View allAll Photos Tagged Complexion
Prompt
A close-up, artistic portrait photograph of a woman with deep brown skin, taken from a front angle slightly to the right. Her face is illuminated softly from the front-left, highlighting her smooth complexion and striking features. The woman's expression is intense and contemplative, with piercing, bright blue eyes gazing forward, accentuated by dramatic makeup including bold black eyeliner and long, dark eyelashes. Her lips are full and slightly parted, painted in a deep red color with a glossy finish. She has well-defined eyebrows and a strong cheekbone, adding to her captivating appearance. A black, net-like veil with a web-like pattern drapes elegantly over her head and shoulders, extending from the top right to the bottom left of the frame. The veil has a delicate, intricate lattice-like texture with visible seams, creating a striking contrast against her skin. On the left side of the image, large, vibrant red organic elements with small perforated patterns resembling petals or leaves add depth and color contrast. These elements have a semi-transparent quality with soft lighting highlights, creating a dotted pattern within the larger structure. The background features a gradient from dark green to black, providing a subtle contrast to the bright elements and emphasizing the subject's face. The overall mood of the image is mysterious, elegant, and enigmatic, with high contrast and rich saturation highlighting the intricate details and textures. The composition balances the subject's face with the organic and net-like elements, resulting in a visually striking and balanced composition that evokes a sense of sophistication and allure.
*****************Private Bertie Cushion********************************
Possibly
Name: CUSHION, BERTIE CECIL
Rank: Private
Regiment: Norfolk Regiment Unit Text: 1st/4th Bn.
Date of Death: 19/08/1915 Service No: 1591
Grave/Memorial Reference: Panel 42 to 44. Memorial: HELLES MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=694843
Great War Roll of Honour has this man down simply as Bertie Cushion.
But could also be this individual
Name: CUSHION Initials: B E
Rank: Private
Regiment: Norfolk Regiment Unit Text: 1st Bn.
Date of Death: 25/06/1915 Service No: 7271
Grave/Memorial Reference: F. 29. Cemetery: DICKEBUSCH NEW MILITARY CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=441427
This individual is recorded as a Bertie E on the Great War Roll of Honour.
There are no other Bertie’s listed on that document.
There is a picture of a Bertie Cecil of the 4th Battalion on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Additional notes read:-
Born at Norwich, 13th July 1894 and educated at Quay Side School, Private Cushion enlisted in July 1911. He was killed in action at the Dardanelles, 19th August 1915
From the diary of Captain Montgomerie, of the 1st/4th Battalion.
" 15th. - lt was decided that our first line should be relieved by the Essex brigade. I, from my ridge, was to give covering fire.
The 1st Battalion Essex advanced well and lost few men. The other battalions, who had delayed, suffered more severely. All we could do was to keep down the fire of the snipers by shooting into the trees. Rumour has it that some of these snipers were tied to trees, with water and food within reach. Women snipers have been caught within our lines with their faces, arms, legs, and rides painted green.
After dark our men began to come in. Some came in well, but there were cases where the confusion was great. The last to come in were a party of 100-150 with Captains Hughes and Fisher. These officers had behaved magnificently throughout this show and they finished by leading the men back in very good order."
On the 16th both the Norfolk battalions were moved to a point near Kiretch Tepe Sirt on the ridge running north-east from SuvIa Point, where the 31st brigade was.
16th - I was relieved on the ridge by the 4th Essex early in the morning. The battalion joined up in trenches some 300 yards in rear of the ridge. We were busy digging trenches all day, and trying to collect the men to their various companies. In the late advance we had been in reserve, and three companies and one platoon had reinforced the first line, so they had become very scattered.
" In the afternoon the 10th division advanced along the ridge and cleared the whole hill of the enemy. Unfortunately we were unable to hold on to the extreme east of it. It was a fine sight to watch from the valley below.
user.online.be/~snelders/sand.htm
***********Private Thomas S Crosskill*********************************
Name: CROSSKILL Initials: T S
Rank: Private
Regiment: Canadian Infantry (Central Ontario Regiment) Unit Text: 20th Bn.
Date of Death: 23/04/1918 Service No: 57162
Grave/Memorial Reference: II. B. 24. Cemetery: WAILLY ORCHARD CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=35879
No match on Norlink
Wailly is a village in the Department of the Pas-de-Calais about 6 kilometres south-west from Arras. The cemetery was begun in May 1916 by the Liverpool battalions of the 55th (West Lancashire) Division, as a front line cemetery, screened from German observation by a high wall. It was little used in 1917, but in March-August 1918, it was considerably enlarged by the Canadian and other units defending the Third Army front.
www.cwgc.org/search/cemetery_details.aspx?cemetery=3700&a...
The Canadian National Archive confirms this is a Thomas Stephen Crosskill, born 23rd June 1890. His attestation papers can be seen here
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
And
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
They tell us that he was born London, England, and is a Shoemaker by trade. His next of kin is his mother, Elizabeth, who resides at 8 St Augustines, Norwich.. He had previously done military service with the Royal Field Artillery. He enlisted in Toronto on the 8th January 1915. His medical notes tell us that he was 5 feet 6 ½ inches, with Brown hair, Brown eyes, and a dark complexion. His religious denomination is shown as Baptist.
The 11 year old Thomas “H” is recorded on the 1901 census at 10 Bull Row in the parish of St Pauls, having been born Peckham, London. This the household of his parents, Walter P. (aged 42 and a Tinsmith from Norwich), and Elizabeth, (aged 39 and from Norwich). Their other children are:-
Charles P…………..aged 9.…………born Camberwell, London
Daniel………………aged 4.…………born Norwich
Susanna……………aged 18.………..born Norwich
William…………….aged 2.…………born Norwich
While there were casualties, (three wounded, 2 Sergeant, one Private) on the 21/4, the war diary of the 20th Battalion gives no indication of any further casualties on either the 22nd or 23rd.
23rd April 1918. Neuville Vitasse
At 1.15 am the O.C “C” Coy on our left reported that he had been relived north of the
BEAURAINS - NEUVILLE VITASSE road by the 18th Cdn Bn. And that he is now all south of the road except for one L.G post north of the north edge. MAP111 shows this alteration in his disposition. The platton relieved was employed during the remainder of the night deepening and fire-stepping the trench in M..24.b During the night, “A” Coy in the right front line set out 200 yds of single apron wire in N.19.e.
Two patrols were out on each company front last, on the right both were battle patrols, on the left the first patrol was a small reconnoitring. This patrol located an enemy …..at M24.b.95.05
During the day the enemy was very quiet, very little hostile shelling. E.A flying low over our area at 2.50 pm was engaged. It is reported to have landed either in “no-mans land” or just in its own lines in front of the Bn on our left.
A work party totalling 1 Officer and 35 O.R.s reported to 2nd Cdn Pioneers at 9.30 pm and worked for three hours in the INTERMEDIATE line in M.23.b, M.24.a, and M.18,c.
At 10.45pm an enemy wiring party was reported at M.19.c.35.70.. This was reported to and engaged by the 4th T.M. Batty. guns at M..24.b.3.3.
At 11.35pm two six or eight inch dud shells from our own batteries fell just in front of our right support coy.trench. Shorts also occurred from the 18 pdrs. about 50 yards behind our front line at N.19.c
data2.collectionscanada.ca/e/e039/e000960728.jpg
data2.collectionscanada.ca/e/e039/e000960729.jpg
A small picture of the headstone can be seen here
twgpp.org/information.php?id=1280588
*****************Private Bertie C Crosskill******************************
No match on CWGC
No match on Norlink
The 3 year old Bertie, born Norwich, is recorded on the 1901 census at 3 Eagle Opening, Sussex Street, in the Parish of St Augustines. This is the household of his grandmother, the widow Maria Bone. Maria is employed as a “Fitter in Coal Trade”. Living with her is her widowed daughter, (and presumably Bertie’s mother), Maria, (aged 34 and a Machinist from Norwich)
The Great War Roll of Honour lists a Private Bertie “G” Crosskill, 27049 Wiltshire Regiment, who died 1918.
Due to a typo, the same individual turns up on the GWGC database as
Name: CROSKILL, BERTIE GEORGE
Rank: Private
Regiment: Wiltshire Regiment Unit Text: 2nd Bn.
Date of Death: 08/05/1918 Service No: 27049
Grave/Memorial Reference: Panel 119 to 120. Memorial: TYNE COT MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=841915
The War diaries of the 2nd Wiltshires are available on line, however that for the 8th May 1918 provides no indication of why Private Crosskill not only died, but died in such a way that his body was never discovered and he had to therefore be commemorated on the Tyne Cot Memorial. Additionally, the German spring offensives had petered out by now, so its difficult to see his grave being lost as a result of subsequent fighting, leading to him being commemorated on the Memorial. I can only assume he was on attachment with another unit at the time.
8th May 1918 Le Paradis
Working party under Lieut S COLLIER rejoined from WATOU.
www.thewardrobe.org.uk/wardiary.php?action=date®im...
The entry for the previous day reads , “All quiet, nothing to report”
***************Private Edward H Dennis*********************************
Only E H Dennis in the CWGC database
Name: DENNIS, EDWARD HENRY
Rank: Serjeant
Regiment: West Yorkshire Regiment (Prince of Wales's Own) Unit Text: 2nd Bn.
Age: 26 Date of Death: 01/07/1916
Service No: 8975
Additional information: Son of Mr. and Mrs. Dennis, of 90, Magpie Rd., Norwich; husband of Maria Sarah Hunt (formerly Dennis), of Railway Cottage, Ledge Fenn, Lakenheath, Suffolk.
Grave/Memorial Reference: Pier and Face 2 A 2 C and 2 D. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=756620
Norlink has a picture of Sergeant Edward Henry Dennis of the 2nd Battalion, West Yorkshire Regiment. The only additional information is that Sergeant Henry was from Norwich.
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The 10 year old Edward, born Norwich, is recorded on the 1901 census at 67 Barn Road, in the Parish of St Benedicts. This was the household of his parents, James, (aged 37 and an Auctioneer’s Porter from Norwich), and Elvina, (aged 35 and a Boot Machinist from Norwich). Their other children are:-
Christiana……………….aged 8.………………born Norwich
James……………………aged 14.…………….born Norwich……Shoemaker
Roseanna………………..aged 6.………………born Norwich
(There is a baptism record for James William. This took place on the 30th January 1887 at St James with Pockthorpe. The data of birth is stated to be 15th June 1886. The parents are recorded as James and “Elaina”Adelaide. The family reside “OTP” (Outside the Parish). The father’s occupation is listed as Labourer.)
1st July 1916
The battalion was part of the second wave as far as I can ascertain, however in many places this suffered just as badly - the first wave having been wiped out, holed up or pinched out and surrounded, the German machine gunners could concentrate on the next wave, and the untouched German artillery caused devastation in the units forming up for the next assault - there were several units almost entirely eliminated from the battle before they even crossed the original British front line,
The battalion formed part of 23rd Brigade.
Ovillers
Here the 8th Division …was tasked with a direct assault on the village itself. In this area No Man's Land was 400 yards wide. Right from the start it was known that there would be no chance of success if the flanking Divisions did not make simultaneous progress with the 8th Division attackers.
The village of Ovillers sits on the southern side of a spur of land which points towards Albert. It was thus hoped that the 25th Brigade who would be attacking the village would have some cover up until the last few hundred metres as they came over the ridge.
To their right the 23rd Brigade would be very badly exposed as they made their way up Mash Valley. They would also be required to cross the widest section of no man's land on the Corps Front.
To the north of the ridge 70th Brigade were required to advance across another valley - called Nab Valley at the time but later designated as Blighty Valley. It was their task to push on past the village and up as far as Mouquet Farm.
Just before Zero at 07:30 hours the Division had put down a short barrage of Stokes Mortars onto the German positions giving the first wave of the assault an opportunity to get out into no man's land and closer to the German front line.
Leading the 23rd Brigade out into Mash Valley, the 2nd Bn Middlesex Regiment and 2nd Bn Devonshire Regiment managed to gain the German front lines and even a distance beyond, but they found themselves being fired at from three sides and their casualties soon grew to a thousand men between them - more than half their number. 70 survivors managed to hang on in the German front line for a while but soon their grenades and ammunition ran out and they were forced out of it by a counter-attack after 2 hours. .
Of about 300 officers and 8000 men, the Division lost 189 officers and 4719 men dead or wounded.
forum.irishmilitaryonline.com/showthread.php?t=9058
www.webmatters.net/france/ww1_ovillers.htm
According to the Devon's after action report, Lieutenant Colonel Sunderland could see very little of the action.
'At first and for some little time owing to mist and dust caused by our shell fire, it was difficult to realise what had happened … The lines appeared at first sight to be intact… Colonel Sunderland could make out rows of his men lying down. He demanded 'Why aren't they advancing?' The Adjutant, peering through his binoculars turned to the CO and replied 'They're all hit, sir!'.
The survivors bunched as they advanced through the few gaps in the enemy wire and the original wave formation soon ceased to exist, and the remains of companies became mixed together, making a mass of men, among which German fire played havoc'. The German eye witness wrote:
'All along the line, men could be seen throwing up their arms and collapsing, never to move again. Badly wounded rolled about in their agony, and others, less severely injured, crawled to the nearest shell hole for shelter. The extended lines, though badly shaken and with many gaps, now came on all the faster. Instead of a leisurely walk they covered the ground in short rushes at the double..'
The Devon's report recorded that 'only a very few reached the German lines alive. Some got into the German trenches, where they put up a determined fight against enormous odds and were soon killed'. The toehold that the Devons had gained could not be reinforced, as the curtain of fire that the German artillery put down in the middle of no-man's-land had halted the waves of C and D Companies. They were driven to ground by German machine gun fire. 2nd W Yorks, who moved forward behind the Devons at 0825 hours came under fire . By this time the attacking infantry had lost the barrage, which went on as planned. Consequently, only a few of C and D Companies along with A Company 2nd West Yorks reached the German line.
Despite acts of heroism, determination, by 0900 hours, the attack of the 8th Division had failed along the length of it's front. At 0930 hours, Major General Hudson instructed commanders of 23 and 25 Brigades to gather their men and repeat the attack, until it was pointed out that a repeated bombardment would hit the men thought to be stranded in the enemy position.
As late as 1430 hours, there were observers' reports that 'bomb fighting' was going on in the German lines. However, for those remaining out in no man's land it was fortunate that the shell holes, which had earlier hindered the movement of advancing men, now provided cover from enemy fire.
The Devon's Medical Officer, in his aid post dugout in the reserve line, after the initial rush of walking wounded, had few casualties to deal with, as:
'great difficulty was found evacuating the wounded to the Regimental Aid Post. The trenches were too narrow to allow a stretcher to pass and also the trenches had been so knocked about that in many places one was exposed to hostile machine gun and shell fire'
Wounded men succumbed to their wounds, who if properly treated, would have survived. Many lay in agony until, eventually the British barrage, was brought back to the enemy front line. Under its cover many men
regained their frontline and more returned under the cover of darkness.
www.keepmilitarymuseum.org/somme/reg_2nd_devons_1_jul.php?
Lt Col E T F Sandys, CO of the 2nd Middlesex (also of the 23 Bde 8 Div) had been concerned before the battle began about uncut German wire and the enemy trenches which were still occupied despite the heavy Allied barrage in the area of Mash Valley. His battalion had 750 yards of No Man’s Land to cross and they were cut down as he had predicted. The disaster so preyed on his mind that he shot himself in September and died a few days later.
(Extract from ‘When the Barrage lifts" by Gerald Glidden)
www.pricewebhome.co.uk/Docs/Stone/Death_of_Sergeant_HT_St...
A map of the British front line on the 1st July 1916 in this sector, and the German trenches facing them, can be seen here
en.wikipedia.org/wiki/File:La_Boisselle_sector_1_July_191...
The position of the lead units of the Brigade, (2nd Middlesex and 2nd Devons,) can also be seen here
1914-1918.invisionzone.com/forums/index.php?showtopic=64507
************Private Ernest Denham**************************************
Name: DENHAM, ERNEST
Rank: Private
Regiment: Norfolk Regiment Unit Text: 1st Bn.
Age: 39 Date of Death: 28/10/1917
Service No: 17234
Additional information: Son of the late Mr. and Mrs. W. Denham, of 65, Patteson Rd., Norwich; husband of Martha Sarah Ann Denham, of 14, Cross St., Sussex St., Norwich, Norfolk.
Grave/Memorial Reference: Panel 34 to 35 and 162A. Memorial: TYNE COT MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1629786
No match on Norlink
No baptism record on FreeReg
The 22 year old Ernest, (born Norwich and employed as a Furniture ??? - handwriting is illegible, but the census analyser has added “Carman“ so I‘m assuming the word should be deliverer) is recorded as a boarder at 65 Patteson Road along with his wife Martha, (aged 21 and a Silk Weaver from Norwich). This is down as the household of William J Denham, (aged 45 and a Tobacco Cutter from Norwich) and his wife, Isabella, (aged 44 and from Norwich). Given the information on the CWGC database, it seems odd that Ernest and his wife Martha are described as having no other relationship than being boarders.
On the 1891 Census, the 12 year old Ernest is recorded at 47 Albany Road in the Parish of St Clements. This is the household of his parents, William J and Isabella. They have other children living with them at this time:-
George A.G……………….aged 17.…………….born Norwich………Clicker
Emmeline S……………….aged 15.…………….born Norwich………Upholsterer
Frederick.W………………..aged 14.…………….born Norwich………Cabinet Maker
Going back to the 1881 census, the family can be found at 2 Britannia Terrace, in the Parish of St Clements, although then the mother’s name looks closer to Sarah then Isabella - the curse of census taker’s handwriting strikes again.
Although I’ve not been able to locate the was diary for the 1st Norfolk, the diaries for the 1st Bedfords are fully on line and can be an indication of what or where the 1st Norfolks were up to, as they were in the same brigade. For the period 25th to 28th October, the 1st Bedfords held a position called “Stirling Castle”, and would support an attack on Polderhoek Chateau on the 26th. They took about working with the 1st Cheshires, another Brigade Unit. Havng suffered 103 casualties during their three days in the front line, the 1st Bedfords were relieved by the 1st Devons - the inference being that the 1st Cheshires were relieved by the 1st Norfolks.
www.bedfordregiment.org.uk/1stbn/1stbtn1917diary.html
However, another source has the whole 5th Division being relieved by the 14th Division on this day.
forum.irishmilitaryonline.com/showthread.php?t=11535&...
*****************Private Albert Fox**************************************
Probably
Name: FOX, ALBERT
Rank: Private
Regiment: Norfolk Regiment Unit Text: "A" Coy., 1st/4th Bn.
Age: 19 Date of Death: 21/04/1917
Service No: 200949
Additional information: Son of Fred and Ellen Fox, of Norwich; husband of Mabel Longbone (formerly Fox), of 93, Aylsham Rd., Norwich.
Grave/Memorial Reference: A. 117. Cemetery: DEIR EL BELAH WAR CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=645596
Also 112 other possibles in the CWGC database
No match on Norlink
The 3 year old Albert, born Norwich, can be found on the 1901 census at 23 Newbegins Yard, St Marys Plain, in the Parish of St Marys Coslany.. This is the household of his parents, Fredk. G, (aged 34 and a Boot Finisher from Norwich) and Ellen J. (aged 32 and from Norwich). Their other children are:-
Arthur……………..aged 1.………….born Norwich
Ernest……………..aged 5.………….born Norwich
Rosana……………aged 7.……………born Norwich
There are three more children in the household, presumably Ellen’s from a previous marriage.
Ellen I Perriment……..aged 15.…….born Norwich………..Tailoress
Ethel Perriment………aged 11.…….born Norwich
Fredk Perriment………aged 9.……..born Norwich
On 28 February 1917, the cavalry of the Egyptian Expeditionary Force entered Khan Yunus, midway between the Egyptian border and Deir el Belah causing the Turks to withdraw to Gaza and Beersheba. The railway was pushed forward to Deir el Belah, which became the railhead in April 1917, and an aerodrome and camps were established there. The cemetery was begun towards the end of March and remained in use until March 1919. Most of the burials were made either from field ambulances from March to June 1917, or from the 53rd, 54th, 66th and 74th Casualty Clearing Stations, and the 69th General Hospital, from April 1917 until the Armistice with Turkey. A number of graves, the majority of which were originally at Khan Yunus, were brought into the cemetery after the Armistice.
www.cwgc.org/search/cemetery_details.aspx?cemetery=71200&...
On 19th April the Norfolks took part in a disastrous attempt to take Gaza. In this action casualties for the battalion were 478 (55 killed, 323 wounded and 100 missing). The battalion’s sister unit, 1/5th Norfolks, also took part in the assault and they fared even worse, suffering 643 casualties.
www.oldbuckenham-pri.norfolk.procms.co.uk/pages/viewpage....
While we cannot be sure Arthur died as a result of injuries in the action at Gaza it seems more than probable that this is the case.
****************Private Robert Fuller*************************************
Prime candidate
Name: FULLER Initials: R
Rank: Private
Regiment: Gloucestershire Regiment Unit Text: 12th Bn.
Age: 21 Date of Death: 20/04/1917
Service No: 22258
Additional information: Son of Samuel and Mary Ann Fuller, of 112, Aylsham Rd., Norwich.
Grave/Memorial Reference: I. A. 12. Cemetery: SUCRERIE CEMETERY, ABLAIN-ST. NAZAIRE
www.cwgc.org/search/casualty_details.aspx?casualty=561424
Great War Roll of Honour confirms this is a Robert
1901 Census likely match.
Robert, aged 4, born Norwich. Recorded at 5 Hindes Yard, St Augustines. Parents are
Samuel, (aged 41, Boot Finisher from Norwich), and Mary Ann, (aged 35 and from Norwich). Siblings are Arthur, (9), Charles, (u/1), Elizabeth, (8), Nellie, (3),
The Gloucester Regiment Museum confirms that Private 22258 Robert Fuller was born and enlisted Norwich. His previous unit was the “Hussars of Line”, where his service number was 19928. He is recorded as Killed in action.
www.glosters.org.uk/soldier/13107
From the Battalion War Dairy.
20th April. In trenches. Bois de Hirondelle
In front line. Heavy Enemy Shelling. 7 O.R Killed. 15 O.R wounded. 5 O.R joined as reinforcements.
**********************Private John J Fuller*****************************
5 possible matches on CWGC
No match on Norlink
1901 Census possibles.
John, aged 2, born Norwich. Recorded at 35 Magpie Road. Parents are Robert, (aged 34, Carman from Norwich) , and Ann, (aged 33, from Norwich). Siblings, Elizabeth, (13), Ernest, (0), Esther, (6), James, (10), Robert, (aged 3) and William, (8). All born Norwich.
On the 1911 census there is one John James with a Norwich connection, and it seems to be the one from Magpie Road.
By a process of elimination, this individual on the CWGC database is our most likely Match
Name: FULLER Initials: J J Nationality: United Kingdom Rank: Private Regiment/Service: Royal Fusiliers Unit Text: 4th Bn. Date of Death: 31/08/1918 Service No: 72688 Casualty Type: Commonwealth War Dead Grave/Memorial Reference: I. B. 32. Cemetery: H.A.C. CEMETERY, ECOUST-ST. MEIN
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=303889
The Great War Roll of Honour confirms this is a John J
The 4th Fusiliers were part of the 3rd Division for the the whole. One of the divisional battle honours is
Second Battle of Bapaume. 31 Aug-3 Sep 1918.
On August 31st the 4th Battalion, who had moved up to
positions south-east of Ecoust, attacked eastwards. Ten
minutes before zero the assembly positions were subjected
to a heavy shell and machine-gun fire, and there were
many casualties ; and when our barrage began, five minutes
later, it missed the chief obstacles in the way of the Royal
Fusiliers' advance. As a consequence, while the battalions
on both flanks advanced with little trouble, the 4th Royal
Fusiliers were decisively checked by machine-gun fire from
the sunken road, about 250 yards to the east. Z Company
made several most gallant attempts to reach these guns,
but the men were mown down, and all the officers but one
became casualties. The tank which should have assisted
in coping with this obstacle caught fire a few minutes
before zero. Another tank broke down actually in the
road, and a German officer, climbing on top of it, shot or
took prisoner the whole of the crew. A machine-gun nest
in the south of Ecoust also devoted too much attention to
the battalion, who were completely held up.
About 8 p.m.
the 1st Northumberland Fusiliers cleared the sunken road
under a creeping barrage, and before dawn on September
1st the 4th Royal Fusiliers had advanced 1,500 yards. At
6 p.m. on the same day, with only eight casualties, the
battalion carried the line still further, clearing the sunken
road midway between Longatte and Noreuil. In this
operation 70 prisoners and several machine guns and trench
mortars were captured.
www.ebooksread.com/authors-eng/h-c-herbert-charles-oneill...
**************************Private A Fulcher*******************************
Possibly
Name: FULCHER Initials: A
Rank: Private
Regiment: Norfolk Regiment Unit Text: 2nd Bn.
Date of Death: 02/11/1915
Service No: 7638
Grave/Memorial Reference: B. 17. Cemetery: KUT WAR CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=637920
Great War Roll of Honour has this soldier listed as an Archie Fulcher
Less likely
Name: FULCHER Initials: A G H
Rank: Private
Regiment: Norfolk Regiment Unit Text: 2nd Bn.
Age: 22 Date of Death: 27/09/1918
Service No: 30383
Additional information: Son of Richanda Alice Beaumont Fulcher, of I, School Rd., Runham, Vauxhall, Gt. Yarmouth, and the late Henry Thurtell Fulcher.
Grave/Memorial Reference: I. N. 17. Cemetery: BASRA WAR CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=509914
Great War Roll of Honour has this soldier listed as an Alfred G H.
Or
Name: FULCHER, ARTHUR JOHN
Rank: Private
Regiment: Norfolk Regiment Unit Text: 1st/4th Bn.
Age: 37 Date of Death: 01/09/1915
Service No: 2243
Additional information: Son of Mrs. Elizabeth Fulcher, of Wymondham, Norfolk, husband of Laura Fulcher, of Damgate Bridge, Wymondham, Norfolk.
Grave/Memorial Reference: Panel 42 to 44. Memorial: HELLES MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=681137
No match on Norlink
1901 Census matches using search criteria Fulcher and Norwich.
Arthur aged 2, born Norwich. Recorded at 9 Fishers Buildings, parish of St Phillips. Parents are John, (aged 36, Tailor from Rushmere, Suffolk) and Emily, (aged 36, from Norwich). Siblings are, Bertie, (8), Edith, (3), and Thomas, (4) - all born Norwich.
Arthur G, aged 7, born Wymondham. Recorded at 21 Egyptian Road, Bishops Bridge Road. Parents are George, (aged 35 - Railway Plate Layer, Wymondham) and Elizabeth, (aged 35, Norwich), Siblings are Ernest, (1), Margaret, (5), and Thomas (3) - all born Wymondham.
Albert aged 9, born Norwich. Recorded at 107 Dereham Road. Parents are Robert, (aged 42, Licensed Victualler from Norwich), and Hannah, (aged 41, from Norwich), Siblings are Adlaine, (14), Donald, (3), Leonard, (7), Lucy, (17) - all born Norwich.
The 1911 census has only one match for an Archie Fulcher for the whole of England and Wales. This individual is shown as being born circa 1891 at St Marys, Norwich, Norfolk. His current whereabouts are not however listed. As St Marys is the neighbouring parish to St Augustines, this tends to strengthen the case for this being our man.
Archie does not appear to be on either the 1901 or 1891 Census for England and Wales.
From India to Mesopotamia
To protect the British owned oil fields in Persia and to stop Turkish domination of the Middle East an Indian Expeditionary Force was sent to the Persian Gulf. As part of this Force the Norfolk Regiment left Belgaum for Bombay under the command of Lieu-Colonel E C Peebles and boarded HM Transport Elephanta on 6 November1914. The 2nd Norfolks arrived at Seniyeh in the Persian Gulf on 15 November 1914 and joined the 18th Brigade, which consisted of the 7th Rajput's, 110th Mahratta Light Infantry and 120th Rajputana Infantry.
The 2nd Norfolks took part in several battles during the advance, finally culminating in the Battle of Ctesiphon on the 22/11/1915, when British force of 11000 defeat a Turkish force of over 18000. Battle ends with a bayonet charge across open ground. Norfolks suffer 6 officers killed 27 men killed, 225 wounded and 2 missing.
However, with opposition mounting, on the 24th November 1915,the Brigade under the command of General Townshend suffering losses and sickness has to withdraw to Kut. The Norfolks form the rear guard as the Brigade withdraws. The 44 miles to Kut is covered in 36 hours. The 2nd Norfolks now comprise half their effective fighting
Kut- al-mara, having been taken in July had been the Allies strong-point and medical base, so its likely that Archie died either as a result of wounds sustained in July or as a result of illness.
www.stephen-stratford.co.uk/pte_wilby.htm
****************Private Herbert Gooch*********************************
Probably
Name: GOOCH, HERBERT FRANCIS
Rank: Lance Corporal
Regiment: King's Own (Royal Lancaster Regiment) Unit Text: 1st Bn.
Age: 29 Date of Death: 20/04/1918
Service No: 28285
Additional information: Son of Mr. and Mrs. Gooch; husband of Mrs. Gooch, of 38, Magpie Rd., Norwich. Native of Norwich.
Grave/Memorial Reference: XXIX. K. 4A. Cemetery: ETAPLES MILITARY CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=501487
During the First World War, the area around Etaples was the scene of immense concentrations of Commonwealth reinforcement camps and hospitals. It was remote from attack, except from aircraft, and accessible by railway from both the northern or the southern battlefields. In 1917, 100,000 troops were camped among the sand dunes and the hospitals, which included eleven general, one stationary, four Red Cross hospitals and a convalescent depot, could deal with 22,000 wounded or sick.
www.cwgc.org/search/cemetery_details.aspx?cemetery=56500&...
No match on Norlink
The 12 year old Herbert F, (born Norwich), is recorded on the 1901 census at 60 Beaconsfield Road, in the Parish of St James. This is the household of his parents, Thomas, (aged 44 and a “Restry Cook and Cow Feetner” - Genes Re-united transcriber, or “PastryCook and Confectioner” - Moominpappa, from Great Yarmouth), and Harriet F, (aged 41 and from Ludham). Their other children are:-
Annie M……………….aged 10.………….born Norwich
Arthur S……………….aged 17.…………..born Norwich………Railway Telegraphist
Audrey A………………aged 19.………….born Norwich
Charles Ed……………..aged 14.………….born Norwich………Railway Telegraph Messenger
Edward E………………aged 4.…………born Norwich
Ernest………………….aged u/1.………..born Norwich
Frederick J…………….aged 7.………….born Norwich
George Wm……………aged 5.…………born Norwich
The International Genealogical Index has further details. Herbert Francis was born the 25th July 1888 in the parish of St Peter Parmentergate. He would marry Alice Maud Armes, on the 10th November 1917 in the Parish Church of St Augustines.. His place of death is recorded as the 4th General Hospital, Carniers.
www.familysearch.org/Eng/Search/IGI/individual_record.asp...
Alice was born 1897 and would finally die in 1994, having been 75 years a widow.
His parents were Thomas Wade Gooch and Harriet Frances Storey.
www.familysearch.org/Eng/Search/IGI/individual_record.asp...
The 4th Division, of which the 1st Kings Own formed part were heavily engaged in March and April 1918 in fighting off the the German Spring offensive including
First Battle of Arras. 28 Mar 1918.
Battle of Hazebrouck. 12-15 Apr, including the defence of the Hinges Ridge and the Nieppe Forest.
Battle of Bethune. 18 Apr 1918, including the second defence of Givenchy.
L\Corporal Gooch could have succumbed to wounds received in any of these actions.
*******************Private Ralph V Gant********************************
Only R V Gant on the CWGC database
Name: GANT, RALPH VICTOR
Rank: Private
Regiment: Essex Regiment Unit Text: 10th Bn.
Date of Death: 21/03/1918
Service No: 34675
Grave/Memorial Reference: Panel 51 and 52. Memorial: POZIERES MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1581248
No match on Norlink
A family web-site adds that he was the husband of a Glady Gant
www.gant-name.org.uk/lestweforget.html
The 7 year old Ralph, (born Norwich), is recorded on the 1901 census at 30 Old Palace Road, Norwich, in the parish of St Bartholomew. This is the household of his parents, Benjamin, (aged 42 and a house builder from Reedham), and Emma, (aged 50 and from Norwich). Their other children are:-
Alice………………aged 17.……………born Norwich…….Dressmaker
Benjamin………….aged 13.……………born Norwich
Ethel………………aged 20.……………born Norwich…….Tailoress
Frederick………….aged 19.……………born Norwich…….Carpenter
The Gants also have a boarder living with them, Caroline Thompson, aged 20 and from Strumpshaw who works as a dressmaker.
Given that information and checking the family web-site we can also identify that brother Frederick fell in the Great War.
Name: GANT Initials: F T
Rank: Rifleman
Regiment: King's Royal Rifle Corps Unit Text: 11th Bn.
Age: 35 Date of Death: 25/09/1917
Service No: R/15481
Additional information: Son of Emma and the late Benjamin Gant, of 67, West End St., Norwich, Norfolk.
Grave/Memorial Reference: VI. B. 11A. Cemetery: WIMEREUX COMMUNAL CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=508460
21st March 1918
From the diary of the 8th Battalion East Surrey Regiment, who were in the same division.
21st March 1918. St Quentin, Soissons, Amiens.
The enemy artillery had been gradually increasing in intensity all night, and at 4.30 am reached a maximum, and the battalion was ordered to stand to. The shelling was all east of the CROZAT CANAL and no shells fell near the camp.
At 12.30 pm the commanding officer received a verbal order from the Divisional Headquarters to take the Battalion at once to a position of assembly on the Western outskirts of REMIGY and to proceed himself to the H.qtrs of the 10th ESSEX REGT at LY FONTAINE, where he would received further orders from the G.O.C 53rd Inf. Bde. This order was carried out at once, Companies being in the assembly area by 1.30pm.
The C.O reported to the Hqts 10th Essex Regt but found no orders for him there until about 2pm when Col.Minette DSO MC DGMO turned up with orders from the Division to hold LY FONTAINE - GIBECOURT SWITCH LINE, on the west of LY FONTAINE.
As parties of the enemy could now be seen close to the switch line on the east of LY FONTAINE, the Commanding Officer decided to send “D” Company to make good that section of the line, and for “A” and “C” companies to hold the LY FONTAINE - GIBECOURT SWITCH with “B” Co in Battalion reserve, ½ mile North of REMIGY. These dispositions were taken up and about 3.30 pm a message was received from Brig.Gen Higginson, DSO commanding 53rd Bde that enemy cavalry were working round our left rear from the direction of MONTESCOURT.
Two platoons of “B” Co were therefore ordered to take up a line facing N.W to guard against surprise from that quarter. Battalion H.qrs were established in the North end of REMIGY.
At 9.30pm an order was received from the 53rd Bde to the effect that the battalion would take up a line N and E of REMIGY to cover the retirement of units of the 53rd Bde at 10.30 pm, and that when this operation had been completed, the battalion would withdraw in rearguard formation to the West of CROZAT CANAL and rendezvous at FRIERES - FAILLOUEL, this withdrawal to commence at midnight.
qrrarchive.websds.net/PDF/ES00819180304.pdf
Update 08/01/2020 see the comments box below for more on Ralph
*******************Private Arthur Grady*********************************
Possibly
Name: GRADY Initials: A
Rank: Private
Regiment: Norfolk Regiment Unit Text: 1st Bn.
Date of Death: 27/11/1914 Service No: 6248
Grave/Memorial Reference: A. 10. Cemetery: BAILLEUL COMMUNAL CEMETERY (NORD)
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=197599
The Great War Roll of Honour confirms this is an Arthur Grady, and in fact he would appear to be the only one. The same source has an Arthur B, a Corporal in the East Surrey Regiment who died in 1916, but underneath is added ALIAS Cumbers. However, on the CWGC database, there is no match under Grady, but there is an Arthur Bertie Cumbers listed.
www.cwgc.org/search/casualty_details.aspx?casualty=757942
No match on Norlink
The 17 year old Arthur, (born Norwich), is recorded at Vine Cottage, Yarmouth Road, Thorpe - next - Norwich. He is employed as a Labourer. He is shown as the son of the householder Henry Murrell, (aged 60 and a Coach-builder from Caston, Norfolk), and Susanna, (aged 62 and from East Dereham), however, presumably Henry is his step-father. By the time of the 1911 census, Arthur is recorded at Bakewell,
Bailleul was occupied on 14 October 1914 by the 19th Brigade and the 4th Division. It became an important railhead, air depot and hospital centre, with the 2nd, 3rd, 8th, 11th, 53rd, 1st Canadian and 1st Australian Casualty Clearing Stations quartered in it for considerable periods.
www.cwgc.org/search/cemetery_details.aspx?cemetery=200004...
18/11/14 Took over trenches at KEMMEL from the French.
27/11/14 Relieved by ROYAL FUSILIERS and moved to billets at DRANOUTRE.
1914-1918.invisionzone.com/forums/lofiversion/index.php/t...
********************Private Fred H Hall*********************************
5 potential matches on the CWGC, none with an obvious link.
No match on Norlink
No obvious Fred H, Frederick H or Fredrick H Hall with a Norwich connection on the 1911 census.
Possibles from the 1901census
Fredrick aged 9, born Norwich, recorded at Hammonds Yards in the Parish of St Augustine. Father Arthur, (aged 41, Stone Marble Mason born Norwich) and Harriet, (aged 43, born Norwich). Also Edgar, (12), Frank (3), Gertrude (5), Jessie (7).
Frederick aged 3, born Norwich, recorded at 16 Waterloo Road in the parish of Christ Church. Father George, (aged 38, Boot Riveter, born Norwich) and Rosa (aged 36, born Norwich). Also Arthur, (u/1), Ernest, (9), Ethel, (6), George, (12).
Frederick aged 8, born Norwich, recorded at 63 Albany Road in the parish of Christ Church. Father Robert, (aged 42, Boot Finisher born Norwich) and Mary (aged 39 born Norwich). Also Arthur (12), Charles (1), Elizabeth (21), Flora (17), Hannah (14), Herbert (4), Robert (16), Walter (10).
Great War Roll of Honour
Fred H. Private11589N&D R1914
Looks like that this is a Frederick Henry who came from Chesterfield
www.cwgc.org/search/casualty_details.aspx?casualty=878878
Frederick H Private 475135 RAMC1918
www.cwgc.org/search/casualty_details.aspx?casualty=288602
Still no obvious match for this man.
**************Private Sidney Howard*********************************
Number of potentials but no obvious match on CWGC
No match on Norlink
Possibles on the 1901 census
Sidney, aged 5, born Norwich, recorded at 76 Calvert Street in the parish of St George of Colegate. Father John (aged 41 Brushmaker from Norwich) and Eliza (aged 40 and from Norwich). Also Alice (18) and Eliza (13).
Sidney, aged 10, born Norwich, recorded at 2,Popes Building, Calvert Street on the parish of St George Colegate. Father is David, (aged 48, Coach Makers Packer from Norwich) , there is no mother shown although there is a 43 year old unmarried female visitor staying with the family on the night of the census, Christiana Lowe, a dressmaker from Norwich. Making up the rest of the family is Ernest (13) and a boarder George Lowe, (18 an a Boot maker).
Possibly
Name: HOWARD Initials: S
Rank: Private
Regiment: Norfolk Regiment Unit Text: 7th Bn.
Date of Death: 05/12/1917 Service No: 27344
Grave/Memorial Reference: II. C. 56. Cemetery: HONNECHY BRITISH CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=572295
The Great War Roll of Honour confirms this is a Sidney
Honnechy was part of the battlefield of Le Cateau in August 1914, and from that time it remained in German hands until the 9th October 1918, when the 25th Division and the 6th Cavalry Brigade captured it. It had been a German Hospital centre, and from its capture until the end of October it was a British Field Ambulance centre. The village was inhabited by civilians during the whole of the War. The cemetery stands on the site of a German Cemetery begun in the Battle of Cambrai 1917 and used by German troops and then by British until the 24th October 1918. The 300 German graves were removed to another burial ground, leaving 44 British graves; and the cemetery was re-made in 1922 and 1923 by the concentration of British graves almost entirely from German Cemeteries,
www.cwgc.org/search/cemetery_details.aspx?cemetery=63203&...
Giving the date and the way in which the cemetery was used, Private Howard was a prisoner, possibly captured and wounded in an action that had taken place a few days earlier.
Battalion War Diary
Trenches 30th About 7 am a very heavy Hun barrage commenced, and at 7.40 am he attacked in Mass, in enormous numbers from GONNELIEU, which he had just previously taken about 7.35am and also from BANTEAUX. The Bosche attacked the Battalion from the right flank and the front. Our Lewis gunds did splendid work, mowing down the enemy in large numbers, but by weight of numbers he forced the Battalion to fall back on to Battalion Headquarters in BLEAK TRENCH and a strong point on our left front. The Hun succeeded in surrounding many of our men, who were thereby forced to surrender. We made a splendid fight and accounted for enormous numbers of the enemy. About 10.00am Sec.Lieut G Maddison was the only officer left, and he, along with the remaining men of the Battalion, attached himself to the 9th Fusiliers Regt.
Our casualties were as follow
Killed
Captain + acting (M) A M Charlton M C
Sec.Lieut. H E A Payne
Wounded
Capt F R G Haward
Lieut M L Chaland M C
Sec Lieut A M Brown
H Kontili
E C Page
J I Stubbs
C E Pratley
A Anable
Wounded and missing
Lt Col H L F A Gielgud MC
Capt K R Potter M C
Lieut W G Collins
Sec Lieut W H Parish
G D Summers
Missing
Sec Lieut A S Goddard
Sec Lieut W J Kemp was admitted to hospital suffering from shell shock.Our casualties among the rank and file were:-
Killed 27
Wounded89
Missing204
Wounded and Missing 13
There is a note at the end of the page
During the Hun Counter-attack, the War Diary for November was unfortunately lost* and the months diary has had to be compiled from the only information available, which was very little indeed.
* for “lost” read “destroyed when the enemy attacked on Nov.30th”
***************Private Edward Halfacre*********************************
There is also a full panel dedication.
“Sacred to the memory of
Rfm Edward C Halfacre
8th London P.O. Rifles
One of our Sunday School Teachers
Who passed away
21st May 1919”
Edward does not appear to be commemorated on the CWGC database and I can only assume he had already been discharged from the Army when he succumbed to his wounds.
But note there is
Name: HALFACRE, JAMES
Rank: Private
Service: Army Service Corps Unit Text: Labour Coy.
Age: 51 Date of Death: 03/02/1916
Service No: SS/18150
Additional information: Husband of Emily Halfacre, of 20, Bull Close Rd., Norwich. Grave/Memorial Reference: C. VII. 5. Cemetery: PIETA MILITARY CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=115295
No match on Norlink.
The 5 year Edward C, (born Norwich), is recorded on the 1901 census at Kerrisons Yard, Tombland, in the Parish of St Georges Tombland. This is the household of his parents, Edward,(aged 44 and a Coachman from Wokingham, Berkshire) and Elizabeth M A, (aged 42 and a Brushmaker from Norwich),
The baptism of Edward Charly took place at St George’s Tombland on the 5th May 1895, with Theodore Parks officiating. His date of birth is listed as the 2nd April 1896, (but must surely be 1895). His parents Edward and Elizabeth May Alice were in attendance, with his fathers occupation listed as coachman. The family reside at Kerrisons Yard.
Looks like James and Edward are probably cousins, as James father was also from Wokingham in Berkshire,
**************Private William A Hudson********************************
Name: HUDSON, WILLIAM ALFRED
Rank: Private
Regiment: King's Own Scottish Borderers Unit Text: 2nd Bn.
Age: 19 Date of Death: 13/09/1914
Service No: 11521
Additional information: Son of William John and Maria Hudson, of 2, Anchor Yard, St. George's, Norwich.
Memorial: LA FERTE-SOUS-JOUARRE MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=879162
No match on Norlink
The 6 year old William A, born Norwich, is recorded on the 1901 census at 5 Reads Court, in the Parish of St Marks, Lakenham. This is the household of his parents, William I. (aged 32 and a Bricklayers Labourer from Norwich), and Maria (aged 27 and from Norwich). Making up the household is a daughter, Ivy A. aged 2 and born Norwich.
The War diaries of the 1st Battn East Surrey Regiment, who were in the same Division although different brigade, are available on line.
They talk of how they and a battalion of Manchesters, (presumably the 2nd Battalion from the 14th Brigade), with the assistance of Royal Engineers, constructed rafts to cross the Aisne on the 13th, and there met up with units from the 4th Division and together advanced up the spurs towards the heights. In the entry for the 14th there is a mention of forming up with two (unnamed) battalions of the 13th Brigade who had crossed the Aisne further up by bridge.
qrrarchive.websds.net/PDF/ES00119140907.pdf
**************Private George W Howell********************************
Name: HOWELL, GEORGE WILLIAM
Rank: Private
Regiment: Canadian Infantry (Central Ontario Regiment) Unit Text: 4th Bn.
Age: 22 Date of Death: 23/04/1915
Service No: 11244
Additional information: Son of Arthur and Charlotte Howell, of 52, Esdelle St., Norwich, England.
Grave/Memorial Reference: Panel 18 - 24 - 26 - 30. Memorial: YPRES (MENIN GATE) MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1593158
No match on Norlink
George Williams enlistment papers can be seen here
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
He was born 22/03/1893 and gives his birthplace as Norwich, England. It looks like his occupation is plowman, although given the handwriting it could equally be plummer. He was 5 feet 4 inches with blue eyes and brown hair.
His next of kin was his mother , Charlotte Howell, then of 63 Esdelle Street. He had previously served in the 36th Regiment of Militia. He enlisted on the 22nd September 1914.
George W is on the 1901 census for England and Wales. Aged 8 and born Norwich, he is recorded at 63 Esdelle Street, in the parish of St Augustines. This is the household of his parents, Arthur, (aged 31, and a Stone Mason from Norwich), and Charlotte, (aged 36 and from Wellingham (?), Norfolk). Their other children are:-
Arthur……………………..aged 9.……………..born Norwich
Lottie M…………………..aged 6.……………..born Norwich
Mabel K…………………..aged 1.……………..born Norwich
Reginald J…………………aged 3.…………….born Norwich
Extract from the War Diary.
23rd April VLAMERTINGHE
12.30 am the Battalion moved off, crossed No.4 Pontoon bridge of the YSER canal at 4.10 a.m.
4.30 am Battalion halted at a farmhouse 1200 yards west of PICKLEN were the enemy were entrenched. We commenced to advance towards ridge at 5.25 am, B COY leading and occupying a portion of 150 yards frontage. The other Coys followed. Artillery and Machine Gun fire of the enemy very heavy. Entrenched at 400 yards from enemy. Lieut-Col Birchall took command of C Coy when Coy Commander was wounded.
7 pm Lieut-Col Birchall killed.
9pm Battalion came out of action relieved by East Yorks. Adjutant killed, 2nd in command wounded, 16 other casualties amongst Officers, other ranks 487. The Battalion congregated at Transport Lines B.29.B and remained there during the night. Major Ballantine in Command.
data2.collectionscanada.ca/e/e044/e001077583.jpg
data2.collectionscanada.ca/e/e044/e001077584.jpg
*******************Private John Hardy**********************************
Possibly
Name: HARDY, JOHN
Rank: Private
Regiment: Norfolk Regiment Unit Text: 2nd/4th Bn.
Age: 45 Date of Death: 21/02/1916
Service No: 2166
Additional information: Husband of Mary Helen Hardy, of 39, St. George's St., Norwich. Grave/Memorial Reference: DD. 95. Cemetery: AYLESBURY CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=343756
No match on Norlink
The 29 year old John, (born Norwich and employed as a Shoe Maker), is recorded on the 1901 census as the Head of household at 6 Angel Yard in the Parish of St Martin at Oak. His wife, Mary, is aged 24 and from Norwich. Their children then are:-
Alice………………aged 1.…………..born Norwich
John……………….aged 5.…………..born Norwich
Rosa……………….aged 2.…………..born Norwich
On the 1891 census the 19 year old John is recorded in Colchester Barracks, as a private soldier in the 2nd Norfolk Regiment. On the 1881 census the 9 year old John is recorded at 7 Reeves Yard in the Parish of St Marys Coslany. This is the household of his parents Robert and Maria and is one of seven children.
2/4th Battalion
Formed in Norwich in September 1914 as a Second Line Battalion. Disbanded in UK in June 1918.
www.1914-1918.net/norfolks.htm
**************Private Ernest C Jolly*************************************
4 potential matches on CWGC, no obvious candidates
No match on Norlink
There is a baptism record for an Ernest Jolly which took place on the 22nd March 1899 at St Peter Parmentergate. Ernest was born 30th December 1881. His father is listed as William, a Brush Maker. The family reside at Kings Street. No mothers name is recorded.
There are no obvious Ernest C’s on the 1911 Census for England and Wales and there are no Ernest C’s on the Great War Roll of Honour, which leads me to wonder if this is actually Ernest G.
Name: JOLLY, ERNEST GEORGE
Rank: Private
Regiment: King's Own Scottish Borderers Unit Text: 1st/5th Bn.
Date of Death: 19/04/1917 Service No: 201807
Grave/Memorial Reference: Panels 23 and 24. Memorial: JERUSALEM MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1645813
However, while there are two potential matches for an Ernest Jolly on the 1901 census with a Norwich connection, one is ruled out by a different initial, while the other is recorded at 5 Globe Place in the Parish of St Bartholomew. He is aged 5, born Norwich, and is the step-son of the head of the household, Charles, (aged 45 and a House Painter, shown as a British Subject born India). His wife, Ernest’s mother is Rosetta, (aged 35 and born Norwich). As well as Ernest, she has brought another son Percy, (aged 9), with her. .Meanwhile the Harper’s have a daughter of their own, Alice L. aged 1.
The individual baptised at St Peter Parmentergate in 1899 does not appear on the 1891, 1901 or 1911 censuses.
*******************Private Arthur Lane***********************************
Too many possible, no obvious candidates
No match on Norlink
No obvious match on the 1901 or 1911 census for England and Wales.
************Private Edward H Loombe**********************************
No matches at all for the surname Loombe on the CWGC database
No match on Norlink
The 1911 census has an Albert Edward, born Norwich\Kent(?) circa 1893 and still recorded in Norwich,
The 7 year Albert, (born Norwich) is recorded on the 1901 census at 24 Silver Street in the Parish of St James, Pockthorpe. This is the household of his parents, Robert W (aged 46, and a Labourer in an Electrical Works from Norwich) and Caroline, (aged 45 and from Norwich). Their other children are:-
Alice N……………aged 17.………..born Norwich……………Woollen Jacket Member
Bessie L……………aged 15.……….born Norwich…………….Yarn Packer
Ethel M……………aged 10.……….born Norwich
Leah M…………….aged 19.……….born Norwch…………….Crepe Worker
Robert M…………..aged 12.………born Norwich
However, there is an Albert Edward Loombe recorded as the Landlord of the Magpie Public House, Magpie Road, from 1934 to 1940.
www.norfolkpubs.co.uk/norwich/mnorwich/nchmagp.htm
I then started looking at other sources for similar sounding surnames.
The Great War Roll of Honour lists a Private Edward Loome, 43262 Norfolk Regiment who died in 1916.
This leads us to this gentleman
Name: LOOME, EDWARD HENRY
Rank: Private
Regiment: Norfolk Regiment Unit Text: 1st Bn.
Age: 35 Date of Death: 04/09/1916
Service No: 43262
Additional information: Son of Edward Mark and Harriett Loome; husband of Susanah Ruth Loome, of 10, Esdelle St., St. Augustines, Norwich.
Grave/Memorial Reference: Pier and Face 1 C and 1 D. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=801343
The battalion attack was on Falfemont Farm. The attack was held up and casualties were being caused by bombing and small arms fire before they eventually took the objective only to come under friendly artillery fire that caused serious casualties. According to the Regimental casualty book 56 all ranks were killed, 219 wounded and 94 missing, believed killed, a total of 369. The battalion was relieved the next day.
1914-1918.invisionzone.com/forums/lofiversion/index.php/t...
(Private Cannell who is also commemorated on this Roll of Honour died in the same action)
The 1901 census has the 19 year old Edward H, born Norwich, single and employed as a journeyman baker, recorded at 12 Esdelle Street in the parish of St Augustines. This is the household of his parents, Edward M, (aged 46 and a Brewery Cooper from London), and Harriet, (aged 46 and from Barton Mills, Suffolk). Their other children are:
Ethel M……………aged 14.………………born Norwich……………..Tailoress
Frederick G………..aged 7.………………..born Norwich
Maud L……………aged 12.……………….born Norwich
Sydney F…………..aged 16.………………bprn Norwich……………Journeyman Baker
Although I do not have detailed access to the 1911 census, there is a Ruth Susannah, born Circa 1882, Ryland South (?) Great Yarmouth.who lives in the same Norwich household as an Edward Henry who is aged 29 and was born Norwich..
By a process of trial and error !, we can also establish that living in the same household is Lily Ethel Maud Loome, (born circa 1906, St Augustines, Norwich), May Ruth Loome, (born circa 1908 St Augustines, Norwich), and Rosa Harriett Loome, (born circa 1910, St Augustines, Norwich).
The balance of evidence so far is that the name carved on the St Augustines Roll of Honour was incorrect, and one wonders if it caused concern and distress at the time.
**************Private Albert J Lundy*************************************
Only one A J Lundy on the CWGC database
Name: LUNDY, ALBERT JAMES
Rank: Private
Regiment: Northumberland Fusiliers Unit Text: 1st Bn.
Date of Death: 19/09/1914
Service No: 1263
Memorial: LA FERTE-SOUS-JOUARRE MEMORIAL
CWGC <a href="http://www.cwgc
Anna May Wong plays Kim Ling, a dutiful daughter determined to reclaim the good name of her father, a Chinese general. To prove his innocence, she travels to the jungle work farm of Gregory Prin (J. Carrol Naish), who has the evidence she needs. With the help of secret agent Anthony Quinn, she clears her father and brings Prin down.
Anna May Wong and J. Carroll Naish, so memorably teamed in Paramount's Dangerous to Know, are costarred once more in Island of Lost Men. Naish plays ruthless jungle plantation owner Gregory Prin, who runs his domain like a dictatorship and treats his workers little better than slaves. Into Prin's world comes Kim Ling (Wong), daughter of a disgraced Chinese general. Kim Ling hopes to clear her father's name by bringing his primary accuser, Prin, to justice. The native-uprising finale is rendered in gloriously gruesome detail. A remake of the 1931 Charles Laughton-Carole Lombard starrer White Woman, Island of Lost Men also offers early but well-rounded performances by Anthony Quinn (as a Chinese patriot!) and Broderick Crawford.
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
In loving memory of
Bridget Annie ANGEL-SMITH
Dearly loved wife of
Gerald S. ANGEL-SMITH
Died 8th Sept. 1935
Aged 80 years (60 years in NZ viz arrived c1875) [1]
Bromley Cemetery
Block 23 Plot 23 [1]
Her death notice states she died at her residence 1007 Colombo Street, St. Albans.[4]
Cannot find Bridget on the NZ Dept Int. Affairs historical death indexes no matter what combination of names and spelling I give.
Bridget maiden name BRADLEY [17]
Bridget’s husband Gerald Parker Stanley ANGEL SMITH (no hypen) and they married 1910 in New Zealand[6] (name noted also as ANGELSMITH and forenames interchangeable on some records)
***************
GERALD
1873
Gerald’s Birth registration [10]: 1873 third quarter (Jul-Aug-Sep); Vol, 4a Page 662
Registration district Woodbridge, Suffolk.
1895
Attestation papers [9]:
Gerald Angel Smith (sic) Corps. 1st Dragoons
In the Parish of Woodbridge in or near the town of London in the county of Suffolk.
British subject aged 22
He has signed the paper “Angel-Smith”
Had previous served in 1st Dragoon Guards (purchased discharge) and 4th Essex Regt. Resigned commission.
5ft 10 ¾ inches
Fair complexion
Brown eyes
Red hair
Church of England
Considered fit on 27 August 95 (1895), London for Corps of Dragoons of the Line.
Name and address of next of kin: Father Percival S. Angel-Smith, Sydney, Australia.
1898
Regimental number (Scots Guards): 1917 [11]
Enlistment year: 1898 [11]
Name as Angel-Smith
1915
He is noted as being enlisted in at Christchurch for the Infantry and living at 170 Tancred Street, Linwood.[2]
Another article states he was to join the mounted[5]
1916-1917 New Zealand World War 1 Army Reserve Rolls, 2nd Division [12]:
Angel-Smith, Gerald Stanley, Assurance Agent, 114 Fitzgerald Avenue, Christchurch
Class D – Reservists who have three children. (NB: no children show as registered in NZ in the NZ Dept Internal Affairs historical BDM indexes under differing spellings of this surname).
He does not appear on Cenotaph Database (will contact).
There is no military personnel file for him that I can find online at Archives NZ
1936
He is briefly mentioned as staying at the Midland Hotel. Presuming this is Wellington as the item is in the Evening Post. [3]
1943
It appears he dropped the hyphen after moving to England and remarried there.
Death: 7 October 1943, Hampshire, England
Probate date: 24 November 1943
Probate registry: Llandudno
“ANGELSMITH, Gerald Stanley Parker of Farlow 13 Walpole-road Boscombe Hampshire...to Marion Angelsmith widow. Effects £538 11s. 9d. [7]
(Hunting where his grave is. Possibly either Hampshire, England or Llandudno, Wales.)
Gerald’s father and grandfather:
Gerald Stanley Parker ANGELSMITH (sic) baptised 24 August 1873, Suffolk County Bts, Suffolk England. Son of Percival Stanley Ernest ANGELSMITH and Annie Alice.[8]
A super quick search on ancestry.co.uk finds Stanley’s father given on a contributors tree as Rev. Francis Angel-Smith 1817-1892. I found an item on Paperspast almost certainly about that gentleman, titled Oxford Memories and specially written for The Press by G.M.L. Lester:
“...the Rev. Angel-Smith, Precentor of Magdalene. He was a most beautiful young man. His features, his complexion, his hair, his moustache were perfection, according to the standards of the time. He dressed with the discrete smartness of an eighteenth century abbe. In addition to a lovely tenor voice, he possessed all the airs and graces which are appropriate to one who moves in ladies; boudoirs, and, to cap all, his name was Angel-Smith. I used to meet him at the Musical Society, and never ceased to wonder at the completeness of his type.”
Myyyy what a colourful character he sounds! According to the family tree I found online, Rev A-S wed Louisa LEATH 21 Dec. 1844 at St Peter, Walworth, England and had 11 children including Percival. [13]
An article in ‘Trove’ states:
“A man named Percival Angel Smith died at Yate’s Hotel on Sunday afternoon, and was buried on Monday. From what we can learn it appears that the deceased, who is said to be well connected, and to have come from Dover, England, has for some time been residing at Wybong for the benefit of his health, and was brought to town about a fortnight ago. The cause of death is said to have been consumption.[16]
From
Alumni Cantabrigienses; a biographical list of all known students, graduates and holders of office at the University of Cambridge, from the earliest times to 1900[14]:
ANGEL-SMITH or SMITH, FRANCIS ANGEL.
Adm. pens, at Queens', May 29, 1846. Matric. Michs. 1846, as Smith, Fra.
Angel; B.A. 1850; M..-\. 1856; LL.D. 1878. Ord. deacon, 1850; priest (Sarum) 1851. Canon of Canterbury, 1854-82.
R. of St Peter's with Holy Cross, Canterbury, 1855-82. R. of Aldburgh with Golden Parva, Yorks., 1882-7. R- of Batheaston, Somerset, 1887. Assumed the surname of Angel-Smith. Died Nov. 23, 1892, aged 76, at Upper Clatford rectory, Andover. Father of the next three. {Cambridge Chronicle, Dec. 2, 1892.)
ANGEL-SMITH, NORMAN LESLIE.
Adm. pens, (age 18) at Magdalene, July 14, 1877. S. of Francis (1846), clerk, of
The Precincts, Canterbury. School, Wisbech. Matric. Michs. 1877, as Angel-Smith, N. L. Died Dec. 15, 1931, aged 73, at Hastings. Brother of Percival S. E. (1870) and Reginald W. (1871). {The Times, Dec. 22, 1931.)
ANGEL-SMITH, PERCIVAL STANLEY ERNEST.
Matric. pens, from Queens', Michs. 1870. [S. of Francis (1846), clerk.]
Brother of Norman L. (1877), etc.
ANGEL-SMITH or ANGELL-SMITH, REGINALD WALTER
ANGEL. Matric. pens, from Queens', Michs. 1871, as Angel-Smith, R. W. A. [S. of Francis (1846), clerk; post Angel-Smith.] B.A. 1875. Ord. deacon, 1874; priest (Worcester) 1875; C. of St James's, Dudley, 1874-6. C. of All Saints', South Acton, Middlesex, 1876-8. C. of St Augustine's, Queen's Gate, London, 1878-80. C. of Basingstoke, 1880-6.
Minor Canon of Bristol, 1886-92. V. of Winsley with Limpley Stoke, 1892-1922. Surrogate, dio. Salisbury, 1892-1922.
Died Oct. 23, 1922. Brother of Norman L. (1877). {Crockford; Scott, MSS.)
Reginald got in a spot of bother in 1909 when he was summoned for assaulting the village nurse Margaret Sperring at Winsley-cum-Limpley (sic) – he did apologise and eventually the case was withdrawn.[15]
SOURCES:
[1]
heritage.christchurchcitylibraries.com/Cemeteries/interme...
[2]
Paperspast portal via National Library of New Zealand website; Sun (Christchurch), 23 November 1915; paperspast.natlib.govt.nz/newspapers/SUNCH19151123.2.55?i...
see also paperspast.natlib.govt.nz/newspapers/LT19151124.2.106?ite...
[3]
Paperspast portal via National Library of New Zealand website; Evening Post, 5 May 1936; paperspast.natlib.govt.nz/newspapers/EP19360505.2.136?ite...
[4]
Paperspast portal via National Library of New Zealand website; Press, 9 September 1935;
paperspast.natlib.govt.nz/newspapers/CHP19350909.2.2.2?it...
[5]
paperspast.natlib.govt.nz/newspapers/TS19151124.2.11?end_...
[6]
ancestry.co.uk; NZ Marriage index 1840-1937; folio 4982
[7]
ancestry.co.uk; England & Wales, National Probate Calendar (Index of Wills and Admoinistrations), 1858-1995 ; 1943; Aadahl-Byworth
[8]
Ancestry.com. England, Select Births and Christenings, 1538-1975 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2014.
[9]
Ancestry.co.uk; UK, British Army World War 1 Service Records, 1914-1920
[10]
FreeBMD. England & Wales, Civil Registration Birth Index, 1837-1915 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2006. via ancestry.co.uk
[11]
ancestry.co.uk; UK, Royal Hospital Chelsea Pensioner Soldier Service Records, 1760-1920
[12]
ancestry.co.uk; New Zealand World War 1 Army Reserve Rolls, 1916-1917, 2nd Division
[13]
Paperspast portal via National Library of New Zealand website; Press, 15 February 1930;
paperspast.natlib.govt.nz/newspapers/CHP19300215.2.69?end...
and
ancestry.co.uk; tree provided by contributor Michael Clark
[14]
archive.org/stream/p2alumnicantabri01univuoft/p2alumnican...
[15]
Trove portal via National Library of Australia; Evening Journal (Adelaide, SA: 1869-1912), Sat 20 Nov 1909; trove.nla.gov.au/newspaper/article/203452528?searchTerm=a...
[16]
Trove portal via National Library of Australia; The Muswellbrook Chronicle (NSW: 1898-1955), Wed 27 Jun 1900; trove.nla.gov.au/newspaper/article/107028610?searchTerm=a...
[17]
NZ Dept Internal Affairs historical BDM indexes
This British musical comedy is loosely based on the story of "Ali Baba and the 40 Thieves," and was first introduced as a London stage production, written, directed, and starring Oscar Asche. It was extremely popular with critics and audiences alike and the play ran for five years, 1916-21, a record at the time. It was then filmed in 1923, and again in 1934, this time with Anna May Wong as Zahrat Al-Kulub, Fritz Kortner as the robber captain Abu Hahan, and George Robey as Ali Baba.
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
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
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
In loving memory of
Bridget Annie ANGEL-SMITH
Dearly loved wife of
Gerald S. ANGEL-SMITH
Died 8th Sept. 1935
Aged 80 years (60 years in NZ viz arrived c1875) [1]
Bromley Cemetery
Block 23 Plot 23 [1]
Her death notice states she died at her residence 1007 Colombo Street, St. Albans.[4]
Bridget's maiden name was BRADLEY[17]
Bridget’s husband Gerald Parker Stanley ANGEL SMITH (no hypen) and they married 1910 in New Zealand[6] (name noted also as ANGELSMITH and forenames interchangeable on some records)
***************
GERALD
1873
Gerald’s Birth registration [10]: 1873 third quarter (Jul-Aug-Sep); Vol, 4a Page 662
Registration district Woodbridge, Suffolk.
1895
Attestation papers [9]:
Gerald Angel Smith (sic) Corps. 1st Dragoons
In the Parish of Woodbridge in or near the town of London in the county of Suffolk.
British subject aged 22
He has signed the paper “Angel-Smith”
Had previous served in 1st Dragoon Guards (purchased discharge) and 4th Essex Regt. Resigned commission.
5ft 10 ¾ inches
Fair complexion
Brown eyes
Red hair
Church of England
Considered fit on 27 August 95 (1895), London for Corps of Dragoons of the Line.
Name and address of next of kin: Father Percival S. Angel-Smith, Sydney, Australia.
1898
Regimental number (Scots Guards): 1917 [11]
Enlistment year: 1898 [11]
Name as Angel-Smith
1915
He is noted as being enlisted in at Christchurch for the Infantry and living at 170 Tancred Street, Linwood.[2]
Another article states he was to join the mounted[5]
1916-1917 New Zealand World War 1 Army Reserve Rolls, 2nd Division [12]:
Angel-Smith, Gerald Stanley, Assurance Agent, 114 Fitzgerald Avenue, Christchurch
Class D – Reservists who have three children. (NB: no children show as registered in NZ in the NZ Dept Internal Affairs historical BDM indexes under differing spellings of this surname).
He does not appear on Cenotaph Database (will contact).
There is no military personnel file for him that I can find online at Archives NZ
1936
He is briefly mentioned as staying at the Midland Hotel. Presuming this is Wellington as the item is in the Evening Post. [3]
1943
It appears he dropped the hyphen after moving to England and remarried there.
Death: 7 October 1943, Hampshire, England
Probate date: 24 November 1943
Probate registry: Llandudno
“ANGELSMITH, Gerald Stanley Parker of Farlow 13 Walpole-road Boscombe Hampshire...to Marion Angelsmith widow. Effects £538 11s. 9d. [7]
(Hunting where his grave is. Possibly either Hampshire, England or Llandudno, Wales.)
Gerald’s father and grandfather:
Gerald Stanley Parker ANGELSMITH (sic) baptised 24 August 1873, Suffolk County Bts, Suffolk England. Son of Percival Stanley Ernest ANGELSMITH and Annie Alice.[8]
A super quick search on ancestry.co.uk finds Stanley’s father given on a contributors tree as Rev. Francis Angel-Smith 1817-1892. I found an item on Paperspast almost certainly about that gentleman, titled Oxford Memories and specially written for The Press by G.M.L. Lester:
“...the Rev. Angel-Smith, Precentor of Magdalene. He was a most beautiful young man. His features, his complexion, his hair, his moustache were perfection, according to the standards of the time. He dressed with the discrete smartness of an eighteenth century abbe. In addition to a lovely tenor voice, he possessed all the airs and graces which are appropriate to one who moves in ladies; boudoirs, and, to cap all, his name was Angel-Smith. I used to meet him at the Musical Society, and never ceased to wonder at the completeness of his type.”
Myyyy what a colourful character he sounds! According to the family tree I found online, Rev A-S wed Louisa LEATH 21 Dec. 1844 at St Peter, Walworth, England and had 11 children including Percival. [13]
An article in ‘Trove’ states:
“A man named Percival Angel Smith died at Yate’s Hotel on Sunday afternoon, and was buried on Monday. From what we can learn it appears that the deceased, who is said to be well connected, and to have come from Dover, England, has for some time been residing at Wybong for the benefit of his health, and was brought to town about a fortnight ago. The cause of death is said to have been consumption.[16]
From
Alumni Cantabrigienses; a biographical list of all known students, graduates and holders of office at the University of Cambridge, from the earliest times to 1900[14]:
ANGEL-SMITH or SMITH, FRANCIS ANGEL.
Adm. pens, at Queens', May 29, 1846. Matric. Michs. 1846, as Smith, Fra.
Angel; B.A. 1850; M..-\. 1856; LL.D. 1878. Ord. deacon, 1850; priest (Sarum) 1851. Canon of Canterbury, 1854-82.
R. of St Peter's with Holy Cross, Canterbury, 1855-82. R. of Aldburgh with Golden Parva, Yorks., 1882-7. R- of Batheaston, Somerset, 1887. Assumed the surname of Angel-Smith. Died Nov. 23, 1892, aged 76, at Upper Clatford rectory, Andover. Father of the next three. {Cambridge Chronicle, Dec. 2, 1892.)
ANGEL-SMITH, NORMAN LESLIE.
Adm. pens, (age 18) at Magdalene, July 14, 1877. S. of Francis (1846), clerk, of
The Precincts, Canterbury. School, Wisbech. Matric. Michs. 1877, as Angel-Smith, N. L. Died Dec. 15, 1931, aged 73, at Hastings. Brother of Percival S. E. (1870) and Reginald W. (1871). {The Times, Dec. 22, 1931.)
ANGEL-SMITH, PERCIVAL STANLEY ERNEST.
Matric. pens, from Queens', Michs. 1870. [S. of Francis (1846), clerk.]
Brother of Norman L. (1877), etc.
ANGEL-SMITH or ANGELL-SMITH, REGINALD WALTER
ANGEL. Matric. pens, from Queens', Michs. 1871, as Angel-Smith, R. W. A. [S. of Francis (1846), clerk; post Angel-Smith.] B.A. 1875. Ord. deacon, 1874; priest (Worcester) 1875; C. of St James's, Dudley, 1874-6. C. of All Saints', South Acton, Middlesex, 1876-8. C. of St Augustine's, Queen's Gate, London, 1878-80. C. of Basingstoke, 1880-6.
Minor Canon of Bristol, 1886-92. V. of Winsley with Limpley Stoke, 1892-1922. Surrogate, dio. Salisbury, 1892-1922.
Died Oct. 23, 1922. Brother of Norman L. (1877). {Crockford; Scott, MSS.)
Reginald got in a spot of bother in 1909 when he was summoned for assaulting the village nurse Margaret Sperring at Winsley-cum-Limpley (sic) – he did apologise and eventually the case was withdrawn.[15]
SOURCES:
[1]
heritage.christchurchcitylibraries.com/Cemeteries/interme...
[2]
Paperspast portal via National Library of New Zealand website; Sun (Christchurch), 23 November 1915; paperspast.natlib.govt.nz/newspapers/SUNCH19151123.2.55?i...
see also paperspast.natlib.govt.nz/newspapers/LT19151124.2.106?ite...
[3]
Paperspast portal via National Library of New Zealand website; Evening Post, 5 May 1936; paperspast.natlib.govt.nz/newspapers/EP19360505.2.136?ite...
[4]
Paperspast portal via National Library of New Zealand website; Press, 9 September 1935;
paperspast.natlib.govt.nz/newspapers/CHP19350909.2.2.2?it...
[5]
paperspast.natlib.govt.nz/newspapers/TS19151124.2.11?end_...
[6]
ancestry.co.uk; NZ Marriage index 1840-1937; folio 4982
[7]
ancestry.co.uk; England & Wales, National Probate Calendar (Index of Wills and Admoinistrations), 1858-1995 ; 1943; Aadahl-Byworth
[8]
Ancestry.com. England, Select Births and Christenings, 1538-1975 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2014.
[9]
Ancestry.co.uk; UK, British Army World War 1 Service Records, 1914-1920
[10]
FreeBMD. England & Wales, Civil Registration Birth Index, 1837-1915 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2006. via ancestry.co.uk
[11]
ancestry.co.uk; UK, Royal Hospital Chelsea Pensioner Soldier Service Records, 1760-1920
[12]
ancestry.co.uk; New Zealand World War 1 Army Reserve Rolls, 1916-1917, 2nd Division
[13]
Paperspast portal via National Library of New Zealand website; Press, 15 February 1930;
paperspast.natlib.govt.nz/newspapers/CHP19300215.2.69?end...
and
ancestry.co.uk; tree provided by contributor Michael Clark
[14]
archive.org/stream/p2alumnicantabri01univuoft/p2alumnican...
[15]
Trove portal via National Library of Australia; Evening Journal (Adelaide, SA: 1869-1912), Sat 20 Nov 1909; trove.nla.gov.au/newspaper/article/203452528?searchTerm=a...
[16]
Trove portal via National Library of Australia; The Muswellbrook Chronicle (NSW: 1898-1955), Wed 27 Jun 1900; trove.nla.gov.au/newspaper/article/107028610?searchTerm=a...
[17]
NZ Dept Internal Affairs historical BDM indexes
The first Chinese-American movie star, Anna May Wong, a highly regarded and talented actress, had a series of major roles in successful films through the 1920s and 1930s. Unfortunately, these parts slowly dwindled during the 1940s due to racism and the "Yellow Peril" Americans felt during the war with Japan. She stars here in the lead role, as Lan Ying Lin, in this suspenseful crime drama directed by Robert Florey. Lin is hunting down her father's killers and aiding FBI agent Kim Lee (Philip Ahn) in an investigation into human traffickers played by J. Carrol Naish and Larry "Buster" Crabbe.
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
Anna May Wong, Akim Tamiroff, Gail Patrick and Lloyd Nolan star in this thrilling crime drama.Based on a play by Edgar Wallace.
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
Anna May Wong stars and Joseph H. Lewis ("Gun Crazy") directs in this World War II adventure film set in Southeast Asia.
Of the two PRC Anna May Wong vehicles filmed during the 1942-43 season, Bombs Over Burma is marginally the best, thanks to the cinematic savvy of writer-director Joseph H. Lewis. Relying more on strong visuals than clever dialogue, the film details the contributions of the courageous Chinese guerilla fighters in keeping the Burma Road safe for Allied transport vehicles during WW2. During the arduous construction of the serpentine thoroughfare, a number of Chinese workers are killed by a mysterious saboteur. It turns out that the assailant is English nobleman Sir Roger Howe (Leslie Denison), who is actually a Nazi agent. Chinese schoolteacher Lin Yung (Anna May Wong) is the freedom fighter responsible for the unmasking and ultimate destruction of the duplicitous Sir Roger (the villain's death scene is the film's hands-down highlight).
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
Parvati with Shiva and sons Ganesha (leftmost) and Kartikeya (rightmost). Parvati is depicted with green complexion, denoting dark complexion.
Light flurries fall down in front of Chicago's Museum of Contemporary Art, a five-storey limestone and cast-aluminum structure. The main entrance uses both symmetry and transparency as themes for its large central glass walls that compose the majority of both the east and west façades of the building.
Olympus PEN Mini E-PM2 with M. Zuiko 17mm f/1.8
Anna May Wong, Elizabeth Allan, John Loder
The port city of Bristol, England, in the 1800s is home to Java Head, a sailing ship line company. The owner has two sons. One, a handsome seafarer, is in love with a local girl, but cannot marry her due to a long-running feud between their fathers. After a lengthy voyage, he returns with a very exotic, noble Chinese wife, which scandalizes the conservative town. His other son, a "landlubber", seeks to convert to steamships, to the disgust of his father. Even worse, he is secretly dealing in contraband.
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
VISHNU
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."
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.
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LAKSHMI
Lakshmi (Sanskrit: लक्ष्मी, lakṣmī, ˈləkʃmi) is the Hindu goddess of wealth, prosperity (both material and spiritual), fortune, and the embodiment of beauty. She is the wife and active energy of Vishnu. Her four hands represent the four goals of human life considered proper in Hindu way of life – dharma, kāma, artha, and moksha. Representations of Lakshmi are also found in Jain monuments. In Buddhist sects of Tibet, Nepal and southeast Asia, goddess Vasudhara mirrors the characteristics and attributes of Hindu goddess Lakshmi, with minor iconographic differences.
Lakshmi is also called Sri or Thirumagal because she is endowed with six auspicious and divine qualities, or Gunas, and also because she is the source of strength even to Vishnu. When Vishnu incarnated on the Earth as the avatars Rama and Krishna, Lakshmi took incarnation as his consort. Sita (Rama's wife), Radha (Krishna's lover), Rukmini is considered forms of Lakshmi. In ancient scriptures of India, all women are declared to be embodiments of Lakshmi. The marriage and relationship between Lakshmi and Vishnu as wife and husband, states Patricia Monaghan, is "the paradigm for rituals and ceremonies for the bride and groom in Hindu weddings".
Archeological discoveries and ancient coins suggest the recognition and reverence for goddess Lakshmi, in Scytho-Parthian kingdom and throughout India, by 1st millennium BC.Lakshmi's iconography and statues have also been found in Hindu temples of southeast Asia, estimated to be from second half of 1st millennium AD.
In modern times, Lakshmi is worshipped as the goddess of wealth. She is also worshipped as the consort of Vishnu in many temples. The festivals of Diwali and Sharad Purnima (Kojagiri Purnima) are celebrated in her honour.
ETYMOLOGY
Lakshmi (Lakṣmī) is one of many Hindu deities whose meaning and significance evolved in ancient Sanskrit texts.
Lakshmi is mentioned once in Rig Veda, but the context suggests that the word does not mean "goddess of wealth and fortune", rather it means "kindred mark or sign of auspicious fortune".
भद्रैषां लक्ष्मीर्निहिताधि वाचि
bhadrauṣāṁ lakṣmīrnihitādhi vāci
"an auspicious fortune is attached to their words"
—Rig Veda, x.71.2, Translated by John Muir
In Atharva Veda, composed about 1000 BC, Lakshmi evolves into a complex concept with plural manifestations. Book 7, Chapter 115 of Atherva Veda describes the plurality, asserts that a hundred Lakshmis are born with the body of a mortal at birth, some good, punya (virtuous) and auspicious, while others bad, paapi (evil) and unfortunate. The good are welcomed, while the bad urged to leave. The concept and spirit of Lakshmi, her association with fortune and the good, is significant enough that Atharva Veda mentions it in multiple books, for example in Book 12, Chapter 5 as punya Lakshmi. In chapters of Atharva Veda, Lakshmi connotes the good, an auspicious sign, good luck, good fortune, prosperity, success and happiness.
In later mythology, Lakshmi is referred to as the goddess of fortune and beauty, identified with Śrī and regarded as the wife of Viṣṇu (Nārāyaṇa). For example, in Shatapatha Brahmana, variously estimated to be composed between 800 BC and 300 BC, Śrī (Lakshmi) is part of one of many theories, in ancient India, about the creation of universe. In Book 9 of Shatapatha Brahmana, Śrī emerges from Prajāpati, after his intense meditation on creation of life and nature of universe. Śrī is described as the beautiful, resplendent and trembling woman at her birth with immense energy and powers. The gods were bewitched, desire her and immediately become covetous of her. The gods approach Prajāpati and request permission to kill her and then take her powers, talents and gifts. Prajāpati refuses, tells the gods that males should not kill females, and that they can seek her gifts without violence. The gods then approach Lakshmi, deity Agni gets food, Soma gets kingly authority, Varuna gets imperial authority, Mitra acquires martial energy, Indra gets force, Brihaspati gets priestly authority, Savitri acquires dominion, Pushan gets splendor, Sarasvati takes nourishment and Tvashtri gets forms. The hymns of Shatapatha Brahmana thus describe Śrī as a goddess born with and personifying a diverse range of talents and powers.
According to another legend, she emerges during the creation of universe, floating over the water on the expanded petals of a lotus flower; she is also variously regarded as wife of Sūrya, as wife of Prajāpati, as wife of Dharma and mother of Kāma, as sister or mother of Dhātṛ and Vidhātṛ, as wife of Dattatreya, as one of the nine Śaktis of Viṣṇu, as a manifestation of Prakṛti, as identified with Dākshāyaṇī in Bharataśrama, and with Sītā, wife of Rāma, and with other women.
In the Epics of Hinduism, such as in the Mahabharata, Laksmi personifies wealth, riches, beauty, happiness, loveliness, grace, charm and splendour. In another Hindu legend about the creation of universe, described in the Ramayana, Lakshmi springs with other precious things from the foam of the ocean of milk when churned by the gods and demons for the recovery of the Amṛta. She appeared with a lotus in her hand, whence she is also called Padmā.
ROOT OF THE WORLD
Lakshmi in Sanskrit is derived from the root word lakṣ (लक्ष्) and lakṣa (लक्ष), meaning "to perceive, observe, know, understand" and "goal, aim, objective" respectively. These roots give Lakshmi the symbolism – know and understand your goal. A related term is lakṣaṇa, which means "sign, target, aim, symbol, attribute, quality, lucky mark, auspicious opportunity".
SYMBOLISM AND ICONOGRAPHY
The image, icons and sculpture of Lakshmi is represented with symbolism. Her name is derived from Sanskrit root words for know the goal and understand the objective. Her four arms are symbolic of the four goals of human being that are considered good in Hinduism - dharma (pursuit of ethical, moral life), artha (pursuit of wealth, means of life), kama (pursuit of love, emotional fulfillment), and moksha (pursuit of self-knowledge, liberation).
In Lakshmi's iconography, she is either sitting or standing on lotus, and typically also carries lotus in one or two hands. Lotus carries symbolic meanings in Hinduism and other Indian traditions. It symbolically represents reality, consciousness and karma (work, deed) in Sahasrara context, and knowledge and self-realization in other contexts. Lotus, a flower that blossoms in clean or dirty water, also symbolizes purity and beauty regardless of the good or bad circumstances in which its grows. It is a reminder that good and prosperity can bloom and not be affected by evil in one's surrounding. Below, behind or on the sides, Lakshmi is sometimes shown with one or two elephants, and occasionally with an owl. Elephants symbolize work, activity and strength, as well as water, rain and fertility for abundant prosperity. The owl, called Pechaka in eastern regions of India, signifies the patient striving to observe, see and discover knowledge particularly when surrounded by darkness. Owl, a bird that becomes blind in daylight, is also a symbolic reminder to refrain from blindness and greed after knowledge and wealth has been acquired.
Wealth symbolically pours out from one of her hands in some representations, or she simply holds a jar of wealth in some representations. This symbolism has multiple meanings. Wealth manifested through Lakshmi means both material as well as spiritual wealth. Her face and open hands are in a mudra that signify compassion, giving or daana (charity).
Lakshmi typically wears a red dress embroidered with golden threads, symbolism for beauty and wealth. She, the goddess of wealth and prosperity, is often represented with her husband Vishnu, the god who maintains human life filled with justice and peace. This symbolism implies wealth and prosperity is coupled with maintenance of life, justice and peace.
NAMES
Lakshmi has numerous names, and numerous ancient Stotram and Sutras of Hinduism recite her various names. She is very closely associated with the lotus, and her many epithets are connected to the flower, such as:
Padma: lotus dweller
Kamala: lotus dweller
Padmapriya: One who likes lotuses
Padmamaladhara devi: One who wears a garland of lotuses
Padmamukhi: One whose face is as beautiful as a lotus
Padmakshi: One whose eyes are as beautiful as a lotus
Padmahasta: One who holds a lotus
Padmasundari: One who is as beautiful as a lotus
Her other names include:
Vishnupriya: One who is the beloved of Vishnu
Ulkavahini: One who rides an owl
Her other names include: Ambika, Manushri, Mohini, Chakrika, Kamalika, Aishwarya, Lalima, Indira, Kalyani, Nandika, Nandini, Rujula, Vaishnavi, Samruddhi, Narayani, Bhargavi, Sridevi, Chanchala, Jalaja, Madhavi, Sujata, Shreya, Maheshwari, Madhu, Madhavi, Paramaa, Janamodini, Tripura, Tulasi, Ketaki, Malati, Vidhya, Trilochana, Tilottama, Subha, Chandika, Devi, Kriyalakshmi, Viroopa, Vani, Gayatri, Savitri, Apara or Aparajita, Aparna, Aruna, Akhila, Bala, Tara, Kuhu, Poornima, Aditi, Anumati, Avashyaa, Sita, Taruni, Jyotsna, Jyoti, Nimeshika, Atibha, Ishaani, Smriti and Sri. She is also referred to as Jaganmaatha ("Mother of the Universe") in Shri Mahalakshmi Ashtakam.
ANCIENT LITERATURE ON LAKSHMI
UPANISHADS
Shakta Upanishads are dedicated to the trinity of goddesses - Lakshmi, Saraswati and Parvati. Saubhagya Lakshmi Upanishad, estimated to be composed before 300 BC, describes the qualities, characteristics and powers of Lakshmi. In second part of the Upanishad, the emphasis shifts to the use of yoga and transcendence from material craving in order to achieve spiritual knowledge and self-realization, the true wealth. Saubhagya-Lakshmi Upanishad synonymously uses Sri to describe Lakshmi.
STOTRAMS AND SUTRAS
Numerous ancient Stotram and Sutras of Hinduism recite hymns dedicated to Lakshmi. She is a major goddess in the Puranas and Itihasa of Hinduism. In ancient scriptures of India, all women are declared to be embodiments of Lakshmi. For example,
Every woman is an embodiment of you.
You exist as little girls in their childhood,
As young women in their youth,
And as elderly women in their old age.
—Sri Kamala Stotram
Every woman is an emanation of you.
—Sri Daivakrta Laksmi Stotram
Ancient prayers dedicated to Lakshmi seek both material and spiritual wealth in prayers.
PURANAS
Lakshmi features prominently in the Puranas of Hinduism. Vishnu Purana, in particular, dedicates many sections to her and also refers to her as Śrī. J. A. B. van Buitenen translates passages describing Lakshmi in Vishnu Purana as, "Śrī, loyal to Vishnu, is the mother of the world. Vishnu is the meaning, Śrī is the speech. She is the conduct, he the behavior. Vishnu is knowledge, she the insight. He is dharma, she the virtuous action. She is the earth, he earth's upholder. She is contentment, he the satisfaction. She is wish, he is the desire. Śrī is the sky, Vishnu the Self of everything. He is the moon, she the beauty of moon. He is the ocean, she is the shore". This unified, complementing and integrated image of Lakshmi and Vishnu as wife and husband, notes Patricia Monaghan, is "the paradigm for rituals and ceremonies for the bride and groom in Hindu weddings".
SUBHASITA, GNOMIC AND DIDACTIC LITERATURE
Lakshmi, along with Parvati and Saraswati, are subjects of extensive Subhasita, gnomic and didactic literature of India. Composed in 1st millennium BC through the 16th century AD, these are short poems, proverbs, couplets or aphorisms in Sanskrit, written in precise meter. They sometimes take the form of dialogue between Lakshmi and Vishnu, or highlight the spiritual message in Vedas and ethical maxims from Hindu Epics through Lakshmi. An example Subhashita is Puranarthasamgraha, compiled by Vekataraya in South India, where Lakshmi and Vishnu discuss niti (right, moral conduct) and rajaniti (statesmanship, right governance) - covering in 30 chapters, ethical and moral questions about personal, social and political life.
MANIFESTATIONS AND ASPECTS
In eastern India, Lakshmi is seen as a form of one goddess Devi, the Supreme power; Devi is also called Durga or Shakti. Lakshmi, Saraswati and Parvati are typically conceptualized as distinct in most of India, but in states such as West Bengal and Odisha, they are regionally believed to be forms of Durga.
Lakshmi is seen in two forms, Bhudevi and Sridevi, both either side of Sri Venkateshwara or Vishnu. Bhudevi is the representation and totality of the material world or energy, called the aparam Prakriti, in which she is called Mother Earth. Sridevi is the spiritual world or energy, called the Prakriti. Lakshmi is the power of Vishnu.
Inside temples, Lakshmi is often shown together with Vishnu. In certain parts of India, Lakshmi plays a special role as the mediator between her husband Vishnu and his worldly devotees. When asking Vishnu for grace or forgiveness, the devotees often approach Him through the intermediary presence of Lakshmi. She is also the personification of the spiritual fulfillment. Lakshmi embodies the spiritual world, also known as Vaikunta, the abode of Lakshmi-Narayana or Vishnu, or what would be considered heaven in Vaishnavism. Lakshmi is the embodiment of God's superior spiritual feminine energy, Param Prakriti, which purifies, empowers and uplifts the individual.
SECONDARY MANIFESTATIONS
Ashta Lakshmi (Sanskrit: अष्टलक्ष्मी,Aṣṭalakṣmī, lit. "eight Lakshmis") is a group of eight secondary manifestations of Lakshmi. The Ashta Lakshmis preside over eight sources of wealth and thus represent the eight powers of Shri Lakshmi. Temples dedicated to Ashta Lakshmi are found in Tamil Nadu such as the Ashtalakshmi Kovil near Chennai, and in many other states of India.
The eight Ashta Lakshmis are as follows:
Ādi Lakṣmī:
The First manifestation of Lakshmi
Dhānya Lakṣmī:
Granary wealth
Veera Lakṣmī:
Wealth of courage
Gaja Lakṣmī:
Elephants spraying water, wealth of fertility, rains and food
Santāna Lakṣmī:
Wealth of continuity, progeny
Vijaya Lakṣmī:
Wealth of victory
Aishwarya Lakṣmī:
Wealth of knowledge and education
Dhana Lakṣmī:
Monetary wealth
Other secondary representations of the goddess include Lakshmi manifesting in three forms: Sri Devi, Bhoo devi, and Neela devi. This threefold goddess can be found, for example, in Sri Bhu Neela Sahita Temple near Dwaraka Tirumala, Andhra Pradesh, and in the Adinath Swami Temple in Tamil Nadu. Sri Devi represents moveable assets (called Chanchala), and Bhoodevi represents immoveable assets (Achanchala).
Mahalakshmi is also shown presidings over eighteen forms of wealth; these include the eight great siddhis (ashta siddhis) of spiritual knowledge or Jnana (Sanskrit: ज्ञान, jñāna).
In Nepal, Mahalakshmi is shown with 16 hands, each holding a sacred emblem or expressing a sacred gesture, or mudra (lotus, pot, mudra of blessing, book, rosary, bell, shield, bow, arrow, sword, trident, mudra of admonition, noose, skull cap, and kettledrum. In this representation Mahalakshmi manifests as a kind, compassionate, tranquil deity sitting not on a lotus, but on a lion.
JAIN TEMPLES
Some Jain temples also depict Sri Lakshmi as a goddess of artha (wealth) and kama (pleasure). For example, she is exhibited with Vishnu in Parshvanatha Jain Temple at the Khajuraho Monuments of Madhya Pradesh, where she is shown pressed against Vishnu's chest, while Vishnu cups a breast in his palm. The presence of Vishnu-Lakshmi iconography in a Jain temple, built near the Hindu temples of Khajuraho, suggests the sharing and acceptance of Lakshmi across a spectrum of Indian religions. This commonality is reflected in the praise of Lakshmi found in the Jain text Kalpa Sūtra.
CREATION AND LEGENDS
Devas (gods) and asuras (demons) were both mortal at one time, in Hinduism. Amrit, the divine nectar that grants immortality, could only be obtained by churning the Kshirsagar (Ocean of Milk). The devas and asuras both sought immortality and decided to churn the Kshirsagar. The samudra manthan commenced with the devas on one side and the asuras on the other. Vishnu incarnated as Kurma, the tortoise, and a mountain was placed on the tortoise as a churning pole. Vasuki, the great venom-spewing serpent, was wrapped around the mountain and used to churn the ocean. A host of divine celestial objects came up during the churning. Along with them emerged the goddess Lakshmi. In some versions she is said to be the daughter of the sea god since she emerged from the sea.
In the Garuda Purana, Linga Purana and Padma Purana she is said to have been born as the daughter of the divine sage Bhrigu and his wife Khyaati and was named "Bhargavi". According to the Vishnu Purana, the universe was created when the Devas (good) and Asuras (evil) churn the cosmic ocean of milk (Ksheera Sagara). Lakshmi came out of the ocean bearing lotus, along with the divine cow Kamadhenu, Varuni,the tree Parijat, the Apsaras, the Chandra (the moon), and Dhanvantari with Amrita (nectar of immortality). When she appeared, she had a choice to go to Devas or the Asuras. She chose Devas side; and among thirty deities, she chose to be with Vishnu. Thereafter, in all three worlds, the lotus bearing goddess was celebrated.
CELEBRATION IN HINDU SOCIETY
Many Hindus worship Lakshmi on Diwali, the festival of lights. It is celebrated in autumn, typically October or November, every year. The festival spiritually signifies the victory of light over darkness, knowledge over ignorance, good over evil, and hope over despair.
Before Diwali night, people clean, renovate and decorate their homes and offices. On Diwali night, Hindus dress up in new clothes or their best outfit, light up diyas (lamps and candles) inside and outside their home, participate in family puja (prayers) typically to Lakshmi. After puja, fireworks follow, then a family feast including mithai (sweets), and an exchange of gifts between family members and close friends. Diwali also marks a major shopping period, since Lakshmi connotes auspiciousness, wealth and prosperity. This festival dedicated to Lakshmi is considered by Hindus as one of the most important and joyous festivals of the year.
Gaja Lakshmi Puja is another autumn festival celebrated on Sharad Purnima, in many parts of India, on the full-moon day in the month of Ashvin (September–October). The Sharad Purnima, also called Kojaagari Purnima or Kumar Purnima is a harvest festival celebrated on the full moon day of the Hindu lunar month of Asvin. It marks the end of monsoon. There is a traditional celebration of the moon and is also called the 'Kaumudi celebration', Kaumudi meaning moonlight. On Sharad Purnima night, goddess Lakshmi is thanked and worshipped for the harvests.
REGIONAL VARIATIONS
BENGAL
In Bengal, Lakshmi is worshiped on Kojagiri Purnima, in autumn when the moon is full, the brightest night of the year. She, riding on her mount-the great white owl, is believed to bless wealth and resources for content lives on this night. The owl symbolically represents penetrating sight in the darkness of night.
During the celebrations, lotus flowers, sandalwood, vermilion, betel leaves & nuts, fruits and various sweet preparations made from jaggery, rice and coconuts are used for her ritual worship.
Apart from the autumnal celebration, Lakshmi, along with Alakshmi (her shadow energy), is also worshipped during Diwali night in some Bengali communities. The goddess Kali of Kalighat in Kolkata is worshipped in Mahalakshmi form during Diwali. Some people observe Lakshmi Vrata/Puja (fasting and prayer). Women sing a string of poems called 'Panchali', narrating the glories of goddess Lakshmi.
ODISHA
Lakshmi is the goddess thanked after autumn harvests in the month of Mrigashīrsha. Women celebrate the festival Manabasa Gurubara or Lakshmi Puja. On each Thursday of the month, the houses are cleaned and the floors are decorated with floral designs drawn with rice powder mixed with water, called jhoti. Footprints are painted from the doorstep to the place of worship, to symbolize that Lakshmi has entered the house. The roofs are decorated with flower garlands and festoons woven out of paddy stalks.[citation needed] After a purification bath in the morning, the women of the region symbolically offer prayers to paddy considered a bounty from Lakshmi. Different rice cakes and Khiri (rice soup prepared with milk and sugar) are prepared in households and are offered to the deity and then eaten by all.
People in Odisha also worship Gaja Lakshmi on Sharad Purnima, also known as Kumar Purnima. Children wear new clothes and families celebrate the day with feasts. It is a festival of rejoicing for the girls; all of them sing and dance. The songs are of a special nature. They play a kind of game known as puchi and other country games.
HYMNS
Countless hymns, prayers, slokas, stotra, songs, and legends dedicated to Mahalakshmi are recited during the ritual worship of Lakshmi.
These include Sri Mahalakshmi Ashtakam, Sri Lakshmi Sahasaranama Stotra (by Sanathkumara), Sri Stuti (by Sri Vedantha Desikar), Sri Lakshmi Stuti (by Indra), Sri Kanakadhara Stotra (by Sri Aadhi Shankaracharya), Sri Chatussloki (by Sri Yamunacharya), Sri Lakshmi Sloka (by Bhagavan Sri Hari Swamiji) and Sri Sukta, which is contained in the Vedas. Sri Sukta contains the Lakshmi Gayatri Mantra (Om Shree Mahaalakshmyai ca vidmahe Vishnu patnyai ca dheemahi tanno Lakshmi prachodayat Om).
CULTURE
One of Lakshmi's names, Sri (also spelled Shri, pronounced as shree), is commonly used as an honorific prefix or suffix in cultural discourse and human relationships. Affixed to the names of distinguished persons, the honorifics "Shri" (also "Sri," "Shree") and "Shrimati" (also "Srimati," "Shreemati") imply beauty, wealth, prosperity, and auspiciousness.
ARCHAEOLOGY
A representation of the goddess as Gaja Lakshmi, or Lakshmi flanked by two elephants spraying her with water, is one of the most frequent found in archeological sites.[citation needed] An ancient sculpture of Gaja Lakshmi (from the Sonkh site at Mathura) dates to the pre-Kushan Empire era. The Atranjikhera site in modern Uttar Pradesh has yielded terracotta plaque with images of Lakshmi dating to the 2nd century BC. Other archeological sites with ancient Lakshmi terracotta figurines from the 1st millennium BC include Vaisali, Sravasti, Kausambi, Campa and Candraketugadh.
The goddess Lakshmi is frequently found in ancient coins of various Hindu kingdoms from Afghanistan throughout India. Gaja Lakshmi has been found on coins of Scytho-Parthian kings Azes II and Azilises; she also appears on Shunga Empire king Jyesthamitra era coins, both dating to the 1st millennium BC. Coins from the 1st through 4th century AD found in various locations in India such as Ayodhaya, Mathura, Ujjain, Sanchi, Bodh Gaya, Kanauj, all feature Lakshmi. Similarly, ancient Graeco-Indian gems and seals with images of Lakshmi have been found, estimated to be from the 1st millennium BC.
A 1400-year-old rare granite sculpture of Lakshmi has been recovered at the Waghama village along the Jehlum in Anantnag district of Jammu and Kashmir.
A statuette of Lakshmi found in Pompeii, Italy, dates to before the eruption of Vesuvius in 79 AD.
RELATED GODDESSES
JAPAN
Goddess Kishijoten of Japan corresponds to Lakshmi. Kishijoten is the goddess of beauty, fortune and prosperity. Kishijoten is considered the sister of the deity Bishamon (毘沙門, also known as Tamon or Bishamon-ten); Bishamon protects human life, fights evil and brings good fortune. In ancient and medieval Japan, Kishijoten was the goddess worshipped for luck and prosperity, particularly on behalf of children. Kishijoten was also the guardian goddess of Geishas. While Bishamon and Kishijoten are found in ancient Chinese and Japanese Buddhist literature, their roots have been traced to deities in Hinduism.
TIBET AND NEPAL
Goddess Vasudhara in Tibetan and Nepalese culture is closely analogous to goddess Lakshmi.
WIKIPEDIA
In yet another back-the-war effort, Anna Mae Wong leads a group of resistance fighters against the occupation of China by the Japanese.
Though cheaply produced in the time-honored tradition of PRC Productions, The Lady from Chungking was nothing if not timely. Anna May Wong heads the cast as Kwan Mei, the aristocratic leader of a band of Chinese partisans. Operating secretly, Kwan Mei's compatriots wage vicious guerilla warfare against the occupying Japanese troops. The oddly chosen supporting cast includes Harold Huber as a Japanese general and Mae Clarke as White Russian patriot; the nominal leading men, are pair of downed Flying Tigers pilots, are played by general-purpose actors Ric Vallin and Paul Bryar. The second of Anna May Wong's films for PRC, The Lady from Chungking was a distinct step down from the first, Bombs over Burma, which benefited from the directorial knowhow of Joseph H. Lewis.
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
"Gypsy Madonna"
Despite the closed triangle of the group of figures, the "Gypsy Madonna" (probably so called due to her dark complexion) gives the impression of relaxed naturalness. Unlike his teacher Giovanni Bellini, Titian moulds the body not by means of wrapped robes and veils but rather by use of sparing white highlights and subdued shadows. The painter therey shows himself to be of a younger generation for whom the world has become more sensual und tangible. This devotional picture is one of the oldest works of the painter still preserved.
Trotz der geschlossenen Dreiecksform der Figurengruppe gibt die (wohl nach ihrem dunklen Teint benannte) "Zigeunermadonna" den Eindruck entspannter Natürlichkeit. Anders als sein Lehrer Givanni Bellini modelliert Tizian die Körper nicht durch rundgeführte Gewänder und Schleier sondern durch sparsame Weisshöhungen und dezente Schattenpartien. Darin erweist er sich als Maler einer jüngeren Generation, deren Welt sinnlicher, konkreter geworden ist. Das Andachtsbild gehört zu den ältesten erhaltenen Werken des Malers.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
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[citation needed] 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[23] 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).[27] 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 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",[45] 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.[50] 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,[56] 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
File name: 10_03_002090a
Binder label: Perfume/Hair Products
Title: For the hands, face, skin and complexion [front]
Copyright date: 1891
Physical description: 1 print : chromolithograph ; 9 x 14 cm.
Genre: Advertising cards
Subject: Children; Cosmetics
Notes: Title from item.
Statement of responsibility: A. S. Hinds
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Anna May Wong plays Kim Ling, a dutiful daughter determined to reclaim the good name of her father, a Chinese general. To prove his innocence, she travels to the jungle work farm of Gregory Prin (J. Carrol Naish), who has the evidence she needs. With the help of secret agent Anthony Quinn, she clears her father and brings Prin down.
Anna May Wong and J. Carroll Naish, so memorably teamed in Paramount's Dangerous to Know, are costarred once more in Island of Lost Men. Naish plays ruthless jungle plantation owner Gregory Prin, who runs his domain like a dictatorship and treats his workers little better than slaves. Into Prin's world comes Kim Ling (Wong), daughter of a disgraced Chinese general. Kim Ling hopes to clear her father's name by bringing his primary accuser, Prin, to justice. The native-uprising finale is rendered in gloriously gruesome detail. A remake of the 1931 Charles Laughton-Carole Lombard starrer White Woman, Island of Lost Men also offers early but well-rounded performances by Anthony Quinn (as a Chinese patriot!) and Broderick Crawford.
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
youtu.be/fF2F2mXsRog Full Feature
Anna May Wong, Warner Oland, Sessue Hayakawa
World-class Asian criminal genius Fu Manchu seeks retribution on the hated enemy he holds responsible for the murder of his wife and son, enlisting his equally sinister daughter until she's diverted by a crafty Scotland yard inspector. One of the numerous Sax Rohmer screen adaptations from the early sound era.
Princess Ling Moy, a young and beautiful Chinese aristocrat lives next door, unbeknownst to her, to Dr. Fu Manchu, a brilliant but twisted genius who is out to rule the world. She is involved with Ah Kee, a handsome young man, who also unbeknownst to her, is a secret agent out to thwart the heinous plots of Fu Manchu. As it turns out, Fu is not only her next-door neighbor, he is also, (unbeknownst to her), her father. When she finds out, will she take her father's part and fight the men out to get Fu, or will she become a brave heroine and save the world even if it is from the devious doings of her own Dad? Yes, it's dated, and there isn't nearly enough of Warner Oland in it; but it moves along well, has a lot of action, Wong and Hayakawa were fine actors, and if you're a Charley Chan fan, it's worth it to how much, if any, of Fu Oland used when creating Charley Chan.
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
The bus ride from Shenzhen to Enping was long, like watching a freight train chug by, except it doesn't. We had to have been on that bus for seven hours, sometimes napping, and at times, staring out our windows, looking at a world standing still. Traffic was not only a nightmare, but also a mystery, for as many instances in which we could plainly see another egregiously bad vehicular accident, that which has become commonplace, ubiquitous in Chinese travel culture, there were other inexplicable stops in movement, when all of a sudden, as though finishing a swift countdown, our speed dropped so precipitously as to let out a collective lurch, if not in body, then definitely in mind. Calvin, thankfully, in his perspicacity, in his wide-angled, unique view of things, saw beyond the myriad vehicles which lay unmoving as if rocks on a dry riverbed; view the periphery, he bade us, and when we looked to the edges of the road, indeed we witnessed the most peculiar instigator of traffic congestion in the world - men en masse pissing on the side of the road! Men taking leaks creates a domino effect; that one sees another enjoying the relief of an unburdened, easy bladder, so seductive a yoke, that the only retort to the entreaty of this blissful state is to join in with abandon, and impunity. And so soon as the last few shakes are made, back into the cars do these men go, and a few hasty minutes later, traffic flows again!
Mike wanted to stop at a village, so we exchanged an increasingly crowded highway for a narrow, cement road, on which we ventured into the dense verdure. Having reached an impasse in the road soon thereafter, and not knowing how to advance further, to actually enter the village proper, we saw two lovely young ladies saddling a moped, motoring towards us. They then suddenly broke, and turned off our path and onto a dirt one which squeezed through two homes as though a mouse through its diminutive hole - that was our key. We greeted them as the girls turned their heads, offering us inquisitive, yet gentle looks. They would be our guides into town.
Blue showed me around her neighborhood. Together we walked along bumpy corridors and peered through open windows, beyond flitting cobwebs, to lay eyes on rooms where nowadays only impenetrable shadows repose. She and I examined the perfunctory red banners which framed each door in the village, and subsequently hit it off when I began inquiring into the nature of those two swarthy demons who hung menacingly before the closed doors, their gazes insidiously wild, drunk with rage, perhaps. Indeed later, in the quietude of a sunset raining down on us, while standing by ourselves in front of the village hall, I finally shared my faith with her, and in return she declared the lack of her own - her cousin and older sister, however, do know Jesus, she said, which verily warmed my heart, if not hers.
We left the village with much rapidity, but not before I blessed and encouraged Blue's cousin, in whose arms a smiling babe lay, and received joyfully a delectable departing gift: mysterious, "Blue Cookies" (the official Chinese name is 艾糍), whose mottled, homely complexion would disgust if not for the sweetness (an amalgam of sugar, peanuts and herbs) buried inside, a treasure which would be discovered again and again on our tour.
The food around Enping epitomizes, I believe, Guangdong cuisine: inexpensive and egregiously non-spicy. For what they lack in price and incendiary acidity, however, these dishes more than compensate with copious amounts of oil, salt and sugar, mixed together for a tantalizing effect on the taste buds. Our group was fortunate enough to have frequented several Guangdong-style dai pai dongs whose victuals both nourished our bodies and replenished our wallets - it's amazing to consider how $250RMB can feed 15 ravenous, cantankerous-when-hungry Christian bikers. In fact, the feasting grew exponentially more enjoyable as journey progressed, as our two primary orderers began to refine their culinary acuity, accurately predicting what would invigorate and excite our collective palate; it helped, too, that our utensils were pretty clean for Chinese standards!
Our first evening, we secured accommodations in a building that was not so much a hotel, or even a motel, as a grey, dry concrete edifice in which hardwood beds were arrayed neatly in each room; the spartan conditions dismayed some, including myself, at first. However, thankfulness trumped peevishness, and the realization that, in the middle of nowhere, we had mosquito nets to ward off the inexorable squad of mozzies, and one bathroom with boiling water for a very, very scalding shower was more than enough to placate everyone, especially after a hard day of riding. Besides, austerity succors the soul. We even managed to sleep pretty soundly without mattresses. In my somnolent state, I only remember shifting desperately maybe six, or seven times. It was a good night, and a bargain at only 15RMB per person!
On the second day our group dared to test itself on an unknown avenue. Consequently, we were spared the sonorous alarms of gigantic, indomitable trucks and instead subjected ourselves to the vicissitudes of off-road biking, whose soundtrack, undoubtedly for the day, was provided by an orchestra of buzzing cicadas, accompanied, at times, by the rumbling tympani of motorbikes. Oh, the countryside was lush, beautiful verdure all around - a feast for the romantic soul. Yet, for one of my companions, the environment was anything but endearing, for her adeptness at handling the desultory trail, she surely felt, was more chaotic than controlled. She persevered, nonetheless, pushing through her disconsolation to conquer the race marked out for her; such tenacity that only the Father could supply; and that left me thoroughly impressed.
At lunchtime, the evangelization effort began in earnest. It started innocently enough, as I asked a group of girls about the secondary school down the dusty road from our restaurant. Then, on cue, the Spirit, whose pacing can only be described as frenetic, whose rhythm is beyond my comprehension, overwhelmed and took over. Leanne and I brought those three girls to Christ; while Tim was assiduously preaching by our side to a band of boys who had gathered to look on; and behind us, ah Cheung had cajoled five boys to form a circle, hand in hand, for prayer. Many people came to know Jesus that hour. There was undoubtedly some serious fire falling down on us!
We made a pit stop at the Tam clan village. It was another bucolic community, replete with idling boys, young and old, and those two duplicitous demons standing watch from steady doors, which, it appeared, held together together the ramshackle walls beside them. An electricity meter evinced the reality of life in the village, of a living community that flows flittingly in and out of the houses as though cats leaping over canals; because I for one couldn't see how hundreds of people somehow resided inside those homes when I couldn't spot a single one during my brief tour of the grounds. In the open, by our bikes, there were conspicuous signs of life, however. I was standing in the sun, letting its warm rays melt on my skin, when a young man, not even twenty, approached and asked me about our intents and purposes on what was once such a dull afternoon. His curiosity got the better of me, and together we broached a conversation in faith. Simon joined us, and although he whom I named Henry, told us in his obstinacy that he depends on himself alone, I feel as though a small seed of faith was still planted within him. May it bloom at the appointed time when he most needs it.
At last, inside the unlit store where we shared our gleaming hopes and fantastic dreams, Simon and I noticed, to our surprise and delight, two blackboards on which the shopkeeper had written the alphabet, for English as well as for Putonghua (Pinyin). Besides the letters, numbers too had been painstakingly etched into the board, each meticulous stroke perfectly formed. So they ironically were learning that which continues to elude their more economically mobile brethren in Hong Kong, despite their most humble upbringing. I encouraged Henry to pursue this knowledge, since, as the cliche most rightly states, English - and Putonghua, these days - opens up a world of opportunity.
China, it seems to me, is one interminable housing start being carried on the shoulders of giants. Behemoths, really, an armada of green and blue dump trucks, on whose backs are the physical manifestation of the hopes and dreams of billions - timber; stone; and coal - were an inescapable part of our three-day trek. They blew passed us, literally, horns afire; and if you stared into the eyes of the drivers high above on those mechanized elephants, you would see the glee with which they pounded both the road and the eardrums of those unwitting peons foolish enough to be nearby. China - and China Mobile, whose stores we uncovered even in the most remote suburb, might I add! - still has much growth left, and the transportation and infrastructure industries, I'm sure, shall assiduously work to keep it that way. My recommendation: keep investing in China.
Visiting the hot springs had been on our agenda since the inception of the trip. We eventually had our chance the second evening, when we raced down a wending hill to our hotel - a real hotel. Our excitement reverberated in the air, crackling with laughter and shouting. Choosing to swim first and foremost, we left dinner to wait and hurried across the street. The resort was packed with other like-minded people, dressed in swimming costumes that should have left more to the imagination; the temperature of the pool water varied, from tepid in one enclosure to skin-searing in another; and for one marvelous hour, we swam and frolicked like little children again, delighting in some wet fun, a suitable reward for one more arduous day spent on the dusty, dry land.
We capped the end of a successful day with a bang. The girls, oddly enough, were furtive pyromaniacs in our midst, longing in secret to raid the fireworks shop at the base of the hotel. So after our meal, they raced into the cool evening air and we could only endeavor to follow them in their explosive folly. Inside the store, all sorts of bombastic devices were on display, from the unwieldy, block of (Chicago) bull to the sleek spears adorning the wall whose warheads, no doubt, could just so easily take out a few eyes as mercilessly rip the pitch black from the wall of night sky. The ladies suffered to leave no type of firework untouched by the flame, quickly purchasing an arsenal of rainbow-inducing rockets and slim sparklers to make any pyrotechnic maven proud. Outside we went. At length, the bombs burst in the air, and laughter abound so much as we watched the brilliance of Chinese engineering on display. With the girls' scintillating stock depleted, we finally collected ourselves, and headed upstairs for one more day of wonderment.
There was one last village to visit before we reached our final destination of Enping city. As we sped into the shanty community, we knew something was amiss because unlike our other entrances into villages, during which residents would emerge in droves to glimpse us, it seemed as though these villagers preferred the comfort of their own veiled homes to the company of a few, ebullient strangers. It was an ominous setting in which we found ourselves, one characterized by inhabitants rather mistrustful than gregarious, and affable. Nonetheless, we dispersed to share kindness and mercy. To that end, I approached a young lady, a mere 25-years old, who had her three-month old boy on her shoulder and her three-year old son - who was without pants, might I add, preferring to wave them in the air like a terrible towel - by her side. We spoke briefly about her hopes and dreams, which, she says, rest in the well-being of her sons; and then Leanne and I blessed her. That was the end of our village experience in China.
To be around people who sharpen you as iron sharpens iron, that verily is a joy. The villagers were simple, warm and welcoming; my teammates were jocular, presumptuous and faithful; and I, in the midst of this confluence, this mosaic of personalities, philosophies, hopes and dreams, could only seek to love, especially in one of my more pensive moments. The trip tested my patience and tolerance, my ability to accept others for who they are - each a flawed creature like myself. Ultimately, so much as we seek the men of peace everywhere we go, we individually must become men of peace too. A true disciple of Jesus runs that race, and appreciates His grace, which shall always be enough in this life.
From the War Memorial Display, “a Village at War” in the lane approaching the church.
Corporal George Franklin.
It seems George was underage when he enlisted with the Norfolk Regiment. He served in the Boer War, where he was shot in the foot, apparently aged just 16. He was called up upon the outbreak of WW1 and fought at Mons and Le Cateau, and was killed on the Aisne on 19 September 1914, aged 29 years. As George left for war, he said to his wife, “I shan’t look round because if I do, I shall not go!”
That soldier on CWGC is:-
FRANKLIN, GEORGE
Rank:……………………......Corporal
Service No:……………….6696
Date of Death:………….19/09/1914
Age:……………………….....29
Regiment:………………...Norfolk Regiment
……………………………......"D" Coy. 1st Bn.
Panel Reference:
Memorial:…………………LA FERTE-SOUS-JOUARRE MEMORIAL
Additional Information:
Son of Mrs. W. J. Franklin, of Leigate Fen, Ashwichen, King's Lynn, and the late Mr. W. J. Franklin; husband of Violet Victoria Franklin, of Caistor St. Edmonds, Norwich.
CWGC: www.cwgc.org/find-war-dead/casualty/878648/FRANKLIN,%20GE...
SDGW records that Corporal George Franklin was Killed in Action on the 14th September 1914 whilst serving with the 1st Battalion, Norfolk Regiment. He was born Gayton, Norfolk, and enlisted King’s Lynn, Norfolk. No place of residence is shown.
The Medal Index Card for Corporal 6696 George Franklin, 1st Norfolk Regiment, is held at the National Archive under reference WO 372/7/147259
discovery.nationalarchives.gov.uk/details/r/D2233316
Some of his service records survived fire at the Warehouse where they were stored in 1941 – the result of a German incendiary attack in the Blitz.
He attested with the Norfolk Regiment on the 20th October 1903 at Norwich, giving his age then as 18 years and 10 months. He stated he was born Gayton, near Kings Lynn. He gave his trade as Teamman. He stated he had no previous service. He was given service number 6696.
There is an interesting section recording his height, weight and chest measurements at the time of enlistment and after six months service & a gymnastics course.
Height. Was 5 feet 4 and five eighths inches, became 5 feet 7 inches.
Weight was 127lbs became 149lbs.
Chest fully expanded was 34 inches became 38 and a quarter inches
Range of expansion was 2 inches became 2 and three quarter inches.
His complexion was recorded as fresh, his eyes were blue and his hair brown. He gave his religion as Baptist.
His next of kin was initially given as his father, William John, of Bawsey, Kings Lynn. This has been crossed through and then there are two elder brothers, William John, of the Norfolk Regiment and Austin (?) of Bawsey. Finally his wife has been added – Mrs V.V. Franklin, of Caistor St Edmund, Near Norwich.
There is a mention of a marriage certificate being received but there is not a copy or a note of its contents in what remains of his Service File.
Initially stationed at the Regimental Depot he was transferred to the 2nd Battalion on the 22nd February 1904. George achieved a 2nd Class Certificate of Education on the 3rd September 1904. He served in the UK until October 1905, arriving in South Africa on the 12th. On the 24th October 1905 he was appointed unpaid Lance Corporal. He also received at Good Conduct Badge. On the 28th December he extended his service to 8 years with the Colours receiving a pay rise in return. In February 1906 he was made a paid Lance-Corporal. For an incident on the 13th June 1906 he received a severe reprimand for Neglect of Duty at Bloemfontein but the circumstances are not recorded. He lost his Good Conduct Badge at the end of December 1907 for “Insolence to a Senior NCO”, (a Sergeant Loveday), and also received another Severe Reprimand.
George was in South Africa until mid-September 1908, arriving at Gibraltar on the 4th. October. In February 1911 he returned to the UK, having been posted as a Lance Corporal to the 1st Battalion. He arrived back on the 16th February 1911 and completed his service on the 25th October 1911, being posted to the Army Reserve.
His discharge form states he was looking for work as an attendant in a Lunatic Asylum. His qualifications included Engine Driver, having completed a Technical Training Class at Aldershot. He had two Good Conduct Badges as well as the 2nd Class Certificate of Education. There is an entry in the section about trade employment while with the regiment, but this has been water damaged with bits of other records stuck over it.
He was recalled to the Regiment on the 5th August 1914 and promoted Corporal in the 1st Battalion. He was recorded missing from his company on the 14th September 1914. There is what then looks like “1st Unofficial Update. Died from "Wounds received in actn" at Missy, 14th September 1914. His wife was notified of him being missing on the 12th October, followed up by a missing presumed killed on the 23rd.
In December 1914 there is a letter from his sister, Mrs C Sands, of 6 Bone Street, North Street, Kings Lynn, inquiring if anything had been heard.
By February 1916 there is a note in his file that his personal effects and medals were to be sent to a Mrs V.V. Franklin, of Caistor St Edmund, Near Norwich. Violet would sign for his medals in November 1921.
Following the end of the war, the Government of the day decided to pay a War Gratuity. In those cases where the individual had died, Army Form W.5080 was sent to the notified next of kin, asking for details of surviving family members. His Widow signed the form on the 13th May 1919 and had it witnessed by J.W. Corbould-Warren, rector of Caistor St Edmund, Caistor Hall.
The form followed the standard order of inheritance that applied at the time.
Widow of the Soldier: Violet Victoria Franklin, Caistor St Edmund Nr Norwich
Children of the Soldier and dates of their births.
Nelson George Franklin, March 30th 1913, and Annie Gwendoline Fleur(?) Franklin, January 20th 1915. Both of Caistor St Edmund.
Father of the Soldier: William John Franklin, Bausey nr Middleton, Kings Lynn
Mother of the Soldier: Mary Ann Franklin, Bausey nr Middleton, Kings Lynn
Full Blood Brothers of the Soldier: William John Franklin, aged 41, 3rd Norfolk Regiment, Victoria Barracks, Belfast, Ireland and Austin Franklin, aged 34, Shouldham Thorpe, Nr Downham Market, Norfolk.
Half Blood Brothers of the Soldier: None
Full Blood Sisters of the Soldier: Agnes Franklin, aged 28, Bausy Nr Middleton, Kings Lynn, Norfolk
Half Blood Sisters of the Soldier: None
(Note the records available have been merged with the papers of an unrelated Victor Franklin).
The International Red Cross received an enquiry from a Mrs Grissell, of The Grange, Thorpe, Norwich. ( I’ve seen the name before and I believe she may have been part of a Soldiers Welfare organisation, or the local Red Cross at the start of the war). It was asking after “Lance Sergeant” 6696 George Franklin, Norfolk Regiment. On the previous 6th September he had disappeared in the fighting between Mons and Soissons. Unfortunately the record card is undated. No information appears to have been forthcoming from the Germans, and at some point a “nothing heard” response was given.
grandeguerre.icrc.org/en/File/Details/4022644/3/2/
No match on Picture Norfolk, the County Image Archive.
The Government Probate Service holds a Soldiers Will for a 6696 George Franklin who died on the 14th September 1914.
probatesearch.service.gov.uk/Wills?Surname=Franklin&S...
The relevant panel on the memorial can be seen here
www.findagrave.com/cgi-bin/fg.cgi?page=pv&GRid=562401...
1884/85 – Birth
The Birth of a George Franklin was recorded in the January to March quarter, (Q1), of 1885 in the Freebridge District District of Norfolk.
Freebridge District included Gayton.
The most likely birth of his future wife was was that of a Violet Victoria S Frost which was registered with the Civil Authorities in the Henstead District in the July to September quarter, (Q3), of 1887.
1891 Census of England and Wales
The 6 year old George, born Gayton, Norfolk, was recorded living at a dwelling on Lynn Road, Gayton. This was the household of his parents, William J., (aged 43, a Brick Maker, born Burnham Overy, Norfolk) and Mary Ann, (aged 40, born Gooderstone, Norfolk). As well as George their other children living with them are:-
William J…….aged 13…..born Gayton….Agricultural Labourer
Austin………..aged 9……born Gayton
Horace……….aged 3(?- tbc)..born Gayton
Agnes…….aged 4 months..born Gayton
There is no obvious match for anyone with the surname Frost on this census, but there is a 3 year old Violet “Victr” Elmer, born Poringland, Norfolk, who was recorded living at a dwelling on The Hill, Great Poringland. This was the household of her “parents”, Edgar Elmer, (30, an Agricultural Labourer born Pulham Market, Norfolk) and Ann B, (aged 23, born Bramerton, Norfolk. The couple also have a 1 year old son Arthur, (born “Dickleborough”, Norfolk) and a 6 month, (possibly weeks) old son Nelson, (born Poringland). The marriage of an Edgar Elmer to an Ann Bridget Frost was recorded in the Henstead District in the October to December quarter, (Q4), of 1888.
1901 Census of England and Wales
The Franklin family were now recorded living at 5, Bawsey Brickfield, Bawsey, Norfolk. As well as parents William J, (53, Brick Maker) and Mary A, (50, born “Goderstone”, children still single and living at home are Austin, (19, Brick Maker), George, (16, Teamster on Farm), and Agnes, (10).
The Elmer family were now recorded living at Turnpike Road, Scoulton, Norfolk. As well as parents Elmer, (45, Shepherd on Farm) and Ann, (31) and daughter Violet, (13), the couple have 5 other children.
1911 Census of England and Wales
The 26 year old Lance Corporal George Franklin, single and born Gayton, Norfolk, was recorded in barracks at Marlborough Lines Aldershot, Hartley Wintney, Hampshire.
His parents were recorded living at Bawsey, near Middleton, Norfolk. William, (63, a Brickmaker) and Mary Ann, (60), have been married for 39 years and have had 9 children, of which 4 were then still alive. Still single and living with them is their daughter Agnes, (20), who works as a Housemaid.
There is no obvious match for Violet under either her birth name of Frost or her stepfathers surname of Elmer. Her mother, the 43 year old widow Ann Elmer, was recorded as the head of the household at a dwelling on The Street, Poringland. She doesn’t say how long she was married, but she records that she has had 7 children, all then still alive. Still single and living with her are five of her children.
1913 – Marriage
The marriage of a George Franklin to a Violet V S Frost was recorded in the January to March quarter, (Q1), of 1913 in the Henstead District of Norfolk.
Until September 1911 the quarterly index published by the General Registrars Office did not show information about the mothers maiden name. A check of the General Registrars Office Index of Birth for England and Wales 1911 – 1983 shows two potential children of George and Violet. Both were registered with the surname Franklin, mothers maiden name Frost, in the Henstead District.
Nelson G…………..Q2 1913
Annie G R…………Q1 1915
(This ties in with the details on his service record).
1915 – Electoral Register
George Franklin is recorded as eligible to vote in County and Parish elections only, not Parliamentary ones. He is a (Male) householder of a dwelling house on Caistor Lane, Caistor St Edmund. The most likely explanation is that this is the first time he has been a householder and he will not complete the residency period to qualify as a Parliamentary voter during the lifetime of this register.
familysearch.org/ark:/61903/3:1:S3HT-D17R-GX?i=586&cc...
On the day
His service records show him missing from his unit on the 14th September 1914, and unofficially believed Died of Wounds received in action on that day. The 19th September date may come from a subsequent source, but as he is remembered on a Memorial to those with no known grave, it would seem likely his body was not recovered. The 19th may simply have been the first official roll-call at which he was formally recorded as missing.
From “The Doings of the 15th Infantry Brigade” by Edward Lord Gleichen
14th September 1914
When we were across it was difficult to discover the battalions asleep in the fields, and when we had found them and it was time to start it was difficult to wake them.
However, we moved off just as it was getting light; but it was not easy to find the way, for there was no path at first. We had orders to go viâ Bucy-le-Long to Sainte Marguerite, and found the villages right enough, for they were close together. But as we moved into Sainte Marguerite, with a good many other troops in front of us, we became aware that there was an unnecessary number of bullets flying about, and that our fellows in front were being held up.
The village was held by the 12th Brigade (4th Division), and the 14th Brigade was somewhere on our right. The Dorsets were our leading battalion, and they were pushed on to help the 12th, and filled a gap in their line on the hill above the village front at the eastern end. But there we stuck for a long time. The enemy's artillery had meanwhile opened on us, and shells began to crash overhead and played the devil with the tiles and the houses. But they did not do us much harm.
We now received orders to move on to Missy (not a mile off to the right) and clear the Chivres ridge of the enemy and push on to Condé and take that if possible-rather a "large order." The difficulty was to get to Missy, for the road thither was spattered with bullets, and shells were bursting all along it. However, by dint of careful work we moved out bit by bit, cutting through the gardens and avoiding the road, and taking advantage of a slight slope in the ground by which we could sneak to the far side of the little railway embankment which led to Missy Station.
It took a long time, and I made what proved to be the serious mistake of staying to the end in order to see the whole Brigade clear of Sainte Marguerite. I ought really to have gone ahead with the first party to reconnoitre; for just as we were starting after the rear company I stopped to write a message to the Division in answer to one which had just arrived, and at that moment a hellish shrapnel, machine-gun, and rifle fire was opened, not only on the village but on all the exits therefrom, and this fire lasted for nearly two hours.
One simply could not make the attempt; it would have been certain death. And so we had to sit in the tiny courtyard of one of the houses, with our backs against the wall, and listen to the inferno overhead, whilst the proprietor's wife plied us with most acceptable roast potatoes and milk.
I wrote a lot of messages during those two hours, but whether they all got through or not I do not know: some of the messengers never came back. Colonel Seely turned up at one moment-from General Headquarters, I think-demanding information. This I supplied, and made use of him to take some of my orders back; it really was quite a new sensation giving orders to a recent Secretary of State for War.
At one time two or three artillery waggons appeared in the little main street and remained there quietly for a bit under a heavy fire, but only losing a man or two slightly wounded. Then suddenly there was a loud crack overhead, and half a dozen horses were lying struggling and kicking on the ground, with great pools of blood forming in the road and four or five prostrate men in them. It was a horrible sight for us, for the shell had burst just opposite the gate of our courtyard. But the gunners behaved magnificently, and a farrier sergeant gave out his orders as quietly and unconcernedly as if he had been on parade. I took his name with a view to recommendation, but regret that I have forgotten it by now.
We also had some very unpleasant shaves at this time in our own courtyard. Twice did a shell burst just above the house and drive holes in the roof, bringing down showers of tiles; the second time practically all the tiles fell on me and nearly knocked me down. I do not know why they did not hurt me more-luckily the house was a low one; but they merely bruised my back.
At last, in a lull, we managed to get away, and sneaked out at a run--through a yard and back garden, behind a farm, out at the back behind a fold in the ground, then across a wide open field and on to the low railway embankment, behind which we ducked, and made our way to the little station of Missy and up behind some scattered houses to near the church.
Here, after some trouble, we got the commanding officers together, and arranged to push on and attack the wooded ridge above the town. The force was rather mixed. I had met Rolt (commanding the 14th Brigade)on the way, and we had settled that I should collect whatever of his men I could get together in Missy and join them to my attacking party. The difficulty was that it was already getting late-4.30 P.M. and that there was insufficient time for a thorough reconnaissance, though we did what we could in that direction. However, my orders from the Divisional Commander had been to take the ridge, and I tried to do it.
I had got together three companies of the Norfolks, three of the Bedfords, two Cheshires (in reserve), two East Surreys (14th Brigade), and two Cornwalls (13th Brigade, who had arrived , viâ the broken bridge at Missy and some rafts hastily constructed there) twelve companies altogether.
But when they pushed forward it became very difficult, for there turned out to be too many men for the space. What I had not known was that, though they could advance up a broad clearing to more than halfway up the hill, this clearing was bounded on both flanks, as it gradually drew to a point, by high 6-feet wire netting just inside the wood, so that the men could not get properly into the wood, but were gradually driven in towards the point, where the only entrance to the wood occurred.
Luckily the Germans had not noticed this either or there would have been many more casualties than there were. As it was, a company of the East Surrey and another one (Allason's) of the Bedfords did get through to the top of the wood and on to the edge of the open plateau; but this I did not hear of till later. When the greater part of the force had got through the opening into the wood they found a few Germans there and drove them back, killing some. Then they surged on to a horse-shoe-shaped road further on in the wood, and some men lost their direction and began firing in front of them at what they thought were Germans. But they were others of our own, and these began firing back, also without knowing that they were their friends.
Consequently, although casualties were few, an unpleasant situation arose, and numbers of men turned about and retired down the hill into Missy, saying that our artillery was firing into them. This may have been true, for some shells were bursting over the wood; but whether they were English or German I do not know to this day.
Anyhow, the stream of men coming back increased. They fell back into the village, and then came some certainly German shells after them. For an unpleasant quarter of an hour the little sloping village of Missy was heavily shelled by shrapnel; but the walls of the houses were thick, and though of course there were a certain number of casualties, they were not serious as long as the men kept close to the south side of the walls. Beilby (our Veterinary officer) for some reason would keep to the wrong side of the street and was very nearly killed, the fuse of a shell landing with a whump on a door not two feet in front of him, and a shrapnel bullet going through his skirt pocket; but he was not touched. The shrapnel were in bursts of four, and luckily Moulton-Barrett noticed it, for he calmly held up the stream of men till the fourth shell had burst, and then let as many as possible past the open space there till the next bunch arrived, when he stopped them behind cover, just like a London policeman directing traffic.
I remember one man falling, as we thought dead, close to where the Staff were standing. But he groaned, and Weatherby ran to pick him up. There was, however, no wound of any sort on him, and after a minute he got up and went on. I think he must have been knocked down by the wind of a shell, for he certainly was as much astonished as we were at finding no damage on himself.
By this time I had given orders that the troops were to retire to their previous positions in and near the village, and it was getting dusk.
Luard (Norfolks) and a party of twenty-five men were well ahead in the wood, and received the order to retire, for Luard was heard shouting it to his men. But nothing has since been heard of him, and I much regret to say that he was either taken prisoner with most of his men, or, more probably, killed.
A message now came down from the plateau saying that some East Surreys and Bedfords were still up in the wood, and should they retire or hold on? As it was nearly dark and I consequently could not support them, for if the men could not get through the wire-netting in daylight they could hardly do so at night, I told them to retire. I gave this order after I had consulted Rolt, who was somewhere west of the village; but even if Rolt had not been there I should have given it, for it would have been impossible to reinforce them adequately in the circumstances.
So I issued orders for an early reconnaissance and attack next morning, to be led by the Norfolks; and the troops covered their front with sentries and bivouacked in and round the village. We were all short of food that night, for none of our supply carts, and not even a riding-horse, had come with us. But all or most of the men had an "iron ration" on them, and this they consumed, with the "unexpired" portion of their previous day's ration.
The Bedfords took up their position along the railway to the west, Cheshires on the right, Norfolks right front of village, D.C.L.I. Left front.
As for the Staff, we retired to a farm called La Bizaie, three-quarters of a mile south of Missy, and close to the river, and took up our quarters there. There was not a whole pane of glass in the house, for it had been heavily bombarded, being empty, except for a few wounded, during the day, and great craters had been formed close by the walls by the Black Marias. But except at one corner of the roof of an outhouse, no damage had been done to the buildings, except the broken glass.
It was a very old farmhouse, as we found out afterwards, part of it dating back to 1200 and something. Curiously enough, there was a photograph of an English Colonel (of the R.A.M.C.) on the sideboard, a friend, so the farm servants told us, of the owner, whose name I have forgotten. The buildings were very superior to the ordinary farm type, and more like a comfortable country house than one would expect, but there were plenty of barns as well, and some pigs and chickens running about.
We bought, murdered, and ate an elderly chicken, but otherwise there was devilish little to eat except a store of jam, and we had only a very few biscuits and no bread.
"Advance from Mons" by Walter Bloehm apparently tells the German side of the encounter including the ambush of a patrol of the 1st Norfolks on the evening of the 14th – all killed. The German author heard the incident and was told the details the next day by a Sergeant who was involved.
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
Anna May Wong plays Kim Ling, a dutiful daughter determined to reclaim the good name of her father, a Chinese general. To prove his innocence, she travels to the jungle work farm of Gregory Prin (J. Carrol Naish), who has the evidence she needs. With the help of secret agent Anthony Quinn, she clears her father and brings Prin down.
Anna May Wong and J. Carroll Naish, so memorably teamed in Paramount's Dangerous to Know, are costarred once more in Island of Lost Men. Naish plays ruthless jungle plantation owner Gregory Prin, who runs his domain like a dictatorship and treats his workers little better than slaves. Into Prin's world comes Kim Ling (Wong), daughter of a disgraced Chinese general. Kim Ling hopes to clear her father's name by bringing his primary accuser, Prin, to justice. The native-uprising finale is rendered in gloriously gruesome detail. A remake of the 1931 Charles Laughton-Carole Lombard starrer White Woman, Island of Lost Men also offers early but well-rounded performances by Anthony Quinn (as a Chinese patriot!) and Broderick Crawford.
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
Edgar Anido, dancer with NYC's Complexions Contemporary Ballet, works with UMKC Conservatory dance students during his artist residency, Sept. 2013.
photos: Janet Rogers, UMKC
Tentatively titled Limehouse Nights.
Vintage black and white, single weight, glossy stills. Starring George Raft, Jean Parker, and Anna May Wong. Directed by Alexander Hall.
Anna May Wong stars with George Raft and Jean Parker in this dark crime drama set in London's Limehouse district.
It's "Never the twain shall meet" time again, this time in London's Limehouse district. George Raft stars as Harry Young, a half-caste saloonkeeper who shelters beleaguered white girl Toni (Jean Parker) from her tormentors (shades of Broken Blossoms). Harry falls in love with the girl, but mixing of the races was still a Hollywood no-no in 1934, so tragedy results -- except for Toni, who finds happiness in the arms of Eric Benton (Kent Taylor), a man of "her own kind." The highly eclectic cast includes Anna May Wong as Raft's obligatory cast-off sweetheart Tu Tuan, former 2-reel comic Billy Bevan, and in a tiny uncredited role, Ann Sheridan. To avoid confusion with another Limehouse Blues, this one was retitled East End Chant for television.
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
The headstone is to illegible to read however research shows that at least three of their sons served in WWI. 1 killed, 1 returned and 1 deserted the day before embarkation overseas and only 5 weeks after his brother was killed in the field, which must have had some bearing on his mental state.
Elijah bequested his farm to Auckland Hospital Board in the hope of it becoming the "Elijah Home for Aged Women".
Nonconformist Division C Row 13, Plot 63
Elijah
Died 28 April 1938
Aged 79
Occupation: Farmer
Winifred
Died 30 September 1917
Aged 58 years [3]
Memorial plaque [‘Dead man’s penny’] embedded in obelisk
Ernest BROKENSHIRE
Elijah:
…at his late residence, “Harbour View,” Te Atatu, Elijah, beloved husband of Laura Brokenshire. – Passed peacefully away.
The funeral will leave his ate residence to-day (Friday), at 1 p.m. for Waikumete Cemetery.[10]
Elijah’s probate is available:
archway.archives.govt.nz/ViewFullItem.do?code=23118698
Ernest:
Driver Ernest BROKENSHIRE 2/2587 was Elijah’s son.
Born 8 June 1894, Te Aroha [2]
Fair complexion; blue gray eyes; auburn hair; 5ft 8inches; 151 lbs
Died at No 2 Australian Casualty Clearing Station 27 November 1916 of multiple gunshot wounds [head, back and left arm] received in the field 26 Nov 1916, France
Buried Trois Arbres Cemetery, Steenwerck, Nord, France[1]
Images of cemetery www.cwgc.org/find-a-cemetery/cemetery/2000052/TROIS%20ARB...
Served in the NZ Field Artillery and attached Trench Mortar Battery.
Occupation before enlisting: Farmer
Next of Kin: Mrs H Brokenshire [mother]
From the evidence available there is nothing to show that cause of the accident or that there was negligence on the part of anyone. It is clear that the bomb burst after clearing the gun pit. The Court considers that the accident could only be due to some defect in the ammunition.
New Zealand Herald, Volume LXXV, Issue 23054, 3 June 1938, Page 12
HOME FOR AGED WOMEN
Property at Te Atatu
Bequest to Hospital Board
Under the will of the late Mr Elijah Brokenshire, a farm which comprises 22 acres and a dwelling at Te Atatu, is to be held by the Public Trustee on trust for the Auckland Hospital Board as a home for aged women. This will take effect after the termination of several life interests.
The property is admirably situated overlooking the upper reaches of the harbour, and is in an ideal position for the purpose. [7]
New Zealand Herald, Volume LXXV, Issue 23056, 6 June 1938, Page 8
FARM BEQUEST
DESIRE OF TESTATOR gift to hospital board Tho bequest under the will of the late Mr. Elijah Brokenshire of a farm of 22 acres and a dwelling with furniture at Te Atatu to the Auckland Hospital Board, subject to certain life interests, does not make it a mandatory condition that the property should be utilised as a home for aged women. Under the will the wish is expressed without imposing a binding trust that the board should erect on the land a home for aged women, as the testator considered the location of the property made it eminently suitable for such a purpose. He desired that the home should be named "The Elijah Home for Aged Women."
In 1929 the Government valued the house and land at £I820. Under the will the widow and about six other persons have successive life interests in the property, so that it is likely to be many years before the farm comes into the possession of the board. [8]
FAMILY INFORMATION:
Elijah BROKENSHIRE, eighth son of Mr Thomas BROKENSHIRE, of Adelaide, South Australia married Winifrede [sic] only daughter of P CLARKE, of the A.C., Alexandra, Waikato on 11 September 1884 at St Patrick’s Cathedral, Auckland. [4][6]
Elijah married secondly to Laura, second daughter of the late Mr and Mrs H W REYNOLDS of Te Aroha West on 4 March 1919 at St Luke’s Anglican Church, Mount Albert.[18] She died 30 January 1953 aged 84 and is buried at Waikumete Cemetery, protestant lawn A Row 8, Plot 74[19]
Issue of first marriage [year/registration number]:
Son - James Elijah 1885/10078
Born 29 July 1885 at the residence of his grandmother Mrs P CLARKE, Bird-in-Hand Hill.
Family lived Waiorongomai West, Te Aroha[5]
New Zealand Herald, Volume LV, Issue 17026, 9 December 1918, Page 1
On December 8, at his parents’ residence, 38 Cobden Street, Newton, Ernest George the dearly loved and only son of James Elijah and Violet May Brokenshire; aged 1 yr 9 months. [11] He is buried at Waikumete Cemetery; Anglican Division E, Row 9, Plot 31
Auckland Star, Volume LXIV, Issue 121, 25 May 1933, Page 5
“Ten years ago to-day I obtained a separation order against my husband, and we have lived apart ever since,” said Violet May BROKENSHIRE (Mr Fraer), who was granted a decree nisi in her petition against James Elijah BROKENSHIRE on the ground of separation.[9]
Son - Albert 1887/5515
Born 21 June 1886 [13]
Died 6 August 1962
Next of kin at death: Mr L Brokenshire, 13 Harding Ave, Panmure, Auckland
Albert also saw service in WW1
Enlisted: 15 December 1914
Discharged: 13 May 1919
Occupation on enlist: Timberman at Waihi Sawmilling Co.
Brown hair, blue eyes, fair complexion; 5ft 11inches
21 August 1915 gunshot wound left forearm - Dardanelles
New Zealand Field Artillery. Service no. 7/820
Daughter - Laureltine 1893/10158
A Mrs Laureltine ALDRIDGE died 28 Feb 1970 aged 76 and ashes scattered at Waikumete Cemetery
Son - Ernest [mentioned on this headstone] 1895/16231
Son - Fred 1897/13050
A Fred Brokenshire in Whangarei Military district, a farmer of Silverdale appears in the 1940-45 WWII Ballot lists, no. 608229[17]
Died c1971 aged 73[16]
A Fred also appears in the 1928, Marsden, Northland electoral roll as a farmer with his wife Alice [nee Alice Agnes nee JACK], living in Silverdale. They married c1917[17]
Daughter - Winifred Irena 1889/12166
A Brokenshire infant aged 2 days is recorded as dying in 1889 which may possibly be Winifred as I can find no marriage nor named death entry for her elsewhere.[20]
Son - Norman 1891/9066
Born 20 July 1890[12]
Norman also saw service in WW1 however it seems he deserted the day before being sent on active service and 5 weeks after his brother Ernest was killed in France.
23 August 1917 posted as Private, military no. 64431
Fair complexion; hazel and blue eyes; fair hair; 5ft 6inches.
Occupation on enlist: labourer at Stevenson’s Sawmills, Piriaka
Previously missed some work due to bad back.
23 January 1918 posted as Deserter [30 Dec 1917 – 5 May 1919]. District court martial at Trentham Camp resulting in 2 years imprisonment mitigated to 1 year’s imprisonment with hard labour. Also charged with losing by neglect equipment and punishment of £5, 5 shillings and 7 pence. This equipment was made up of:
1 jacket - £1/11/1d; 1 greatcoat £2/8/11d; 2 titles 7d, 1 palliasse 2/-; 1 pair drawers 2/4d, pair shoes 11/10d; 1 pair socks 1d; 1 holdall 1/1d; 1 jersey 5/4d, and 1 undershirt 2/4d.
Witness: S.S.M. (W.O.) J. CUMMINGS, Camp Sergeant Major:
“I was present at the roll call of D Coy, 33rd Refts on the morning of the 30 Decr 1917. The accused was then in that Cy, and did not answer his name, and was absent without leave. As his Coy was embarking for active service on the following morning, he was transferred to F Cy 33rd Refts as an absentee without leave, and a man from F 33rd Refts was transferred to D Coy 33rd Refts to take his place. Produce Army Book 161 containing a record of a Declaration of a Court of Inquiry held at Trentham Camp on the 21st of Jany 1918 for the purpose of investigating the illegal absence of the accused. The Court declared the accused to be illegally absent without leave from the 30th Decr 1917. I hand in Army Form B 115 certified true copy of the original Declaration. The accused surrendered himself at Wellington on the 5th May 1919 to the N.Z.? Military Police as per Certificate under Section 163 (j) A?A? signed by Lieut, S? Frickleton Assistant Provost Marshall, Wellington District which I hand in.” [n.b. the question marks were in the typed text ].
Normans death is not noted in historical indexes for BDM's NZ Dept. Internal Affairs so possibly died overseas.
Daughter - Daphne 1900/2196
Died c1900 aged 4 months[14]
Son - Aubrey Gerald 1902/1410 [twin]
Died c1963 aged 62[15]
Son - Vernon Leslie 1902/1411 [twin]
Died 29 January 1971 Aged 70
Cremation Lawn Old Row W, Plot 4, Waikumete Cemetery
SOURCES:
[1]
muse.aucklandmuseum.com/databases/Cenotaph/1664.detail?Or...
[2]
Online military records
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
[3]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1917/6462
[4]
NZ Dept Internal Affairs historic BDM indexes: Marriage registration 1884/3081
[5]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[6]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[7]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[8]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[9]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[10]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[11]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[12]
Military records
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
[13]
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
[14]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1900/2398
[15]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1963/38166
[16]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1971/35639
[17]
Ancestry.co.uk
[18]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[19]
waitakere.govt.nz/cnlser/cm/cemeterysearch/cemeterydetail...
[20]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1889/3397
This tragic tale of the Orient was only the second feature film in which a color film process invented by Technicolor was used throughout (and was the first to use their subtractive two-color process). It stars the stunningly beautiful Anna May Wong as Lotus Flower, a Chinese girl who finds an American sailor washed up on the shore. The sailor, Allen Carver (Kenneth Harlan), professes to love her and they marry. He goes back out to the sea and Lotus Flower has a baby. But Carver is a faithless man, and he returns to China with an American wife, Barbara (Beatrice Bentley). Lotus Flower is devastated. She hands the baby over to Barbara and then "pays her debt to the sea" by throwing herself into it and drowning. Barbara adopts the child, as per Lotus Flower's last wishes. If this story seems to bear some similarities to Madame Butterfly, scenarist Frances Marion didn't exactly deny it. In fact, she later said it was "practically the step-daughter of Madame Butterfly." Despite its lack of an original story, Technicolor made it a success. But the process was so complicated -- in those days, the blue-greens were photographed on one strip of film, and orange-reds on another, to be glued together later -- that it took many more years and innovations before color was commonly used.
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
020
CHAPTER XV.
REPORT OF THE ALIENISTS.
The report of the sanity commission follows:
To the Honorable A. C. Backus, Judge of the Municipal Court of Milwaukee County:
Pursuant to your appointment of the undersigned on the 12th day of November, 1912, as a Commission to examine John Schrank with reference to his present mental condition, we respectfully submit our report.
This report consists of:
First: The examination of John Schrank with reference to his personal and family history, his present physical state, and his present mental state.
Second: Inquiry by means of data furnished by the New York Police Department, the Magistrate of Erding, Bavaria, reports furnished by the Milwaukee Police Department and other officials brought in contact with him, and certain documents furnished by the defendant himself, and others found in his possession, some of which are herewith submitted as exhibits, duly numbered.
Third: Summary and conclusions arrived at.
PERSONAL AND FAMILY HISTORY.
Age 36. Single. Born in Erding, Bavaria, March 5, 1876. Father born in Bavaria, and mother born in Bavaria. Occupation, bar tender and saloonkeeper. No regular occupation in the last one and one-half years. Education, common schools in Bavaria from the seventh to the twelfth year; three or four years in night school in New York, in English.
In early life a Roman Catholic; not a practical Catholic for the past 15 years.
His father died at the age of 38 of consumption; was a moderate drinker; the mother living at the age of 56 or 57. One brother and one sister living, in good health. One brother and one sister died in infancy.
A sister of mother insane, suffered from delusions of persecution; died of softening of the brain, so-called, in 1904, in Gabersee Asylum, Bavaria. Certified by Magistrate of Erding, Bavaria.
Patient states he was never seriously sick. Knows of no serious accident or injury. Never suffered from headaches.
Lived with grandparents from three to nine years of age; worked in a vegetable garden during that time, and then returned to parents.
HABITS.
Denies excesses; no use of tobacco until two years ago, never more than five or six cigars a day, average two or three cigars. Has generally taken about five pint bottles of beer in twenty-four hours, of late years. For two years, in 1902-1903, drank no intoxicants at all. He states he drank to slight excess at most half a dozen times a year. Never used drugs of any kind. Denies all venereal diseases, and presents no physical evidence of them. His usual habit was to retire before 10 o'clock at night.
PRESENT PHYSICAL STATE.
Height 5 feet 4½ inches in stocking feet. Weight, 160 pounds, with clothing. Is right-handed. Head presents no scars or injuries or evidence of injuries or irregularities of cranial bones; normal in shape, except measurements over left parietal bone from ear to median line at vertex is 1.25 centimeters larger than the right. Cephalic index 80. Cranial capacity normal. External ears normal in shape. Holds head slightly tilted to left. Shape of hard palate, mouth and teeth normal. Maxillary bones normal except lower jaw slightly prognathic. Blonde hair. Eyes, bluish gray. Complexion fair. Tongue, slight yellowish coating, edges clean. Appetite and general nutrition good. Stomach, digestion, bowels normal. Sleep good. State of heart and arteries normal. Blood pressure 125 to 130 systolic; 115 to 120 diastolic. Pulse 82-86. Temperature Nov. 12, 1912, P.M., 99.4. Nov. 14, normal. No scars on genitals. Urine practically a normal specimen.
NEUROLOGICAL.
The Eyes—Light, accommodation and sympathetic reflex present, but somewhat slow. Slight inequality of pupils, right distinctly larger than left. Color sense normal. No contraction of visual field. Slight horizontal nystagmus in both eyes on extreme outward rotation of the eyeballs. (Pupils equal and normal Nov. 20th, 1912.)
After above symptoms ascertained, 1.40 grain euphthalmine inserted, and examination of eye grounds showed no optic atrophy. The right eye ground (retina) was slightly higher in color than the left.
Hearing very acute, both sides.
Sense of taste and smell normal.
Tactile, pain, temperature and weight sense normal.
Deep Reflexes—Knee, reflex, right, irregularly present, regular on reinforcement; knee, left, absent; brought out by reinforcement irregularly.
Myotatic irritability of forearm, right markedly heightened; left slightly heightened.
No ankle-clonus.
Superficial Reflexes—Abdominal reflex present. Epigastric reflex absent. Cremasteric reflex, active both sides. No Oppenheim reflex. No Babinski reflex. Plantar reflex: right markedly heightened; left heightened.
Musculature—Arm and leg showed slightly diminished power on right side. The left side stronger, though subject right-handed.
Dynamometer, right 90, 90 (two tests); and left 100, 100 (two tests).
No Romberg symptom, and no inco-ordination of upper and lower extremities.
Gait and station normal.
Slight tremor of fingers, noticeable under mental excitement. At times slight tremor of lips.
EXAMINATION OF PRESENT MENTAL STATE.
Tests for attention show normal conditions.
Tests for memory, general and special, show normal conditions.
Tests for association of ideas and words showed special bearing upon his delusional state.
Logical power good, except as limited by his delusions.
Judgment the same.
Has no "insight" as to his own mental condition.
Emotional tests show tone of feeling exalted.
Orientation correct as to time and place.
Delusions present, as subsequently set forth.
CHAPTER XVI.
FINDING OF THE ALIENISTS.
We find that John Schrank came to New York at the age of 12, and lived with his uncle and aunt as foster parents, who kept a saloon at 370 East Tenth street, New York City.
Before coming to this country he had 5 years of the public schools of his native village in Bavaria, and after arrival in this country his only schooling was such as he could obtain at night schools in New York during 3 or 4 years.
Up to this time no peculiarity had been observed in him, from any evidence available. We note the fact that he was most especially interested in history and government, as illustrated by political writings and by the Bible. He speaks frequently of his very great admiration for the character of George Washington.
At 15 or 16 years of age he became greatly interested in poetry. This perhaps corresponds to the period of development at which eccentricities are wont to appear.
He represents that in the saloon in which he worked he was chiefly engaged in supplying beer to residents of neighboring tenements; that there was no gambling or other immoral conduct practiced or encouraged in this business place. He went on for over 12 years as barkeeper. His uncle and aunt had during this time accumulated means for the purchase of a small tenement. At the death of the uncle and aunt in 1910 and 1911 the defendant came into possession of this property.
In the last year and a half has not been in any regular business or employment, and spent his time in long walks about New York and Brooklyn, during which he meditated upon poetical compositions, and political and historical questions, jotting down ideas upon loose slips of paper as they came to him, night or day, forming the basis of his poems. He spent his evenings in a saloon, retiring early. The average daily quantity of stimulants or beer taken by him was insufficient to produce intoxication. He also states that in 1902 and 1903, for a period of nearly 2 years, he drank no intoxicants at all.
He states that in 1901, between 1 and 2 o'clock in the morning of the day after President McKinley's death he experienced a vivid dream, in which he appeared to be in a room with many flowers and a casket, and saw a figure sit up in the casket, which he says was the form and figure of the assassinated President McKinley, who then pointed to a corner of the room, and said, "Avenge my death." He then looked where the finger pointed and saw a form clad in a Monkish garb, and recognized the form and face of this individual as the form and face of Theodore Roosevelt.
At the time this made a strong impression, but was not dwelt upon especially except in the light of later events.
Prior to the nomination of Colonel Roosevelt for the Presidency in the year 1912, he had felt great interest in the political campaign, and had read articles expressing great bitterness toward the idea of a third term, and toward Colonel Roosevelt personally in the newspapers of New York, and after the period when the nomination of Colonel Roosevelt began to be actively agitated, meditated more deeply upon these matters. He had always studied with the greatest interest the questions of free government, as illustrated by the Declaration of Independence, and Washington's Farewell Address. In this connection, the Monroe doctrine also assumed great importance in his mind, and the converse thereof, the duty of this nation to refrain from war of conquest; and out of these meditations grew what he elaborated into his declaration as to the unwritten laws, or "The Four Pillars of our Republic," namely (1) the Third Term Tradition, (2) the Monroe Doctrine, (3) that only a Protestant by creed can become president, (4) no wars of conquest. This document, hereunto annexed as Exhibit 1, fully sets forth his views on these subjects.
These "four unwritten laws" had assumed in his mind a character of sacredness. They were "sacred traditions" to be maintained at all hazards, and, as subsequently appeared, even the hazard of life.
The following are some quotations from this document:
"Tradition is an unwritten law."
"I would doubt the right of a court to have jurisdiction over a man who had defended tradition of his country against violation."
"The oldest of these traditions is the 'third term tradition,' it has never been violated and is an effective safeguard against unscrupulous ambition, but never before has been established a test case of its inviolability as a warning to coming adventurers."
"For the first time in American history we are confronted by a man to whom practically nothing is sacred, and he pretends to stand above tradition."
"Anybody who finances a Third Term Movement should be expatriated and his wealth confiscated."
"The dangers in this campaign are these, the third termer is sure that the nomination has been stolen, and that the country and the job belongs to him, therefore, if he gets honestly defeated in November he will again yell that the crooks of both parties have stolen the election and should he carry a solid West, he and the hungry office-seekers would not hesitate to take up arms to take by force what is denied him by the people, then we face a Civil War, * * * * * * and that he who wilfully invites war deserves death. We would then be compelled to wash out the sin of violating the Third Term with the blood of our sons. Yet this is not the gravest danger we are facing. We have allowed an adventurer to circumtravel the Union with military escort with the torch of revolution in his hands to burn down the very house we live in."
"Have we learned no lesson about a one man's rule experienced in France with such disastrous results as the end of the reign of Napoleon I and Napoleon III."
"Are we trying to establish here a system like our ancestors have done in Europe, which all revolutions of a thousand years could not abolish."
"Are we overthrowing our Republic, while the heroes of the French revolutions, and the martyrs of 1848 gladly gave their lives to establish Republican institutions."
"The abolition of the Third Term tradition is the abolition of the Monroe doctrine also."
"Hardly any revolution has started without pretending that their movement was progressive."
"The prudence of our forefathers has delivered to us an equally sacred unwritten law which reads that no president should embrace another creed than Protestant, if possible, a sect of the English Church. I am a Roman Catholic. I love my religion but I hate my church as long as the Roman parish is not independent from Rome, as long as Catholic priests are prevented from getting married, as long as Rome is still more engaged in politics and accumulation of money contrary to the teachings of the Lord. The Roman Catholic Church is not the religion for a president of the United States."
"The Fourth unwritten law, which is practically supplementary to the second, we find in George Washington's Farewell Address, where he advises us to live in peace with your neighbor. We have no right to start a war of conquest."
In his examination in this connection he stated as follows: "Four-fifths of the United States would take up arms to defend the Third Term tradition. Trying to get perpetual power and dictatorship would justify killing."
He also said he would be justified to the same extent, that is, by killing, a man who would seek the presidency and was a Roman Catholic; and also for a man who would start a war for conquest; and he thought also of the possibility of foreign powers to help Roosevelt possibly to annex the Panama Canal and break down the Monroe Doctrine. He said he believed the country would be facing a civil war if Roosevelt went on as he had done.
He gives as a reason for his present attack upon Roosevelt, that he did not wish to give him (Roosevelt) an opportunity to plead that no defense of the Third Term tradition had been made in 1912 should he aspire to another term in 1916. Asked as to how he reconciled his act with the commandment "Thou shalt not kill," he replied that, "religion is the fundamental law of human order, but to kill to try and do a good thing, and to avenge McKinley's murder, justifies the killing."
The proof of his position came to him in his dream and in his vision.
"Roosevelt's ambition and conduct proves to every man that he was back of McKinley's assassination in some way or other."
The defendant says that he prayed God to find a leader among men who would take this responsibility, and he expected all along someone else would do this thing, but no one did it, and as he was a single man of 36, without a family, and thought the deed was a good deed, and it made no difference to him, he was willing to sacrifice his life for that end, even if he were torn to pieces by the mob. He therefore concluded that it was his mission, and desired to make of this a test case.
Henry F. Cochems.
(Who was in the Automobile with Col. Roosevelt when the Ex-President was Shot.)
He thinks the election returns corroborate the fact that the people have been awakened to the idea of no Third Term.
In the progress of the campaign, when the progressive movement had taken shape, and Colonel Roosevelt had been nominated as the head of a third party, and on August 7th, 1912, the dream which had come to him in 1901, as above related, began to assume more importance, and special significance in his mind. He felt extreme agitation on this subject continuously. On the morning of September 15th, 1912, the anniversary of the date of his dream in 1901, having retired as usual the night before with his manuscript by his bedside, he suddenly awakened between 1 and 2 A.M., with the completion of a poem entitled "Be a Man" uppermost in his mind.
We insert the poem at this point:
1. Be a man from early to late
When you rise in the morning
Till you go to bed
Be a man.
2. Is your country in danger
And you are called to defend
Where the battle is hottest
And death be the end
Face it and be a man.
3. When you fail in business
And your honor is at stake
When you bury all your dearest
And your heart would break
Face it and be a man.
4. But when night draws near
And you hear a knock
And a voice should whisper your
Time is up; Refuse to answer
As long as you can
Then face it and be a man.
He found his ideas were taking shape, and getting up he sat writing, when he suddenly became aware of a voice speaking in a low and sad tone, "Let no murderer occupy the presidential chair for a third term. Avenge my death!" He felt a light touch upon his left shoulder, and turning, saw the face of former President McKinley. It bore a ghostlike aspect. This experience had a decisive effect in fixing in his mind the iniquity of the third term, and from this time he questioned as to his duty in the matter, and he finally regarded this vision and its connection with the exact anniversary of the dream as a command to kill Roosevelt, and as an inspiration. When asked by us whether he considered this as imagination or as inspiration and a command from God, while showing some reluctance to claim the vision as an inspiration, he finally answered decisively that he did.
When asked whether a man had a right to take a weapon and hunt down a man who had violated tradition, he submitted his written statement in reply, which is hereto annexed as Exhibit 2, some quotations from which are as follows:
"I should say where self-sacrifice begins the power of law comes to an end, and if I knew that my death during my act would have this tradition more sacred I would be sorry that my life was spared so convinced am I of my right to act as I did that if I were ever a free man again I would at once create an Order of Tradition."
"I presume you men would declare Joan d'Arc, the Maid of Orleans insane because the Holy Virgin appeared to her in a vision."
"When we read that God had appeared to Moses in the shape of a burning thorn bush, then again as a cloud, we will find many people who doubt the appearance of God to man in human or other shape."
"Why then in cases of dire national needs should not the God appear to one of us in vision."
The defendant states that at no time and under no circumstances did he communicate to anyone his intention. In fact, he kept it as an inviolable secret and took measures to throw off the scent persons who might inquire about his leaving New York. The defendant stated in this connection that he did not wish to commit the act in New York, as it would then be claimed that he had been "hired by Wall Street" and in that way the real purpose of the act would be obscured.
CHAPTER XVII.
SCHRANK DESCRIBES SHOOTING.
(BEFORE SANITY COMMISSION.)
On September 21, 1912, he left New York City, having first borrowed $350, and purchased a 38-caliber revolver, for which he paid $14. His efforts from this time were continuous to come within shooting distance of Colonel Roosevelt. He missed him at Chattanooga and at Atlanta, and then went to Evansville, where he remained seven days awaiting Colonel Roosevelt's return to the West. He then sought to come within range of Colonel Roosevelt in Chicago, and states that he waited for him at the exit of the building, where he spoke, but found afterwards that he had left by a different exit. He then preceded him to Milwaukee, arriving here at 1 o'clock P.M. the day preceding the attack.
On the evening of the shooting Schrank arrived at the hotel, where he had learned Colonel Roosevelt would stay, in advance of the time he was expected to start for the place of meeting. When a crowd began to collect around the automobile awaiting Colonel Roosevelt at the curb, he went into the street, standing near the automobile in a line just behind the front seat on the left hand side opposite the chauffeur's seat. He says,
"Seeing him enter the automobile and just about to seat himself, I fired. I did not pick any particular spot on his body. The crowd was all around me and in front of me. The next minute I was knocked down, but was not rendered insensible, and the gun was knocked out of my hands."
The defendant insists that he said nothing during his assault. He was then dragged to the sidewalk, and getting on his feet was hurried into the hotel, and the doors were locked. Here he said nothing, and was taken by the police through the back door to police headquarters.
From the examination at police headquarters, made at 9:25 P.M., October 14, 1912, by the Chief of Police, John T. Janssen, we find that he objected to telling his name, but did so when it was insisted upon. We also find that his statements made to the police concerning his following and attempting to gain access to Colonel Roosevelt, and his visits to various localities correspond, and his explanations of his acts agree with those made to us.
Some of his statements to the Chief of Police, are as follows, as extracted from document submitted herewith, marked Exhibit 3.
Q. Why did you want to meet him?
A. Because I wanted to put him out of the way. A man that wants a third term has no right to live.
Q. That is, you wanted to kill him?
A. I did.
Q. Have you any other reason in wanting to kill him?
A. I have.
Q. What is that?
A. I had a dream several years ago that Mr. McKinley appeared to me and he told me that Mr. Roosevelt is practically his real murderer, and not this here Czolgosz.
Q. Did you know Johann Most when he was alive?
A. No, sir.
Q. Did you ever hear him talk?
A. No, sir.
Q. Did you ever hear Emma Goldman?
A. No, sir; I am not an anarchist or socialist or democrat or republican; I just took up the thing the way I thought it was best to do.
(It seems worth while to note that the defendant differs from many assassins of rulers or prospective rulers in having no anarchistic ideas or connections, but rather that he intended to be an upholder of established government.)
"Mr. Grant was refused" (a third term) "and he was satisfied; this man was refused and he is not satisfied; it's gone beyond limits; if he keeps on doing this after election, he can't possibly carry a solid Western state; the next thing we will have a civil war, because he will say the scoundrels and thieves and crooks stole my nomination, and now they will steal my election, and they will take up arms in all the Western states; we are facing a civil war just to keep him in a third term."
Q. Where did you get all this idea from?
A. I have been reading history all the time.
Q. What schooling did you have?
A. Well, I have attended school in the old country, and I attended night school in New York for about four winters; that's all the schooling I had.
Q. You haven't a very good education then?
A. Indeed I ain't.
Q. Have you always enjoyed good health?
A. Yes, sir; I am a healthy sane man, never been sick.
Q. Well, do you believe that that is a sane act that you committed this evening?
A. I believe that is my duty as a citizen to do, it's the duty of every citizen to do so.
Q. Well, how did you happen to get the idea that it was your duty among all the people that live in the United States?
A. I don't know, I thought maybe somebody else might do it before I got there.
Q. And you spoke to no one about your intention on all the route you took concerning this, nobody?
A. No, sir; nobody.
While in jail the prisoner prepared a written defense, which we submit herewith as Exhibit 4, and we extract certain sentences from the same, as follows:
"Gentlemen of the Jury, I appeal to you as men of honor, I greet you Americans and countrymen and fathers of sons and daughters. I wish to apologize to the community of Milwaukee for having caused on October 14th last, great excitement, bitter feeling, and expenses."
"Gentlemen of the Jury: When on September 14th last I had a vision, I looked into the dying eyes of the late President McKinley, when a voice called me to avenge his death, I was convinced that my life was coming soon to an end, and I was at once happy to know that my real mission on this earth was to die for my country and the cause of Republicanism."
"You see that I have appeared here today without assistance of a counsellor at law, without any assistance save that of God, the Almighty, who is ever with him who is deserted, because I am not here to defend myself nor my actions."
"The law I have violated for which you will punish me is not in any statute book."
"The shot at Milwaukee which created an echo in all parts of the world was not a shot fired at the citizen Roosevelt, not a shot at an ex-president, not a shot at the candidate of a so-called prog. pty. (Progressive party), not a shot to influence the pending election, not a shot to gain for me notoriety; no, it was simply to once and forever establish the fact that any man who hereafter aspires to a third presidential term will do so at the risk of his life."
"If I do not defend tradition I cannot defend the country in case of war. You may as well send every patriot to prison."
(As showing the erratic reasoning of the defendant, the following passage, intimating that the assassination of President McKinley was a part of a conspiracy to elevate Colonel Roosevelt to a permanent control of the destinies of the United States, we quote further:)
"Political murders have occurred quite often, committed by some power that works in the dark and only too frequently of late the assassin was classed as an anarchist, but the real instigators could never be brought to justice. Whoever the direct murderer of President McKinley has been it could never be proven that he has ever been affiliated with any anarchistic or similar society, but we may well conclude that the man who in years after willingly violated the third unwritten law of the country whenever he thought it profitable to change his creed while president, perhaps to the mother of monarchies."
(From the remarks of the prisoner in our examination of him, we find by "the mother of monarchies" that he refers to the Roman Catholic Church.)
We further quote:
"Such was his fear that his machine, built up in 7½ years will be destroyed over night, that he threatened not to leave the chair unless he were allowed to nominate his successor."
"Gentlemen of the jury: The 3t (third termer) 'never again will I run for pres.' (president) has a parallel in the history of Rome. Whoever read the history of Julius Caesar knows that this smart politician while elected dictator managed to become so popular with the people that they offered him the kingly crown, but J. Caesar knew that he had to bide his time, that the rest of Senators know of his ambition, and after refusing three times he knew they would offer it to him a fourth time, and when then he accepted it he was murdered for ambition's sake."
"He" (Colonel Roosevelt) "was ambitiously waiting for the Government at Washington to start a military intervention in Mexico, but the leaders of the Republican party feared that the 3t (third termer) would muster an army of volunteer Rough Riders and return at election as the conquering hero."
"The danger even more grave than civil war is the possibility of intervention of foreign powers, who may help the 3t (third termer) in order to keep the Union disunited and separated." * * * * * *
"We would at once realize that we are surrounded by a pack of hungry wolves ready to destroy this hated Republic, ready to destroy Monroe Doctrine, ready to annex the Panama Canal and the great land of the brave and free, the home many millions free people, the dream of all heroes and martyrs for political freedom to 1848 would have ceased to be owing to the ambitions of one man, and one man's rule. I hope that the shot at Milwaukee has awakened the patriotism of the American nation."
"I have been accused of having selected a state where capital punishment is abolished. I would say that I did not know the laws of any state I travelled through. It would be ridiculous to fear death after the act as I expected to die during the act, and not live to tell the story, and if I knew that my death would have made the third term tradition more sacred, I am sorry I could not die for my country."
"Now, Honorable Men of the Jury, I wish to say no more, in the name of God go and do your duty, and only countries who ask admission by popular vote and accept the popular vote never wage a war of conquest murder for to steal abolishes opportunity for ambitious adv. (adventurers).
"All political adventurers and military leaders have adopted the career of conquering heroes wholesale murder, wholesale robbers called national aggrandizement. Prison for me is like martyrdom to me, like going to war. Before me is the spirit of George Washington, behind me, that of McKinley."
(The last sentence the prisoner explained, was written hastily, and he expected to revise it.)
A 1st class relic of cloth which stained a body fluid and blood of Blessed Stanislaus
Life[edit]
Early life[edit]
Jan Papczyński was born on 18 May 1631, in the village of Podegrodzie - now near Stary Sącz - as the youngest of the eight children of Tomasz Papczyński and Zofia Tacikowska. His father was a local blacksmith and also served as the village bailiff. As a youngster, he cared for his father's herd of sheep and came to know the countryside well.[1]
Education[edit]
Stanisłaus's first beginnings with school gave no indication of his later career as an academic. He had difficulty with studies, nevertheless he mastered his temperament, overcame material problems associated with his social standing, and advanced in studies, graduating from one school to another: in Podegrodzie, then in Nowy Sacz. At the age of fifteen he entered the Jesuit College at Jaroslaw, the Piarist College of Podoliniec in 1649, and in 1650 the Jesuit College of Lvov, from which he was forced to flee due to an attack by Cossack troops. At the age of twenty-three he completed his general and philosophical studies at the Jesuit College of Rawa Mazowiecka.[1]
He is described him as a tall, slender young man, with a swarthy complexion, tall forehead and deep, pensive eyes gazing from under his eyebrows.[2] His father died while Jan was studying in Lvov.
Piarist[edit]
On 2 July 1654, Papczyński joined the Piarist Order, newly established in Poland, in their monastery in Podoliniec and was given the religious name of "Stanisłaus of Jesus and Mary". He performed the lowliest tasks, cleaning out stables and barns, chopping wood, and washing dishes.[2] He made his second year of novitiate in Warsaw, while studying theology with the Recollect Franciscan friars. Those were the times of the Swedish invasion known as "the Deluge", that made a deep impression on the young seminarian's life. From the perspective of his whole life's experience, he thus described in his testimony one incident from those days: "I confess," he writes, "that I leave this world professing the Roman Catholic faith for which I was ready to pour out my blood during the war with Sweden. One day my companion and I were exiting the Old Town, when a heretic soldier, his unsheathed sword in hand, attacked us near the Dominican Fathers. My companion (even though he was German) fled, and I, falling to my knees, stuck out my neck for the blow. However, by the decree of Divine Providence, I did not sustain any wounds although I was struck three times with great force. Afterward, I felt great pains for an hour and a half because of that."[2]
On 22 July 1656, Papka made his profession of religious vows as the first Polish member of the Piarist Congregation. He was ordained to the priesthood on 12 March 1661.[3]
While still a seminarian, Papczyński taught rhetoric in the Piarist colleges of Rzeszow and Podoliniec, and then after ordination he taught in a Warsaw college. He wrote a textbook entitled "Prodromus reginae artium" (The Messenger of the Queen of Arts), and used it in his lectures. This textbook underwent four reprints during subsequent years. This work merited special praise[3] for its pedagogical character as well as the selection of rhetoric which witnesses to the author's patriotic sentiments and his special devotion to the Virgin Mary. Also, in this textbook he postulated the equality of all citizens before the law and took a critical stand in regards to the "liberum veto." ("free veto" = an unexplained veto)
As a priest Papczyński heard confessions and gave sermons. On greater feasts he was invited to preach in the many churches of the capital. One sermon he preached on Thomas Aquinas, delivered at the Dominican church, was published in 1664 under the title Doctor Angelicus (The Angelic Doctor). Taking advantage of Papczyński's contacts with influential people, his superiors entrusted him with gathering petitions for the beatification of the Order's founder, Joseph Calasanz.[3] Papczyński obtained many letters. From 1663 to 1667 he directed the Confraternity of Our Lady of Grace, Patroness of Warsaw, whose image was in the Piarist's Church on Dluga Street.
Leaving the Piarists[edit]
Due to differences in understanding of the Order's character, Papczyński's relations with his superiors kept getting more strained and eventually led to his leaving the Order. He strove to restore the early rigor of their way of life, while practices in the province tended to favor laxity. Because of his views and actions, as interpreted by some of his superiors, he was the cause of confusion among Piarists, while he himself felt misunderstood. Later he used to call this period of his life "a long-lasting martyrdom". In those difficult times he wrote two series of meditations: Orator crucifixus (The crucified Speaker) and Christus patiens (The suffering Christ).
Not being able to find for himself, within the Piarists, the proper climate for life and work and at the same time seeing also a rift within the Province between his supporters and adversaries, Papczyński asked the Superior General to release him from his religious vows. On 11 December 1670, he left the Order. In the presence of his Piarist superiors he declared: "I offer and consecrate to God, the Almighty Father, the Son, and the Holy Spirit, as well as to the Mother of God, the ever-Virgin Mary, conceived without sin, my heart, my soul, my body, leaving absolutely nothing for myself, so that henceforth I may be the slave of God Almighty and of the Most Blessed Virgin Mary. Consequently, I vow to serve Them zealously, in chastity, to the end of my life, in the society of Marian Clerics of the Immaculate Conception, which by the grace of God I wish to found".
New Marian congregation[edit]
Papczyński's was made more difficult by his being of common birth and advocating a very rigorous lifestyle in the prevalent aristocratic mentality. He found support for his plan from the Bishop of Poznan, Stefan Wierzbowski. Rejecting proposals from different Orders and bishops (those of Cracow and Plock), Papczyński went as a chaplain to Jakub Karski's house in Lubocza near Nowe Miasto-on-Pilica in order to prepare himself for this new undertaking. There, in September 1671, he was vested in a white religious habit in honor of the Immaculate Conception of the Virgin Mary. He also prepared the project of the future Order's statute entitled "Norma vitae" (Rule of Life), which he established as an order of canons regular. At the same time he wrote a moral and ascetical treatise called "Templum Dei Mysticum" (The Mystical Temple of God), which underwent several reprints. In this book he expressed his belief that lay people, and not only priests and religious, are called to holiness.
Seeking candidates for his planned order, in September 1673, Papczyński went to Puszcza Korabiewska near Skierniewice, where a former soldier, Stanislaus Krajewski, and companions lived as hermits. There, on the land donated by Krajewski, he built and organized his Institute's first house, which he called a "Retreat House". Bishop Stanislaus Swiecicki, who came on a canonical visitation on 24 October 1673, approved this community living in accord with the "Norma vitae" under Papczyński's guidance. He left them his own "Statutes" on the characteristics of hermits and penitentials. The Marians consider this date as the beginning of their Order.
Wierzbowski wished to engage the newly created religious community in fulfilling of his plans of the renewal of religious life in the diocese. Particularly in the town of Gora near Warsaw where he established the holy city of Mazowsze which he called New Jerusalem. There he built many churches and chapels commemorating the Passion of Christ. To serve the arriving pilgrims, he brought over several religious orders, among them Papczyński's community. In 1677, he consigned to him the Church of the Lord's Cenacle with its adjacent monastery. The previous obligations of living a hermits' lifestyle were not in force at this institution. Papczyński lived here until his death, 24 years later.
On 21 April 1679, Wierzbowski canonically constituted Stanislaus's institute, composed of two houses, as an Order of diocesan right. The stated goal of the community was to spread devotion to the Virgin Mary, and to assist poor souls in purgatory, particularly those who died in fields of battle and victims of plagues. Papczyński also directed his spiritual sons to undertake pastoral works, especially assisting pastors by hearing confessions, as well as catechizing and delivering sermons to the faithful, particularly the most spiritually neglected in regards to religion. Papczyński introduced abstinence from drinking vodka in the order. King John III Sobieski, who was known for his kindness towards strict religious orders, took the Marians under his special protection.
However, the simple vows which the Marians were making at the time were not strongly binding, and the fate of the Congregation depended simply on the bishop. This problem became particularly apparent after the death of Bishop Wierzbowski in 1687. For these reasons Papczyński, who was already 60 years old, set out on a journey by foot to Rome in 1690, in order to obtain papal approval for his Order. Unfortunately, he arrived there at a time when the Holy See was without a pope, and only procured a spiritual affiliation of the Marians with several other Orders. The approbation of "Norma vitae" as the Congregation's statutes, which took place a couple of years later, was a fruit of this journey.
In 1699, Papczyński made another attempt to procure the approbation of his Order, by sending to Rome Fr. Joachim Kozlowski as his envoy with full powers (plenipotentiary). Meeting with difficulties in obtaining the approbation of the Marian Order upon its own rule, Kozlowski approached the reformed Franciscan Minors for the "Rule of the Ten Virtues of the Blessed Virgin Mary", which included the Marians' legal dependence on this Order. Pope Innocent XII approved the document issued by the General of Franciscans on 24 October 1699. Although the Rule was received without previous consultation with Papczyński, it did not infringe the specific features of the Marian Institute and was thus gladly accepted by the Marian Legislator. The Marians became an Order with solemn vows and were freed from the authority of a local bishop, although they were dependent on the Franciscans for some time. Finally, the Marians received approbation as an order of apostolic right ridding themselves of restrictions. In their apostolic work they placed special emphasis on teaching truths of the faith to the faithful of lower classes, which was Church considered its most urgent task at the time.
On 6 June 1701, Papczyński pronounced a solemn profession of vows in the hands of the Apostolic Nuncio, Francisco Pignatelli, and then received the profession of vows from the other Marians, a very important milestone in establishing the first Polish religiouis order for men. On the way to the realization of this goal, for a duration of 30 years, Papczyński had to overcome innumerable difficulties. A few times he doubted whether or not God truly wanted him to follow this road.
Death and burial[edit]
He died on 17 September 1701, and was buried at the Church of the Lord's Cenacle in Gora Kalwaria.
Spirituality[edit]
At school, from the pulpit, in confessional, or at his desk, Papczyński proclaimed the word of God everywhere in speech and writing, emphasizing particularly the need to care for those wronged by the society. His work followed the beliefs proclaimed in "Templum Dei Mysticum": "O how admirable are those who mutually work with Christ, and, solely out of love for Him, sincerely and zealously announce all that is essential for salvation, for leading a Christian life, for rooting out vices, and increasing virtues. This is the greatest and most fruitful work of mercy".
Two centuries before the proclamation of the Dogma of the Immaculate Conception Stanislaus professed: "I believe everything that the holy Roman Church believes, but first of all I profess that the Most Holy Mother of God, Mary, was conceived without any stain of original sin". This privilege of the Immaculate Conception was very precious to him. He talked about it in sermons and wrote extensively on the subject. In 1670 he made a "vow of blood" witnessing his readiness to lay down his life if necessary in honor of Mary's Immaculate Conception. Papczyński lived in times illustrated by the Polish writer Henryk Sienkiewicz in his "Trilogy", describing the Cossack wars, the Swedish invasion of Poland, and finally, the Polish army's victory at Vienna. He himself accompanied Polish troops in battles against Turks in Ukraine in 1674, and witnessed that many people died unshriven.
Sainthood[edit]
Process and Venerable[edit]
A cause to beatify Papczyński was started in 1767, interrupted in 1775, and reopened in 1953. But because such a long time had passed since the his death, this process had to be accomplished "historically", which means that documents had to be searched for testimonies on one's life and virtues. Those documents were prepared and gathered in a 1000-page manuscript called "Positio". On 28 February 1980, the National Conference of Bishops in Poland petitioned the Pope to elevate Papczyński to the altars as a model of Christian life. Similar petitions were sent by major superiors of male and female congregations in Poland. Based on this evidence, on 28 November 1980, the Congregation for Saints made a decision that Papczyński's beatification cause may be brought before the Apostolic Tribunal.
Pope John Paul II approved this decision on 6 March 1981 which commenced sainthood proceedings and granted him the title Servant of God - the first stage in the process.
In the years 1981-1982, a process de non cultu was conducted in Warsaw. The decree super validitate Processus (regarding the validity of the diocesan process) was promulgated in 1990. Further evaluations of Positio super Virtutibus were also conducted. Then, on 22 January 1991, during an Ordinary Congress of the Congregation, chaired by Anthony Petti, General Promoter of the Faith, the theological consultants stated that Papczyński had practiced virtues to a heroic degree.
On 17 March 1992, after having listened to the report delivered by Paulino Limongi, Titular Archbishop of Nice in Hemimont, the cardinals and bishops gathered at an Ordinary Congregation stated that he had practiced the theological virtues, the cardinal virtues, and other virtues associated with these, to a heroic degree.
After the results of the research conducted by the Cardinal-Prefect, Cardinal Angelo Felici, had been presented to the pope, he accepted the decision of the Sacred Congregation for the Causes of the Saints and ordered that the decree on Papczyński's heroic virtues be prepared.
On 13 June 1992, the Pope invited the Cardinal-Prefect, the relators of the cause, the Secretary of the congregation, and other people who are usually summoned in such circumstances and, in the presence of all gathered with regard to the cause and its result, solemnly announced that:
It is considered to be a certain thing that Blessed Stanislaus of Jesus and Mary Papczyński practiced the theological virtues of faith, hope, and charity, the cardinal virtues of prudence, justice, temperance, and fortitude, and other virtues associated with these, to a heroic degree. The Pope ordered that this decree be made public and kept in the acts of the Sacred Congregation for the Causes of Saints.
Beatification[edit]
The miracle needed for his beatification was investigated in the 2003-2004 timeframe and received formal validation from the Sacred Congregation for the Causes of Saints on 7 May 2004. A medical board based in Rome met and approved the miracle on 12 May 2005 while theologians followed suit and approved it also on 20 September 2005. The cardinal and bishop members of the Sacred Congregation for the Causes of Saints granted their formal approval on 3 October 2006, while Pope Benedict XVI approved it on 16 December 2006.
The miracle in question concerned Ursula Markowska on 4 April 2000.
He was beatified at the Marian Shrine in Licheń by a special delegate of Pope Benedict XVI – Cardinal Tarcisio Bertone, Secretary of State of the Holy See on 16 September 2007.
Canonization[edit]
The second miracle required for his canonization was investigated in a diocesan tribunal and was ratified as being a valid process on 27 June 2014. The Rome-based medical board met and approved it on 17 September 2015 while the theologians also met and approved it on 10 November 2015. The cardinal and bishops who constituted the Sacred Congregation for the Causes of Saints also approved it on 12 January 2016.
Pope Francis approved the miracle on 21 January 2016; a date shall be determined for the canonization at a consistory of cardinals in March.
From the last will and testament of Stanisłaus Papczyński[edit]
"I give thanks to the Divine Majesty for graces, gifts, and goodness granted me with great generosity. I repent from the depth of my heart and I wish out of love of the Lord to repent more and more for all my sins, which I place in the deepest wounds of Jesus Christ, my Lord and Redeemer. I fall at the feet of Blessed Virgin Mary, Mother of God, and I give myself with the entire Congregation of her Immaculate Conception to her for eternity. I call on her gracious direction and effective care, and for the hour of my death I beg her most merciful and powerful protection from the ambushes of my enemies and all temporal and eternal Evil.
To all those who loved and supported the Congregation of the Immaculate Conception (which I founded through God’s inspiration to support all the faithful departed), I promise double reward from God’s hand.
I eagerly suggest to my brethren, if it be appropriate for me to say: Sons, you ought to have love for God and neighbor, devotion to the Catholic faith, and worship, love, and obedience to the Holy See, faithful preservation of the vows, humility, patience, support the souls in purgatory, and be at peace with everyone."
A half-caste Chinese gangster (George Raft) with a smuggling business based in London's Limehouse district falls for a low-class white pickpocket (Jean Parker), sparking a cultural identity crisis as well as the jealousy of his Chinese girlfriend (Anna May Wong). Potent stuff for 1930s Hollywood, as well as an interesting variation for quintessential screen gangster Raft.
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
Anna May Wong stars with George Raft and Jean Parker in this dark crime drama set in London's Limehouse district.
It's "Never the twain shall meet" time again, this time in London's Limehouse district. George Raft stars as Harry Young, a half-caste saloonkeeper who shelters beleaguered white girl Toni (Jean Parker) from her tormentors (shades of Broken Blossoms). Harry falls in love with the girl, but mixing of the races was still a Hollywood no-no in 1934, so tragedy results -- except for Toni, who finds happiness in the arms of Eric Benton (Kent Taylor), a man of "her own kind." The highly eclectic cast includes Anna May Wong as Raft's obligatory cast-off sweetheart Tu Tuan, former 2-reel comic Billy Bevan, and in a tiny uncredited role, Ann Sheridan. To avoid confusion with another Limehouse Blues, this one was retitled East End Chant for television.
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
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
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
Anna May Wong stars with George Raft and Jean Parker in this dark crime drama set in London's Limehouse district.
It's "Never the twain shall meet" time again, this time in London's Limehouse district. George Raft stars as Harry Young, a half-caste saloonkeeper who shelters beleaguered white girl Toni (Jean Parker) from her tormentors (shades of Broken Blossoms). Harry falls in love with the girl, but mixing of the races was still a Hollywood no-no in 1934, so tragedy results -- except for Toni, who finds happiness in the arms of Eric Benton (Kent Taylor), a man of "her own kind." The highly eclectic cast includes Anna May Wong as Raft's obligatory cast-off sweetheart Tu Tuan, former 2-reel comic Billy Bevan, and in a tiny uncredited role, Ann Sheridan. To avoid confusion with another Limehouse Blues, this one was retitled East End Chant for television.
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
The headstone is to illegible to read however research shows that at least three of their sons served in WWI. 1 killed, 1 returned and 1 deserted the day before embarkation overseas and only 5 weeks after his brother was killed in the field, which must have had some bearing on his mental state.
Elijah bequested his farm to Auckland Hospital Board in the hope of it becoming the "Elijah Home for Aged Women".
Nonconformist Division C Row 13, Plot 63
Elijah
Died 28 April 1938
Aged 79
Occupation: Farmer
Winifred
Died 30 September 1917
Aged 58 years [3]
Memorial plaque [‘Dead man’s penny’] embedded in obelisk
Ernest BROKENSHIRE
Elijah:
…at his late residence, “Harbour View,” Te Atatu, Elijah, beloved husband of Laura Brokenshire. – Passed peacefully away.
The funeral will leave his ate residence to-day (Friday), at 1 p.m. for Waikumete Cemetery.[10]
Elijah’s probate is available:
archway.archives.govt.nz/ViewFullItem.do?code=23118698
Ernest:
Driver Ernest BROKENSHIRE 2/2587 was Elijah’s son.
Born 8 June 1894, Te Aroha [2]
Fair complexion; blue gray eyes; auburn hair; 5ft 8inches; 151 lbs
Died at No 2 Australian Casualty Clearing Station 27 November 1916 of multiple gunshot wounds [head, back and left arm] received in the field 26 Nov 1916, France
Buried Trois Arbres Cemetery, Steenwerck, Nord, France[1]
Images of cemetery www.cwgc.org/find-a-cemetery/cemetery/2000052/TROIS%20ARB...
Served in the NZ Field Artillery and attached Trench Mortar Battery.
Occupation before enlisting: Farmer
Next of Kin: Mrs H Brokenshire [mother]
From the evidence available there is nothing to show that cause of the accident or that there was negligence on the part of anyone. It is clear that the bomb burst after clearing the gun pit. The Court considers that the accident could only be due to some defect in the ammunition.
New Zealand Herald, Volume LXXV, Issue 23054, 3 June 1938, Page 12
HOME FOR AGED WOMEN
Property at Te Atatu
Bequest to Hospital Board
Under the will of the late Mr Elijah Brokenshire, a farm which comprises 22 acres and a dwelling at Te Atatu, is to be held by the Public Trustee on trust for the Auckland Hospital Board as a home for aged women. This will take effect after the termination of several life interests.
The property is admirably situated overlooking the upper reaches of the harbour, and is in an ideal position for the purpose. [7]
New Zealand Herald, Volume LXXV, Issue 23056, 6 June 1938, Page 8
FARM BEQUEST
DESIRE OF TESTATOR gift to hospital board Tho bequest under the will of the late Mr. Elijah Brokenshire of a farm of 22 acres and a dwelling with furniture at Te Atatu to the Auckland Hospital Board, subject to certain life interests, does not make it a mandatory condition that tho property should be utilised as a home for aged women. Under the will the wish is expressed without imposing a binding trust that the board should erect on the land a home for aged women, as the testator considered the location of the property made it eminently suitable for such a purpose. He desired that the home should be named "The Elijah Home for Aged Women."
In 1929 the Government valued the house and land at £I820. Under the will the widow and about six other persons have successive life interests in the property, so that it is likely to be many years before the farm comes into the possession of the board. [8]
FAMILY INFORMATION:
Elijah BROKENSHIRE, eighth son of Mr Thomas BROKENSHIRE, of Adelaide, South Australia married Winifrede [sic] only daughter of P CLARKE, of the A.C., Alexandra, Waikato on 11 September 1884 at St Patrick’s Cathedral, Auckland. [4][6]
Elijah married secondly to Laura, second daughter of the late Mr and Mrs H W REYNOLDS of Te Aroha West on 4 March 1919 at St Luke’s Anglican Church, Mount Albert.[18] She died 30 January 1953 aged 84 and is buried at Waikumete Cemetery, protestant lawn A Row 8, Plot 74[19]
Issue of first marriage [year/registration number]:
Son - James Elijah 1885/10078
Born 29 July 1885 at the residence of his grandmother Mrs P CLARKE, Bird-in-Hand Hill.
Family lived Waiorongomai West, Te Aroha[5]
New Zealand Herald, Volume LV, Issue 17026, 9 December 1918, Page 1
On December 8, at his parents’ residence, 38 Cobden Street, Newton, Ernest George the dearly loved and only son of James Elijah and Violet May Brokenshire; aged 1 yr 9 months. [11] He is buried at Waikumete Cemetery; Anglican Division E, Row 9, Plot 31
Auckland Star, Volume LXIV, Issue 121, 25 May 1933, Page 5
“Ten years ago to-day I obtained a separation order against my husband, and we have lived apart ever since,” said Violet May BROKENSHIRE (Mr Fraer), who was granted a decree nisi in her petition against James Elijah BROKENSHIRE on the ground of separation.[9]
Son - Albert 1887/5515
Born 21 June 1886 [13]
Died 6 August 1962
Next of kin at death: Mr L Brokenshire, 13 Harding Ave, Panmure, Auckland
Albert also saw service in WW1
Enlisted: 15 December 1914
Discharged: 13 May 1919
Occupation on enlist: Timberman at Waihi Sawmilling Co.
Brown hair, blue eyes, fair complexion; 5ft 11inches
21 August 1915 gunshot wound left forearm - Dardanelles
New Zealand Field Artillery. Service no. 7/820
Daughter - Laureltine 1893/10158
A Mrs Laureltine ALDRIDGE died 28 Feb 1970 aged 76 and ashes scattered at Waikumete Cemetery
Son - Ernest [mentioned on this headstone] 1895/16231
Son - Fred 1897/13050
A Fred Brokenshire in Whangarei Military district, a farmer of Silverdale appears in the 1940-45 WWII Ballot lists, no. 608229[17]
Died c1971 aged 73[16]
A Fred also appears in the 1928, Marsden, Northland electoral roll as a farmer with his wife Alice [nee Alice Agnes nee JACK], living in Silverdale. They married c1917[17]
Daughter - Winifred Irena 1889/12166
A Brokenshire infant aged 2 days is recorded as dying in 1889 which may possibly be Winifred as I can find no marriage nor named death entry for her elsewhere.[20]
Son - Norman 1891/9066
Born 20 July 1890[12]
Norman also saw service in WW1 however it seems he deserted the day before being sent on active service and 5 weeks after his brother Ernest was killed in France.
23 August 1917 posted as Private, military no. 64431
Fair complexion; hazel and blue eyes; fair hair; 5ft 6inches.
Occupation on enlist: labourer at Stevenson’s Sawmills, Piriaka
Previously missed some work due to bad back.
23 January 1918 posted as Deserter [30 Dec 1917 – 5 May 1919]. District court martial at Trentham Camp resulting in 2 years imprisonment mitigated to 1 year’s imprisonment with hard labour. Also charged with losing by neglect equipment and punishment of £5, 5 shillings and 7 pence. This equipment was made up of:
1 jacket - £1/11/1d; 1 greatcoat £2/8/11d; 2 titles 7d, 1 palliasse 2/-; 1 pair drawers 2/4d, pair shoes 11/10d; 1 pair socks 1d; 1 holdall 1/1d; 1 jersey 5/4d, and 1 undershirt 2/4d.
Witness: S.S.M. (W.O.) J. CUMMINGS, Camp Sergeant Major:
“I was present at the roll call of D Coy, 33rd Refts on the morning of the 30 Decr 1917. The accused was then in that Cy, and did not answer his name, and was absent without leave. As his Coy was embarking for active service on the following morning, he was transferred to F Cy 33rd Refts as an absentee without leave, and a man fro F 33rd Refts was transferred to D Coy 33rd Refts to take his place. Produce Army Book 161 containing a record of a Declaration of a Court of Inquiry held at Trentham Camp on the 21st of Jany 1918 for the purpose of investigating the illegal absence of the accused. The Court declared the accused to e illegally absent without leave from the 30th Decr 1917. I hand in Army Form B 115 certified true copy of the original Declaration. The accused surrendered himself at Wellington on the 5th May 1919 to the N.Z.? Military Police as per Certificate under Section 163 (j) A?A? signed by Lieut, S? Frickleton Assistant Provost Marshall, Wellington District which I hand in.” [n.b. the question marks were in the typed text ].
Daughter - Daphne 1900/2196
Died c1900 aged 4 months[14]
Son - Aubrey Gerald 1902/1410 [twin]
Died c1963 aged 62[15]
Son - Vernon Leslie 1902/1411 [twin]
Died 29 January 1971 Aged 70
Cremation Lawn Old Row W, Plot 4, Waikumete Cemetery
SOURCES:
[1]
muse.aucklandmuseum.com/databases/Cenotaph/1664.detail?Or...
[2]
Online military records
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
[3]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1917/6462
[4]
NZ Dept Internal Affairs historic BDM indexes: Marriage registration 1884/3081
[5]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[6]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[7]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[8]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[9]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[10]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[11]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[12]
Military records
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
[13]
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
[14]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1900/2398
[15]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1963/38166
[16]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1971/35639
[17]
Ancestry.co.uk
[18]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[19]
waitakere.govt.nz/cnlser/cm/cemeterysearch/cemeterydetail...
[20]
NZ Dept Internal Affairs historic BDM indexes: Death registration 1889/3397
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
Johanna Beckett was a petite woman with a fair complexion, was known for singing hymns relentlessly, and wandering through hills naked. She spent a fairly large amount of her life in mental asylums. She caught the attention of historians with her striking picture posing for Truby King, the Superintendent of Seacliff Asylum. With her contemporaries, she either bonded or clashed as a result of her witty and provocative nature.
Archives New Zealand Reference: Seacliff Mental Hospital Statutory Admission Papers DAHI 19850 D266/17/2116 / R25258208
For more information email dunedin.archives@dia.govt.nz
and see also:
Brookes, Barbara & Jane Thomson (eds.). 'Unfortunate Folk' Essays on Mental Health Treatment, 1863-1992. Eds. Dunedin: University of Otago Press, 2001.
and:
Barbara Brookes ‘The asylum lens: photographs in the Seacliff Asylum case files’’ in Angela Wanhalla and Erika Wolf, ‘Early New Zealand Photography: Images and Essays (Dunedin: Otago University Press, 2011), pp. 98-103.
Material from Archives New Zealand