same iconography as goddess Kali who is nobody but an aspect of Kali, even Parvati is considered to be Goddess Kali herself in her ferocious form.
- Goddess Chandi is the epithet of Maa Durga, who is created by the collection of all demigods and trimurti power, and then considered to be power of sagun parashakti (Parvati), She is black in color and rides on lion, she is known as the original slayer of Demon Mahishasura, considered to be a form taken by Durga herself.
- Ten Mahavidyas are the ten aspects of Shakti, in tantra all have great importance in majority, they all took birth from Goddess Sati, previous Incarnation of Shakti before Goddess Parvati. There is no difference between Sati and Parvati.
- 52 Shakti Peethas of Sati, proves that all Goddesses are expansions of the Goddess Parvati.
- Nava Durga nine forms of goddess Parvati.
SEVERAL INCARNATIONS OF THE GODDESS
- Goddess Meenakshi
- Goddess Kamakshi
- Goddess Lalita, the Original Goddess of Universe, Parvati is referred as her complete incarnation.
- Goddess Akhilandeshwari.
- Goddess Annapurna the representation of all that is complete and of food is Parvati Herself.
- and many others . . .
ASSOCIATION WITH SHIVA
Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.
Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, represented by Shiva. In classical Hindu mythology, the "raison d’être" of Parvati, and before that of Sati, is to lure Shiva into marriage and thus into a wider circle of worldly affairs.
Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.
Three images are central to the mythology, iconography and philosophy of Parvati:
- The theme of Shiva-Shakti
- The image of Shiva as Ardhanarishvara (the Lord who is half-woman)
- The image of the linga and the yoni
These images that combine the two deities, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.
The couple are often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash or discussing abstract concepts in Hindu theology. Occasionally, they are depicted as quarrelling. In stories of the birth of Kartikeya, the couple are described as love-making generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.
Shaiva approaches tend to look upon Parvati primarily as the Shiva's submissive and obedient wife and helpmate. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage manifests in the form of ten terrifying goddesses who block Shiva's every exit.
As the scholar David Kinsley explains:
- The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.
Aum Girijayai cha vidmahe Shivapriyayai cha dhimahi tanno durgah prachodayat
May the goddess Durga, who is the daughter of the mountains and the beloved of lord Shiva illumine me with spiritual wisdom
Sarvamangala mangalye shive sarvardha sadhike sharanye tryambake gouri narayani namostute
I bow down to and take the refuge of the three eyed Mother Gouri(Parvati) of fair countenance,who is the embodiment of supreme auspiciousness, the giver of all the benedictions,the beloved of Lord Shiva and the power of lord Narayana.
RELATIONSHIP TO VISHNU
During the initial stages when Parvathi was performing intense puja to Shiva to obtain Shiva as her husband, Shiva kept testing her by destroying the Shiva lingam she constructed to perform puja. Vishnu then helped in constructing a Shiva lingam for Parvati which was not destroyed by Shiva because of the respect Shiva had towards Vishnu. Thus Vishnu helped Paravthi in continuing her puja for Shiva. This is when Parvathi tied a knot to Vishnu's hand and claimed him as her brother. This is the reason during the marriage of Shiva and Parvathi, Vishnu got involved in all the ceremonies that are supposed to be done by the bride’s brother. This is how Parvati is related to Vishnu as a sister.
The interesting story about the relationship between Vishnu and Parvati is more clearly depicted in Markandeya Purana where it is said that Mahalakshmi or Durga was the only one. Then she transforms into Mahakali and Mahasarasvati. After which she ask them to evolve pair. Here Mahalakshmi gives rise to brahma and lakshmi, Mahakali evolved Shiv and Saraswati while Mahasarsvati gave rise to Vishnu and parvati. Then Mahalakshmi ordered rest to interchange pairs for marriage and Shiv was provided with parvati, vishnu with lakshmi and brahma with saraswati. Its quite interesting that Mahasarsvati who is goddess of education gives birth to parvati and vishnu and both of them in future tells Geeta to Himalaya and Arjun respectively.
MOTHER OF GANESHA
Though Ganesha considered to be son of Shiva and Parvati, the Matsya Purana, Shiva Purana, and Skanda Purana ascribe the birth of Ganesha to Parvati only, without any form of participation of Shiva in Ganesha's birth.
Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated and it started a chain of events leading to war of the entire heavenly kingdom and the lone child. Midst the war, Shiva lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She immediately revealed her true self as Adi Shakti, the primodial power. She called upon the nine forms within her, the nine forms surrounded her. She ordered them to destroy the whole world and if her son does not get back to life, then everyone and everything will be destroyed and demanded that Shiva restore Ganesha's life at once. The Gods prostrated at her feet and an elephant's head was attached to Ganesha's body, bringing him back to life. To appease Parvati further, Shiva declared that the child be made head of the ghost-followers (Gana's)of Shiva and worshipped by everyone before beginning any activity, and gods accepted this condition.
Ganesha is identified as a god named after his mother. He is called Umaputra, Parvatisuta, Gaurisuta meaning son of Parvati and Heramba, "mother's beloved (son)".
ICONOGRAPHY
Naturally, Parvati’s unique characteristics have become more and more obscured, as she absorbed more and more goddesses into her iconography. Therefore, her depictions have become rather generic today. When shown with Shiva, she carries a blue lotus in full bloom, shows the abhaya mudra (hand gesture of fearlessness) and usually has one of her children on her knee. The only hint of her former occult status is the somewhat languid appearance of her eyes, as one who has recently emerged from deep meditation. Other goddesses are usually shown with large staring eyes as this is considered a mark of beauty. The consorts of the other two Gods of the trinity, Saraswati and Lakshmi, may be depicted alone, but Parvati hasn’t been depicted this way for many centuries.
The goddess is usually represented as a fair and beautiful. The colour of her vestments is milk-white, the colour of enlightenment and knowledge. Since white is a combination of all hues it shows that She has all the qualities or Gunas. Since white also depicts huelesness, it indicates that She is devoid of all Gunas. Hence, She is referred to as Trigunatmika (having the three gunas - Sattva, Rajas, and Tamas) - and at the same time being Nirguna (without any gunas). She has three eyes. Her accoutrements tend to be those of a Rishi (seer). She is also usually depicted with jatamukuta or a crown of matted hair, as Shiva is usually depicted. She is also shown as having a crescent moon bound in her locks, like Shiva.
Images of Parvati, wearing a sacred thread something not many women are associated with and as this marks the second-birth or dwija it is seems an advanced concept far beyond early pashupatas, and with her hair styled in a top knot like a Rishi (seer) survive into the Chola period (approximately ninth century A.D.). In fact, these two particularities were the only means of distinguishing her statuary from the images of the Goddess Shri of the time.
Her Mudras (symbolic hand gestures) are Kataka-fascination and enchantment, Hirana - the antelope, the powers of nature and the elusive, Tarjani - gesture of menace, and Chandrakal - the moon, a symbol of intelligence. Kataka must be affected by one of the foremost hands as it is a means of drawing the worshiper closer. Tarjani must be described with the left hand, which symbolises contempt, and usually in the back set of hands. If Parvati is depicted with two hands, then Tarjani and Chandrakal may be dropped but Hirana and Kataka are signature except in very modern representations, where Abhaya (fearlessness), and Varada, (beneficence), are used.
ASSOCIATION WITH OTHER GODDESSES
In several myths, the presence of a dark, violent side of this otherwise benign Parvati is suggested. When approached by the gods to defeat demons, Parvati morphs back to her true self, shakti, which is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible mahakali or Kali. In Linga Purana, Parvati summons Kali on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. She ran around the three worlds in her mad, blind fury and creation was endangered. To lower Kali's rage, Shiva appeared as a crying baby in the middle of a battlefield. The cries of the baby raised the maternal instinct of Kali who started breast-feeding Shiva and resorted back to her benign form as Parvati. Kali is associated and identified with Parvati as Shiva's consort.
In Skanda Purana, Parvati is said to have assumed a form of a warrior-goddess and defeated a demon called Durg who assumes the form of a buffalo. Thereafter, she is by the name Durga. In myths relating to her defeat of demons Sumbha and Nisumbha, Durga emerges from Parvati when Parvati sheds her outer sheath, which takes an identity of its own as a warrior goddess.
Although Parvati is considered to be synonymous with Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or incarnations originated from different sects, or traditions, and the distinctions from Parvati are pertinent.
The Shastras (sanctioned works of religious doctrine) attribute the golden colour of goddess Gauri’s skin and ornaments to the story of Parvati casting off her unwanted dark complexion after Shiva teased her, but the cult of Gauri tells a different story. Gauri is in essence a fertility Goddess, and is venerated as a corn mother which would seem to suggest that she owes her colouring to the hues of ripening grain, for which she is propitiated.
So whatever be said, Goddess Parvati has two main forms, what actually shaktas says out of which one is Lalita who is Supreme in Srikula family of shaktism and second one is Durga or kali who is supreme in kalikula family.
WORSHIP AND FESTIVALS
The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, ninth of Bhadrapada Shukla paksha. She is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.
In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.
Another very popular festival in regard to the Mother Parvati is Navratri, in which all her manfestations are worshiped for nine days. Actually the festival is associated with Her warrior appearance is Mother Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kashmunda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.
Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. It is believed that Parvati spends a month at her parent's home now. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. Down south in Tamil Nadu and Andhra The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and the unwidowed women of the family fast for the whole day and prepare sweets and worship the goddess for the well-being of the family.
FAMOUS TEMPLES
Annapurneshwari Temple, Cherukunnu, Kannur, Kerala is dedicated to an aspect of Parvati.
WIKIPEDIA
Taken at Cahirmee horse fair, Buttevant, County Cork. The hat may be Panama, but the complexion is pure Paddy!
19 Jun 2016 9.02am
Whiskers: Master, why do you say that?
Mr. Lion: So that we can continue to discuss about what happened yesterday in the real world, which is 9 days after the picture day.
Grass: Must have to do with a miss.
Whiskers: Like Master giving you a miss?
Grass: No.
Mr. Lion: Grass is correct. There was a blonde beautiful lady just right in front of YMK.
The whole deck and all the pots behind: WOW.
Grass: And the picture world sent a message that described what he missed: could not see what was right in front of him.
Whiskers: Oh does he have long-sightedness?
Mr. Lion: I don't think so - probably not yet - but he kept looking at his sell fone so he almost missed her until he was about to leave where he was. And what the background team has missed sending is that he took in a lot of air while waiting to exit, and his face was a bit red after that. Probably he felt a bit shy after taking all the fresh air from the lady.
Whiskers: Oh. _ must have told you.
Mr. Lion: Definitely. Otherwise do you think I have such long distance eyes?
Whiskers: So _ saw her too?
Mr. Lion: Definitely. _ thought that she is really beautiful, those that are perfect for vam pire bride. Her hair looks natural like mine and so someone said blond lady lion. She has fair complexion like YMK. She looks natural like me and she has that kind of delicate look that I do not have. I have a cute but serious look.
Grass: So the moral of the story is?
Mr. Lion: Look up YMK. That beautiful blonde lady could appear again.
Grass: And?
Whiskers: Too bad Mr. Cannot Be Vam pire has missed the whole show. Beautiful blonde lady does exist in the real world.
Español:
Los gecónidos, gecos o salamanquesas son una familia de reptiles muy extensa y variada que habita en climas templados y tropicales. En Europa la especie más conocida es la salamanquesa común, que habita principalmente en los países del Mediterráneo Occidental, además de Portugal. También hay algunas poblaciones aisladas introducidas por el hombre en el norte de África, América y en la zona mediterránea oriental. Es abundante en toda la Península Ibérica, salvo en la zona norte, aunque su presencia destaca especialmente en Andalucía y Levante, debido al clima.
La salamanquesa común mide entre 12 y 16 cm., es de complexión robusta y cuerpo aplanado, con el dorso cubierto de escamas. La cabeza, ancha y ligeramente triangular, acaba en un hocico redondeado y está coronada por unos prominentes ojos de pupilas verticales, que se dilatan en la oscuridad para mejorar la visión. La cola, larga y espinosa, es regenerativa y si la pierde volverá a salir. Sus dedos planos contienen unas pequeñas láminas adhesivas que le permiten sujetarse en superficies verticales y totalmente lisas como el cristal, o incluso boca abajo.
La coloración de este gecko varía entre el pardo oscuro y el gris claro, según la luz a la que se exponga y el material donde se sitúe, pero también puede ser totalmente negro o con motas. El vientre es de color claro, amarillento.
Aunque puede habitar en zonas templadas y no excesivamente frías, prefiere los lugares cálidos y soleados. Vive en cualquier sitio donde pueda encontrar refugio, troncos de árboles, rocas, edificios, cuevas... siempre que disponga de grietas y resquicios por los que esconderse.
Es una especie muy ligada al ser humano, que podrá encontrarlo frecuentemente en la pared o en el techo de su casa, en muros o tapias, sobre todo alrededor de los focos de luz, donde acude para alimentarse de los insectos que se sienten atraídos hacia ella. Caza a sus presas con gran agilidad y movimientos veloces. Es carnívora y se alimenta de invertebrados como arañas, mariposas, saltamontes, hormigas, libélulas, moscas, mosquitos...
Es un reptil de costumbres nocturnas aunque le gusta calentarse al sol por la mañana, por eso en los meses de verano es más normal verlas durante el día. Es muy territorial y no dudará en mantener una cruel lucha con cualquier congénere que intente invadir su espacio.
Aunque no es muy común tener salamanquesas en cautividad, éstas tienen un gran contacto con las personas, por lo que no sería raro encariñarse con alguna de ellas. En ese caso, hay que proporcionarle un terrario acorde a su ambiente natural y con el espacio suficiente para corretear tranquilamente. Es carnívora, por lo que se alimentará principalmente de insectos como hormigas, moscas y mosquitos, o también grillos y saltamontes si es lo suficientemente grande. Es muy importante que nunca le falte agua fresca.
English:
The gekonids, geckos or geckos are a very extensive and varied reptile family that lives in temperate and tropical climates. In Europe the best-known species is the common gecko, which lives mainly in the countries of the Western Mediterranean, as well as Portugal. There are also some isolated populations introduced by man in North Africa, America and the eastern Mediterranean area. It is abundant throughout the Iberian Peninsula, except in the northern area, although its presence is especially notable in Andalusia and Levante, due to the climate.
The common gecko measures between 12 and 16 cm., Is of robust build and flattened body, with the back covered with scales. The head, broad and slightly triangular, ends in a rounded snout and is crowned by prominent eyes of vertical pupils, which dilate in the dark to improve vision. The tail, long and spiny, is regenerative and if it loses it will come out again. His flat fingers contain small adhesive sheets that allow him to hold on vertical surfaces and completely smooth as glass, or even upside down.
The coloration of this gecko varies between dark brown and light gray, depending on the light to which it is exposed and the material where it is placed, but it can also be totally black or speckled. The belly is light, yellowish in color.
Although it can live in temperate zones and not excessively cold, it prefers the warm and sunny places. Live anywhere you can find shelter, tree trunks, rocks, buildings, caves ... provided you have cracks and crevices to hide.
It is a species closely linked to the human being, which can be found frequently on the wall or on the roof of your house, on walls or walls, especially around the light bulbs, where you go to feed on insects that are attracted to she. It hunts its prey with great agility and fast movements. It is carnivorous and feeds on invertebrates such as spiders, butterflies, grasshoppers, ants, dragonflies, flies, mosquitoes ...
It is a reptile of nocturnal customs although it likes to warm up in the sun in the morning, so in the summer months it is more normal to see them during the day. It is very territorial and will not hesitate to maintain a cruel fight with any fellow that tries to invade its space.
Although it is not very common to have geckos in captivity, they have a great contact with people, so it would not be strange to be attached to any of them. In that case, we must provide a terrarium according to its natural environment and with enough space to run around quietly. It is carnivorous, so it will feed mainly on insects such as ants, flies and mosquitoes, or also crickets and grasshoppers if it is large enough. It is very important that you never miss fresh water.
Temples in Taiwan are like folk arts museums. They collect detailed stone sculptures and elaborate wood decorations. Lukang Mazu Temple (鹿港媽祖廟) is one of the best in Lukang. Beautiful stone carving from Qing Dynasty can be seen in the back hall. The woodcarvings are particularly fine in the front hall, and the high plafond is simply gorgeous. The Matsu statue in this temple is now called the Black-Faced Matsu, as centuries of incense smoke have discoloured her original complexion.
Mazu is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron deity of all Southern Chinese and East Asian persons. Most of Lukang residents’ living was replied on trading and fishing on the sea. Therefore, Mazu Temple became the most important place for locals.
Stephen Gardiner (27 July 1483 – 12 November 1555)
Gardiner was a conservative and an opponent of Anne Boleyn, Cranmer, Cromwell and of any innovation in the Church, although he acquiesced grudgingly in the steadily increasing influence of the Reformation on the royal counsels. A description of his character from George Cavendish declared him "a swarthy complexion, hooked nose, deep-set eyes, a permanent frown, huge hands and a vengeful wit. He was ambitious, sure of himself, irascible, astute, and worldly."
In early August 1529 he was appointed the king's secretary. He had already been archdeacon of Taunton for several years. The archdeaconries of Worcester and of Norfolk were also added to a list of pluralities before November 1529 and in March 1530 respectively; in April 1531 he resigned all three for that of Leicester. In 1530 the King demanded a precedent from Cambridge to procure the decision of the university as to the unlawfulness of marriage with a deceased brother's wife: in accordance with the new plan devised for settling the question without the pope's intervention. In this Gardiner succeeded. In November 1531 the king rewarded him with the bishopric of Winchester, vacant since Wolsey's death.
During the reign of Edward VI Lord Seymour, Jane Seymour’s brother, appointed himself Lord Protector to advise and to act for the King in his minority. At this time several prominent statesmen were incarcerated in the Tower of London.
At the accession of Queen Mary I, the Duke of Norfolk and other state prisoners of high rank were in the Tower along with Gardiner; but the Queen, on her first entry into London, set them all free. After recanting his work regarding her mother’s divorce and her bastardy and restoring the ‘Old Faith’, Mary restored Gardiner to his Bishopric and appointed him Lord Chancellor. It was he who placed the crown on the Queen's head at her coronation. He also opened her first parliament and for some time was her leading councillor. As chancellor he had the onerous task of negotiating the Queen's marriage treaty with Philip II of Spain, for which he shared a general repugnance. In executing it, he took care to make the terms as advantageous for England as possible, with express provision that the Spaniards should in nowise be allowed to interfere in the government of the country. He officiated at their wedding in Winchester Cathedral in 1554. After the appointment of Cardinal Pole, and the reconciliation of the realm to the see of Rome, he still remained in high favour. How far he was responsible for the persecutions which afterwards arose is open to debate. He no doubt approved of the act, which passed the House of Lords while he presided there as chancellor, for the revival of the heresy laws.
Bishop Gardiner died at Westminster on 12 November 1555. He was temporarily buried in a vault at the church of St Mary Overie, and in February 1556 his body was conveyed to Winchester Cathedral, where, after a number of ceremonies, a final funeral service was conducted on 28 February 1556, at which time it was recorded that he had not been buried and that no ground was broken, in the expectation that in due course his executors would build a chapel within the cathedral for his incarceration. Abridged from Wikipedia: en.wikipedia.org/wiki/Stephen_Gardiner His chantry chapel, built in 1556, is situated in the south presbytery aisle.
As much as I love Grace, I think she needs a blonde kenner sister with a creamy complexion and vibrant pink lips. If you have a blonde kenner who may be looking for a new mum, please let me know.
Email me at
silviap2020(at)hotmail(dot)com
More, courtesy of Mr Cedric and dear Ellen. Apparently it was he who had scrawled 'Nelly' on the back. Though it does not resemble her at all. What confusion....( Image owned by the account holder)
Pears’ English Complexion Soap, two-color advertisement, 1885, featuring the three quarter portrait of “internationally renowned songstress” Madame Adelina Patti, and including additional testimonial of "Prof. Sir Erasmus Wilson, F.R.S., Pres. of the Royal Col. of Surgeons, England."
Anna May Wong, Akim Tamiroff, Gail Patrick and Lloyd Nolan star in this thrilling crime drama.
Racketeer Steve Recka, art patron and political power-maker, rules his town and Madame Lan Ying, his beautiful Oriental friend and hostess (read: mistress), with an iron hand. He meets Margaret Van Kase, a socialite not impressed by his power nor his wealth, having no money herself, and Steve makes frantic efforts to win her and turns away from the loyal Lin Yang. Margaret ignores him as she plans to wed Philip Easton, a penniless bond salesman. The furious Recka, poses as a friend to Easton, while planning to ruin him. His henchmen kidnap Easton when he is carrying a large assignment of bonds, and he is branded as a runaway thief. The only doubters are Margaret and Police Inspector Brandon, who knows Recka's methods and suspects foul play. Easton is found in an abandoned house and arrested as the gangsters have taken the bonds and tipped the police where to find him. Recka offers to clear Easton if Margaret will become his bride and, while her hatred for Recka is intense, her love
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
Though Equestrienne Superstar Barbie has Superstar face mold, she does not have the typical Superstar complexion: she has a lighter one, similar to those of Equestrienne Barbie mod face. And she's the only Superstar doll with bangs
Young woman sitting in bathroom and applying facepack. Beautiful female in front of mirror applying facial mask.
Close up portrait of attractive young woman looking at camera. Head and shoulders view of female fashion model.
Created with ChatGPT
Prompt - Ultra-photorealistic fantasy pixie, 16:9 IMAX cinematic photograph. EVE1 HARD LOCK facial appearance exactly: soft oval face with subtle heart taper, warm golden-beige complexion, hazel-brown almond eyes, medium natural brows, slim refined nose, medium-full lips, soft freckles, long chestnut-brown wavy hair with wispy curtain bangs. Standing in a lush enchanted garden overflowing with crimson, magenta, coral, orange, gold, violet and white flowers. Delicate pointed ears. Two fully visible symmetrical translucent iridescent fairy wings anatomically attached high on the upper back between the shoulder blades, naturally emerging from beneath the shoulder line, evenly spaced with correct skeletal attachment, identical size and angle, subtle membrane veining, realistic thickness and light refraction, no floating or misplaced wings. Elegant black lace corset mini dress with body-skimming A-line silhouette, deep V neckline, fitted corset bodice, softly structured shoulders, floral lace textures, decorative criss-cross chain detail across the open back, flared peplum hem. Romantic over-the-shoulder pose with serene enchanting expression. Warm golden sunlight creates cinematic rim lighting, glowing highlights, vibrant floral bokeh, shallow depth of field, HDR, ultra-realistic skin, razor-sharp focus, masterpiece quality, 64K, IMAX, physically accurate lighting, no text, no logos, no watermark, no artifacts, no extra limbs, no missing wing, no hidden wing, no asymmetrical wings.
Pic and Prompt by Adrian
Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.
This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.
Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.
Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.
Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.
The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.
Snow White and the Prince - Limited Edition Doll Set
Disney Fairytale Designer Collection
US Disney Store
Released and purchased in store on August 20, 2013.
Released online August 21, 2013.
$129.95 US
#558 of 6000
First Look
I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.
Product information from the US Disney Store website:
Snow White and the Prince Doll Set - Disney Fairytale Designer Collection
$129.95
Item No. 6070040900883P
Fairest two of all
With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
•Global Limited Editon of 6000
•Includes Certificate of Authenticity
•Romantic side-swept hair
•Dramatic lace collar
•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing
•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage
•Dramatic make-up and rooted eyelashes
•Red bow headband
•Prince features velvet cape
•Satin shirt with faux leather waistcoat and belt
•Boots and sword
•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince
•Includes special Disney Fairytale Designer Collection Gift Bag
•Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
•Plastic / polyester
•Snow White: 11 1/2''
•Prince: 12'' H
•Imported
Crappy point-and-shoot shot of the new arrival and the diva I'll take a better one this weekend. These girls have very similar complexion and makeup colors, even the same pink fingernails.
Takara did a better job on Candy's fringe than with earlier dolls. Her bangs are relatively straight and she hasn't got a DaBi mullet.
An early and exceptional full-length portrait of star Anna May Wong, by pioneer photographer Edward S. Curtis, best known for his famous photographs of the American West and the Native American Indian. Curtis moved to Los Angeles around 1921 after a bitter divorce with his wife. and began working as a still photographer on Hollywood films around this time. He also set up a studio in the Biltmore Hotel to work as a portrait photographer, where assumably this photo was made.
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
This is one of twelve "highly amusing fun cards" that came in a Novelty Fun Cards envelope (see below).
For a similar card, see I'm Just Your Size and Complexion.
For more "fun cards," see my Novelty Fun Cards album.
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"As you are my style and complexion and as I am going in your direction, let's get acquainted. If you have no objection, I will be your protection, for you certainly are my selection. A chance of a lifetime. Yours with affection, signed ________. Phone no. ________. Address ________."
My daughter (above) has spent the past hour wandering around the house with a facepack. Apparently, it's good for removing toxins and stuff from one's complexion. What response would this 50-something Dad attract if he did the same?
Puno, Peru
The feast of the "Virgen de la Candelaria" begins on the eve of the 2nd of February and last until the first Sunday after that day, and ends one week after continuing with the celebration of the Carnivals. On February 9th the folklore parade is celebrated. The groups, which paraded days before, on the 2nd, now return for a procession before the Virgin, who will gaze them from the atrium of the church. Then, folk groups set off through the city, dancing tirelessly until sunset. At the end of the week the feast ends in the cemetery, for the paying of respects of the dead.
The statue of the Virgin is small, and it represents a virgin of very white complexion and blushed cheeks. This Virgin is harbored in the Church of San Juan El Bautista.
In the afternoon the virgin statue leaves the church, and more than forty groups attired in the costumes and masks classic in the culture of altiplano dance, join crowd.
On the main day, February 2, the virgin is led through the city in a colorful procession comprising priests, altar boys, the faithful, Christians and pagans carefully maintaining the hierarchy. This is the moment when the troupes of musicians and dancers take the scene, performing and dancing throughout the city.
From GO2PERU's Website