View allAll Photos Tagged Misunderstanding,
Situated 10 kilometers far from Kalyviani, at the North and over 58 Kilometers from Chania, at the north side of Gramvousa Peninsula, Balos Lagoon is one of the best beaches of the Mediterranean Sea. The beach is in the inlet of the homonymous cove and it is not affected by the “meltemia” (northern summer winds), since the islet of Gramvousa at the mouth of the cove protects it very well. The beach at the lagoon is sandy with pinkish – white sand and thousands of broken and intact seashells, with shallow water, very warm especially in summer. The problem is that the beach has a smooth but muddy seabed, which may make walking on it a bit disgusting, and occasionally, due to the shallow water, it has a bad odour; there is also a big tar problem.
Concise elements for the fauna in the region Gramvousa and Balos
To date, 98 species of birds have been recorded, but the actual number of species could be much larger. Of this number, 40 live in the bio-tope or in the surrounding regions (permanently or as summer visitors) and depend on this for finding food. The rest are observed during migration or over winter. 20 are protected by European legislation and 14 are reported in the red book of threatened species in Greece.
The peninsula of Gramvousa is characterized as a bio-tope of significant importance for migratory birds and is an importance source of food for the endangered in Europe Gypaetusbarbatus (vulture).
In terms of reptiles, there is the snake, Elaphe situla (Spitofido or Ohentra as by misunderstanding it is said in Crete), which is protected by Greek and European legislation. A distinctiveness of the region is the wild flock of donkeys that live on the peninsula. This wild flock of donkeys is treated as a rival to the sheep and goats of the area and often killed by local shepherds.
In the caverns of the region, the Mediterranean seal (Monachus monachus) gives birth and the marine turtle (Caretta Caretta), a strictly protected species, is found here. The marine clams of the lagoon do not exist anywhere else in Crete in such large numbers as found here.
Fer-de-lance (Bothrops asper).
Bothrops species can be distinguished by their broad, flattened heads which are set apart from the rest of their bodies. The head of this snake is light to dark brown or even black. Although usually absent, it may have occipital blotches or streaks that range from indistinct to distinct. The underside is most often pale yellow. This species has different patterns and colours on its dorsal and ventral sides and it exhibits a postorbital stripe. The ventral side is yellow, cream, or a whitish grey, with dark blotches that are more frequent closer to the posterior end. Ventrolaterally, B. asper has interchanging grey scales which are more pale towards the medial line. Dark triangles with pale edges can be seen laterally, which range in number from 18 to 25. Apices either alternate or are reflective of each other over the middorsal line. In the interspaces, there are dark, paravertebral blotches. Specimens may have a yellow zig-zag-shaped line on each side of the body. There is a great variety of colours on its dorsal side: olive, grey, light brown to dark brown, tan or sometimes nearly black. To prevent water loss where they occur in drier regions, this species has more scales.
Specimens of this species may weigh up to 6 kilograms (13 lb) and are often 1.2 to 1.8 meters (3.9 to 5.9 ft) in length. Very big females can reach lengths up to 2.5 metres (8.2 ft), although this is uncommon.[3][20] These are among the most sexually dimorphic of all snakes. The two sexes are born the same size, but by age 7 to 12 months, females begin to grow at a much faster rate than males. Females have thick, heavy bodies and grow significantly larger than males. They also have heads two or three times the size of males relative to their size and proportionally bigger fangs (typically 2.5 cm), as well.
Across its geographic range, this species varies greatly phenotypically. As a result, great confusion between it and other related species, most notably Bothrops atrox, which is similar in colour but usually has yellow or rust-like tones and rectangular or trapezoidal blotches.
It is found on the Gulf - Atlantic versant of eastern Mexico as far north as the state of Tamaulipas, southward through the entire Yucatán Peninsula extending into Central America, including Guatemala, Belize, Honduras, Nicaragua, Costa Rica and Panama. An isolated population occurs in south-eastern Chiapas (Mexico) and southwestern Guatemala. In northern South America, it is found in Colombia, Ecuador, Guyana and Venezuela. The type locality given is "Obispo, on the Isthmus of Darien" (Panama).
This is mostly a lowland species that, in Mexico and Central America, occurs from about sea level to 1,200 to 1,300 meters (3,900 to 4,300 ft) altitude. In South America, it apparently ranges to considerably higher elevations: up to 2,500 metres (8,200 ft) in Venezuela and at least 2,640 metres (8,660 ft) in Colombia according to herpetologist Lancini.
According to Campbell and Lamar (2004), its range in Ecuador extends as far south along the Pacific coast as El Oro Province and the Vilcabamba area of the Río Catamayo Valley. This species is reported to occur from seven (Bolívar, Carchi, Chimborazo, Esmeraldas, Guayas, Los Ríos and Pichincha) of the fourteen provinces along the Pacific slope of Ecuador. There are even a few records from northern coastal Peru, with these snakes being reported in the Tumbes Region. It is also known from the island of Gorgona off the Pacific coast of Colombia.
B. asper occurs throughout the inter-Andes valleys of Colombia across the Caribbean coastal plain through central Venezuela north of the Orinoco as far east as the Delta Amacuro region. This is the only Bothrops species that occurs on the island of Trinidad, although the situation there is complicated due to proximity of Trinidad to the Orinoco Delta where it may be sympatric with B. atrox.
Due to the casual and informal application of the name "Fer-de-lance" being applied to any number of species of Latin America pit vipers in the genus Bothrops, there is much confusion and misunderstanding, particularly in popular literature, as to proper nomenclature. Populations of Bothrops often referred to as Fer-de-lance on the island of Saint Lucia are Bothrops caribbaeus. Populations of Bothrops referred to as Fer-de-lance on the island of Martinique are regarded as Bothrops lanceolatus.
This species likes moist environments, and occurs in most life zones located at low or middle elevations (up to 600 metres (2,000 ft)), excluding those with strong seasonal dry periods. They are, however, sometimes found at much higher elevations. This is true in the premontane forest in Costa Rica, the cloud forest of Guatemala and Mexico, or the lower montane wet forest in the Caribbean Region of Colombia and Ecuador. It chiefly inhabits tropical rainforest and evergreen forest, but it also occurs in drier areas of tropical deciduous forest, thorn forest and pine savannah near lakes, rivers and streams. The home range of B. asper averages between 3.71 ha and 5.95 ha, which is comparatively small in relation to other pit vipers.
B. asper is nocturnal and solitary. It is less active in colder and drier periods. This species is often found near rivers and streams, basking in the sun during the day and lying still while well camouflaged in leaf litter or under forest cover waiting to ambush prey such as rats and mice that come within range during the night. When cornered or threatened, this species can be very defensive and may exhibit an S-coiled defence display. Juveniles are often semi arboreal, and even adults are sometimes encountered in bushes and low trees. Juveniles are also known to exhibit caudal luring, a use of their differently coloured tail tips to lure prey.[3] Although both males and females display this behavior, only males have bright coloured tail tips.
Compared to the common lancehead, B. atrox, these snakes have been described as excitable and unpredictable when disturbed. They can, and often will, move very quickly, usually opting to flee from danger, but are capable of suddenly reversing direction to vigorously defend themselves. Adult specimens, when cornered and fully alert, are dangerous. In a review of bites from this species suffered by field biologists, Hardy (1994) referred to it as the "ultimate pit viper".
Bothrops asper is a diet generalist and is known to prey on a remarkably wide range of animals. A generalized ontogenetic diet shift occurs, with a higher percentage of ectothermic prey in juveniles, changing to a greater percentage of endothermic prey in adults, particularly small mammals. However both juveniles and adults, regardless of size or age, are known to opportunistically prey on ectothermic and endothermic species. Reports of invertebrate and insect remains in the digestive tracts along with frog and lizard remains are believed to represent secondary ingestion, however the dissection of several specimens containing only insect remains such as beetles (Coleoptera), and bugs (Hemiptera) are believed to reflect insects as primary prey too. Cannibalism has been reported in both captive and wild juveniles and the species is known to scavenge on dead frogs and rodents.
The timing of the reproductive cycle and the litter size of this species vary according to location: in some parts of Costa Rica, for example, it is more prolific than in others. Reproduction is highly seasonal and in Costa Rica, reproductive cycles are tightly related to rainfall patterns. The timing of breeding differs between populations in the Caribbean and Pacific lowlands. On the Pacific side, mating took place between September and November, with females giving birth between April and June. The average number of offspring was 18.6 (five to 40) in this population. Neonates ranged in total length from 28 to 34.6 centimeters (11.0 to 13.6 in) and in weight from 6.7 to 13.1 grams (0.24 to 0.46 oz). On the Atlantic side, mating was observed in March, and births occurred between September and November. The average number of offspring was 41.1 (14–86), whereas the total length of neonates ranged from 27 to 36.5 centimetres (10.6 to 14.4 in), and weighed from 6.1 to 20.2 grams (0.22 to 0.71 oz). In both populations, gestation time ranged from six to eight months, and the size of a litter correlated significantly with the size of the female. This species is considered to be the most prolific of all snakes in the Americas.
Male-male combat in this species has not been observed. Females will mate with more than one male during mating season. Mating includes a series of movements of the male, which then slowly chases an accepting female. The female then stops movement and extends her posture to mate. It is not known whether this species exhibits annual or biannual reproduction.
Studio photo by Nick Dobbs 05-11-2024
"Look at this photograph, everytime I do, it makes me laugh."
Nickelback forgot to mention the possibility of crying.
I kept these past memories in an old box; a box I hid for safe keeping; a box I promised myself to not look through unless I needed to; a box I pushed aside for good reason. I saw it again a couple days ago and only decided to look through its contents this afternoon.
I spent a good ten years with these kids. They were my family, my best friends, my worst enemies, and above all else; the base of my being. What roles do they play in my life now? Strangers.
To you,
I am nothing but a peripheral glance on the bus,
a change in direction when walking home,
a turn of face when destinations meet,
a familiar frame shuffling down your street,
just another person to avoid.
To a certain few I lost: I miss you oh so dearly. Thank you for being the brothers and sisters I never had, but needed. Thank you for always being that shoulder to cry on. Thank you for defending me when I was too weak to do so myself. Thank you for knowing what to say whenever I needed to smile. Thank you for not running away from me in public, I know I'm a handful. Thanks for the laughs. Thanks for the love. Thanks for everything you have done for me. I am forever grateful, even if I didn't always show it. And even though things aren't the same as they once were, they always will be when I live through these pictures.
To a certain few I lost and never want back: Our 'friendship' was a whole misunderstanding. I was manipulated, taken for granted, and treated as nothing more than a speck of lint. I always knew there existed some good and morality in you; you just never chose to use it. And that broke my heart. I never had the strength to say this to your faces, but now, if our paths ever crossed, I would have absolutely no problem calling you out. However, I want to thank you for letting me benefit from this. I grow and learn from my mistakes, and without a doubt, I'm not up for running towards a dead end again.
To the lot of you, flaws and all: Thank you for being a co-creator in my unfinished novel. Whether we are or aren't in a good standing at this point in life, thanks for the memories.
I have changed, and that, for certain, is something I will not deny. Its just another pothole on this boulevard of living. Most say I have changed for the best, but I'm still questioning myself about that. I am not the person you know; I am the person you don't. I think I've changed because I moved on; I accepted my past and chose to bloom from the rotten core.
It is now that I propose my next tidbit.
We are exposed to all sorts of change.
Most have the tendency to morph before our very eyes, and usually, at the most unexpected times. For the better, for the worse; it is unavoidable, and a cold slap in the face.
Always consider that people will change,
but before they do,
photograph who they were.
In other news,
Snow Day tomorrow.
Baalllllllin'!
Also, I think I write better than I talk.
Currently Spinning: "Coffee Shop Soundtrack" (Acoustic Remix) - All Time Low
come closer
You seem so far away
Theres something
I know you need to say
I feel your emotions
When I look in your eyes
Your silence
Whispering misunderstandings
Theres so much
You need to realize
Youll feel my emotions
If you look in my eyes
Hey, darling
I know you think my love is slipping away
But, baby, its all in your mind
Dont worry
Hold on tight and hear me when I say
Baby, its all in your mind
Believe me
I believe in you
Theres nothing
This feeling couldnt do
Move closer, my darling
Feel the love in my eyes
We were prowling through the Bishop Arts District which was one of the very few authentic, historic neighborhoods we saw during our brief visit to Dallas Texas. (en.wikipedia.org/wiki/Bishop_Arts_District,_Dallas) Like most arts districts, it is a collection of interesting small shops, restaurants, and coffee houses in an older part of this very modern-looking city. We enjoyed browsing in antique shops and craft-oriented home décor shops – even a shop filled with odds and ends catering to collectors of things peculiar to the male persuasion (old military uniforms and badges, old-fashioned toys and memorabilia, small machines and advertising signs from a bygone era). While my wife and our friends browsed an interesting church resale shop, I wandered across the street where to my surprise I saw a man at work in a shop window hand-rolling cigars. If that isn’t enough to pique the interest of the curious, I don’t know what is.
I entered the cigar shop and watched him ply his craft with efficient, practiced movements and meticulous care. I expressed my interest in his work and he turned to me and said haltingly “No English. Sorry.” His smile told me he would have liked interacting more and explaining his work but the combination of his English vocabulary and my Spanish vocabulary, we had only about 5 words. I watched as he efficiently completed wrapping a cigar in tobacco leaves which were hand cut with a curved blade, somewhat like the one we use to slice pizza at home. Little dabs of moisture ensured the leaves bonded to the previous layer and the final touch was clipping off the end with a small guillotine. I gestured with my camera and pointed at him with raised eyebrows and he nodded. I took just three or four photos and wished we could communicate better. I thanked him and went further into the shop to a counter where I met the owner. My hope was that she could serve as interpreter but alas, she knew very little Spanish too.
She told me her employee’s name is Yordi and that he worked in a cigar factory in Havana Cuba until a year ago when he came to the U.S. I’m not sure I understood fully, but I believe he came as a refugee claimant and is a master cigar-maker, having worked at a cigar factory in Havana for a number of years. Kelsi is the owner of Cigar Art (www.bishopartscigars.com/) and has been in business for about three years. You can tell from a visit and from their website that this is a great spot for the cigar aficionado. There is a humidor room and they sell a variety of products. As their website explains: “
Our brick & mortar store in located in the historic Bishop Arts District. Cigar Art (Oak Cliff) stocks a wide selection of artisan, boutique, and micro-blend cigars. Every cigar we carry is handcrafted the old Cuban style by Artisan Cigar Makers. We also carry a selection of house made cigars. To be a Cigar Maker at Cigar Art, you must have a minimum of 12 years cigar rolling experience in a reputable Cuban cigar factory.” One can even book a cigar-maker to attend your party or event.
I explained my Human Family photo project to Kelsi and said my photo of Yordi would be a fascinating contribution to my project. She thought he would be happy for me to use the photo for my project and agreed to a photo herself, as part of the story. Just then some patrons came in and I stepped back. They wound up having a seat on the couches and lit up. I went back to the front of the shop where I again used sign language with Yordi and showed him my contact card and he smiled and nodded. I indicated that I would like a photo of him holding the finished product and after a few misunderstandings, he happily obliged. We looked at the photos together and he seemed pleased. I thanked the friendly Yordi and called a thank you to Kelsi as I left.
Once again, the Human Family photo project had exposed me to a new experience and two very nice strangers. Thank you Kelsi for letting me photograph in the store and thank you Yordi for letting me watch you demonstrate your skills and for participating in The Human Family photo project.
This is my 154th submission to The Human Family group on Flickr.
You can view more street portraits and stories by visiting The Human Family.
DIA 5. "HERIDA" ¿Que es mas doloroso que esas heridas que tenemos en nuestro interior, en un lugar tan profundo que no logran sanar del todo? Casi todo me hace sentir herida, la insertidumbre, el enojo, la ira, las palabras desvergonzadas de cierta gente, la ignorancia y el desentendimiento.
DAY 5. "WOUND" What is more painful than those wounds that we have inside us, in a place so deep that they fail to heal at all? Almost everything makes me feel hurt, insecurity, anger, anger, the shameless words of certain people, ignorance and misunderstanding.
This miniature is a particularly beautiful example of a group of portraits, evidently of the same young woman, which have been traditionally identified as being of Venetia Stanley, Lady Digby. Stanley was the childhood sweetheart of Sir Kenelm Digby, and considered to be of rare beauty and great intellect. But Digby's mother opposed the match and induced her son to go abroad in 1620. After separation and complicated misunderstandings generated by the false news of Digby's death, the couple were finally reunited and married secretly in 1625.
Stylistically this miniature, with its extreme softness and lack of linear definition to the features, would seem to be one of Oliver's later works and it is possible that it was not from life, but painted after Venetia's death in 1633. Sir Kenelm's grief was profound and his loss clearly struck a chord with his contemporaries and referenced by numerous poets including Ben Jonson. If this were a commemorative portrait it would have to be a retrospective and idealising image, a cult object which would only be loosely connected to the reality of Venetia's appearance as a mature woman. This might explain the apparent anomaly of her dress, which for the 1630s, was somewhat out of date.
Peter Oliver, the painter, was born in 1589, the eldest son of Isaac Oliver, a French-born English portrait miniature painter, and his first wife, Elizabeth (1570/71–1599). He was even more eminent in miniature painting than his father, and is specially remarkable for a series of copies in watercolor he made after celebrated pictures by old masters. Most of these were done by the desire of the king, and seven of them still remain at Windsor Castle. A great many of Oliver's works were purchased by Charles II from his widow.
The painting is contained in an elliptically turned ivory lid and case.
Painted by Peter Oliver (English, 1589 – before 27 December 1647), watercolor on vellum, 1615-1622.
V&A Museum, South Kensington, London (P.3&A-1950)
Brimham Moor in North Yorkshire, England the rocks began taking their shape roughly 320 million years ago, when water, grit, and sand washed down from Scotland and Norway to form the land of Yorkshire.
Brimham Rocks is a stunning spectacle on the Moors in North Yorkshire. But what makes these rock formations special? The natural spectacle was created by a river 100million years BEFORE the first dinosaurs walked the earth.
When was the rock idol at Brimham Rocks created?
In 1844, Druidic theories were strong enough for the Worcester Journal to publish a list of "British monuments, commonly called Druidical," to correct misunderstandings, including those by "antiquarian writers of celebrity." The list included the Rock Idol at Brimham Rocks.
[ 7 de Abril - 13 de Abril ]
... LIVING IS EASY WITH EYES CLOSED,
MISUNDERSTANDING ALL YOU SEE.
ITS GETTING HARD TO BE SOMEONE
BUT IT ALL WORKS OUT,
IT DOESNT MATTER MUCH TO ME.
LET ME TAKE YOU DOWN,
CAUSE IM GOING TO STRAWBERRY FIELDS
NOTHING IS REAL AND NOTHING TO GET HUNGABOUT.
Pues si, pense que nunca diria esto: pero creo que es una de las unicas fotos mias que me gusta, la verdad.. (aunque no del todo...)
Espero que hos guste, y felicitar a mi madre.. que fue la fotografa en esta ocasion (le costo mucho aprender a encender la camera y a disparar.. pero hizo lo que pudo) gracias, mama:)
Facebook | Blog | DeviantART | Instagram: LAIASOLERGALVEZ
Laia Soler.
After two thousand years of ignorance, the time has come for church and synagogue, Jews and Christians, to understand our intertwined histories, to see Jesus as a Jew who made sense to other Jews in a Jewish context, to learn how our two traditions came to a parting of the ways, to recognize how misunderstandings of Jesus and Judaism continue even today to foster negative stereotypes and feed hate, and to explore how the gains in interfaith relations made over the past several decades can be nurtured and expanded.
-AMY-JILL LEVINE, The Misunderstood Jew
there's a lot of controversy and uproar going on right now in the US over the islamic center and mosque proposed to be built near ground zero in new york.
there is talk of freedom of religion and the first amendment to the US constitution.
there is talk about showing respect to the people who were killed on 9/11.
all very valid points.
it has become an emotional issue for a lot of people as well as a political item for some.
one thing is apparent , there is so much misunderstanding and ignorance over islam and muslims.
what are your thoughts on this issue ?
Brimham Moor in North Yorkshire, England the rocks began taking their shape roughly 320 million years ago, when water, grit, and sand washed down from Scotland and Norway to form the land of Yorkshire.
Brimham Rocks is a stunning spectacle on the Moors in North Yorkshire. But what makes these rock formations special? The natural spectacle was created by a river 100million years BEFORE the first dinosaurs walked the earth.
When was the rock idol at Brimham Rocks created?
In 1844, Druidic theories were strong enough for the Worcester Journal to publish a list of "British monuments, commonly called Druidical," to correct misunderstandings, including those by "antiquarian writers of celebrity." The list included the Rock Idol at Brimham Rocks.
HIndus often perform religious rituals with entire families, becoming so involved in the task at hand. This is religion and spirituality. Something that is deeply and sorely lacking in WESTERN society.
We in the west might not understand these rituals and at times
misunderstanding leads to cynicism, sarcasm and mockery.
I've watched bathers at ghats all over INDIA . The gesticulations, the idiosyncracies, the acts themselves are a magnet for my camera.
Nashik, the Godavari river.
Photography’s new conscience
Pile up original ------> www.flickr.com/photos/59633387@N06/6295162956/in/photostream
Bg on www.flickr.com/photos/rubyblossom/6418515397/in/set-72157...
Crosspost on my www.koinup.com/zhey/work/415260/
it's a human sign
when things go wrong
when the scent of her lingers
and temptation's strong
into the boundaries
of each married man
sweet deceit comes callin'
and negativity lands
cold, cold heart
hard done by you
some things look better baby
just passin' through
and it's no sacrifice
just a simple word
it's two hearts living
in two seperate worlds
and it's no sacrifice
no sacrifice
no sacrifice at all
mutual misunderstandings
after the fact
sensitivity builds a prison
in the final act
we lose direction
no stone unturned
no tears to damn you
when jealousy burns
cold, cold heart
hard done by you
some things look better baby
just passing through
and it's no sacrifice
just a simple word
it's two hearts living
in two seperate worlds
but it's no sacrifice
no sacrifice
no sacrifice at all
I gave my heart
Swedish postcard by Förlag Nordisk Konst, Stockholm, no. 843/6. Photo: Svenska Biografteatern AB. Karin Molander in Tösen från Stormyrtorpet/The Girl from the Marsh Croft (Victor Sjöström, 1917), based on a novel by Selma Lagerlöf. Caption: The alderman's daughter Hildur from Alvakra.
Helga Nilsson (Greta Almroth), the daughter of a poor farmer from the moors, starts working for Per Martinsson (Gösta Cederlund) as a maid. Although married, Martinsson cannot keep his hands off the pretty young maid and seduces her. When Helga becomes pregnant by him, however, Per abandons her and is even prepared to commit perjury in court when it comes to a lawsuit and, in the trial, to establish paternity. Helga is able to stop him at the last moment from swearing on the Bible that he is not the child's father and subsequently withdraws her complaint. Gudmund Erlandsson (Lars Hanson), who attends the court hearing and is the groom of the alderman's daughter Hildur Persson (Karin Molander), is deeply impressed by Helga's behaviour and tells his mother Ingeborg about Helga's fate. Before Helga can commit an act of desperation and kill herself in view of the "shame" of having borne an illegitimate child, Gudmund's parents take her on as a new maid on their farm. Gudmund's fiancée Hildur is the exact opposite of Helga: spoilt and exalted, and she meets Helga, whose good relationship with Gudmund is a thorn in her side, with increasing rejection. Thus Helga's stay with the Erlandssons is also only temporary.
Gudmund begins to drink without restraint in view of the fact that his future wife is doing worse and worse in comparison to Helga. In this state, he is involved in a violent scuffle one day, which ends fatally for Martinsson. When Gudmund wakes up the next morning, Per is dead, stabbed to death. Gudmund's knife blade is broken off, and Gudmund, who cannot remember anything due to alcohol consumption, then believes that he must have been the murderer of Helga's seducer. He confesses to his own father the crime he did not commit. When Hildur and her family learn of these circumstances, they immediately call off the upcoming wedding. Hildur now shows her true colours and has only contempt for her fiancé.
Gudmund, who is sure that he will now have to go to prison, visits Helga one last time and talks about the crime and the knife with the broken blade. Helga immediately realises that there has been a mistake and tells Gudmund that she herself broke off the blade when she used his knife for carving the day before. Although Helga loves Gudmund, she only wants his happiness, and since she does not want Gudmund's relationship with Hildur to fall apart because of this misunderstanding, she rushes to her to explain the true facts. Hildur, in turn, recognises in Helga's actions that Helga loves her ex and that she herself will never evoke such profound intimacy in Gudmund. And so she goes to him and tells the young Erlandsson about Helga's feelings. Gudmund, in turn, has long since realised that Hildur, who only speculated on his family's wealth, would have been the wrong choice of wife either way. Now, at last, the way is clear for a future together for Helga, the girl from the moor, and Gudmund Erlandsson.
Swedish actress Karin Molander (1889–1978) was a star of the silent Scandinavian cinema. In the films of Mauritz Stiller, she became a symbol of the modern, young and emancipated women of the 1910s.
1951; Nigger Heaven by Carl van Vechten. unknown Artist. Disputable title about the Jazz scene in Harlem. Blurr: "A Strange, arresting, shocking and tremendously serious story....
from the back: It tears away the dark clouds of misunderstanding and prejudice and allows the bright sun of honest inquiry and hope to shine on a speedy advancing race that has given the world such men as Booker T. Washington, George W. Carver, Dr. Ralph Bunche and Jackie Robinson.
This painting, by an unknown artist, is thought to date from 1855 when the Paddle Steamer Huntress was making regular trips to Manly every Sunday. The painting clearly shows the two masts remaining after removal of the central mast and fitting of engines and paddle wheels. The painting does not reflect the actual amount of building in Manly Cove.
The Huntress was built by Alexander Newton and William Malcolm at Pelican on the Manning River in 1853. She operated out of the Hunter River and Sydney Harbour with some brief periods on the Hawkesbury River before being purchased by New Zealand interests. This section deals with the Australian operations - 1853 -1860. Details of her operation in New Zealand Operation are to be found in New Zealand Operation
Other images related the Huntress are found in the Album HUNTRESS
SECTION 1. AUSTRALIAN OPERATION (1853 - 1860)
Details :
Name: Huntress
Type: Schooner Rigged, Cutter/Paddle Steamer.
Length: 89.1 ft
Beam: 16.2 ft
Draft: 7.6 ft
Engine: 2 x 40 h.p. Steam/Built and installed by G. Russell & Co (Sydney)
Builder: Alexander Newton and William Malcolm
Launched: September 1853, Pelican Shipyards, Manning River, NSW.
Registered: Sydney '147/1853' - '25/9/1853'
Re-Registered: Sydney 25/1857
Tonnage: Suggest 54.45 tons
Propelling Power: 32.01
Official Number: ON 032617
Construction:
-Carvel Planked
-Square Stern
Owners:
Australia
1853 -1856 Messrs. J. & A. Brown, of Newcastle.
1856 -1860 Thomas Stephenson Rountree [often incorrectly referred to as Rowntree], of Balmain.
New Zealand
1860 -1864 Government of Hawke’s Bay Province, New Zealand (registered Napier) Thomas Henry Fitzgerald. 12th March 1860.
1864 -1866 Donald McLean
1866 -1867 G. Edward Reid, 6th December 1866 (registered Auckland)
1867 -1871 William Souter 10th January 1867
1871 -1872 J. S. MacFarlane & Co.
HISTORY:
1853
NEW STEAMER. A contract for the building of a new steamboat was finally concluded yesterday by Messrs Malcolm and Newton. The matter has been under consideration for some time past, yet in consequence of some proposed alteration with regard to the vessel, it was only determined yesterday. The dimensions will be about 85 ft. keel, 16 ft. beam, and fore hold 7 ft. She will be built at Messrs. Malcolm and Newton’s yard on the Manning River. Her intended trade has not been given. The Maitland Mercury 5 March 1853.
(The side-wheel paddle-steamer Huntress was the only steamship built at the Pelican shipyard on the Manning River.)
MAIDEN VOYAGE
“The Phantom, ketch, has cleared out for the Manning River, taking up with her Captain Malcolm and a crew to bring down the new steamer [Huntress] lately built at that place by Messrs. Newton and Malcolm, the well-known shipwrights. The steamer is intended for the Hunter River trade, to ply between Newcastle and Morpeth, and is also to be used as a tug boat.
The steamer will come from the Manning under canvas to receive her engines, and proceed immediately to her destination. This will be a novel feature on the Hunter, and we congratulate the inhabitants on their new acquisition. The builders’ well-earned fame is sufficient guarantee of the faithfulness and superiority of build in the new boat.” The Maitland Mercury and Hunter General Advertiser - 6 August 1853
UNDER CANVAS - THREE MASTS
THE HUNTRESS STEAMER. This vessel arrived here on Sunday, the 25th, from the Manning River, for the purpose of being fitted with her engines, &c., which have been constructed by Mr. G. Russell, and, as a specimen of colonial shipbuilding, is worthy of some attention. She is intended for a tug-boat on the Hunter River, and will at the same time carry goods and passengers. Her dimensions are as follows:-Length of keel 86 feet 6 inches, depth of hold 7 feet 6 inches; draws when loaded 5 feet 10 inches aft, 5 feet 1 inch forward, and will be propelled by two engines of the united power of 80 horses. Her builders, Messrs. Newton and Malcolm (who also built the Scotia), have adhered to the usual American system adopted in their river boats, which allows of deck houses being placed on vessels if required, but at present she is flush fore and aft. She is owned by Messrs. J. and A. Brown, of Newcastle, and came up from the Manning rigged as a three–masted schooner, with a large cargo of grain, and proved an excellent sea-boat. [Captain James Malcolm, the agent, has politely furnished the above particulars.]
The Maitland Mercury - 1 October 1853
The same newspaper reported the Huntress arrived, from the Manning {26th September], with 1604 bushels grain, 65 hides, 2 tons bags, 700 felloes, 5000 feet timber, 2 casks beef, casks 2 paunches tallow.
CONVERSION TO STEAMER AND TRIALS
The Huntress was converted to a steam tug over a period of around three months; it appears that her central mast was removed leaving one fore and one rear mast [this needs checking]. She made a trial trip down to the Heads on 30th December 1853; she went from Pinchgut to the South Reef in 25 minutes, and from the reef to Millers Point in 31 minutes. On the 6th January 1854 she completed her trials, attaining 11 knots an hour outside the Heads.
1854
NEWCASTLE
On January the 24th 1854 the Huntress arrived at Newcastle to take up her new duties as the Newcastle steam-tug. On the 25th January she towed out a schooner on the and then proceeded to Morpeth in around four hours, returning to Newcastle on the 1st February to tow out the Mary Nicholson.
HUNTRESS RE-LOCATED TO SYDNEY
After 9 months operation on the Hunter River as a ferry from Morpeth to Newcastle and operating as a steam-tug as needed, Huntress was advertised for sale - firstly by Private Treaty and subsequently by auction. With no sale, she was moved to Sydney in November 1854 where she commenced operation as a charter boat. Almost immediately she commenced operation as a ferry taking passengers to observe the Balmain Regatta The Sydney Morning Herald - 30 November 1854. She was again offered for sale the following January
1855
WINDSOR SOJOURN
On the 1st February 1855 Huntress was sent to Windsor as so eloquently described:
"On Friday afternoon last [2nd Feb 1855], shortly before two o'clock, several gun-shots were suddenly heard fired in quick succession from the neighbourhood of Thompson's square, and numbers of men, women, and children might be seen hurrying towards the river. What could be the cause of this consternation, thought we? Nothing more nor less than the anxiously looked for arriving of the Huntress steamer, " walking the waters" of our noble Hawkesbury " like a thing of life!" The Huntress left Sydney the day previous and was twenty-four hours on the water, though actually under steam only thirteen hours and a half, having rested at night. We are informed that the passage might have been, and can be made easily in twelve hours, but this, being the maiden trip, was performed cautiously and under suppressed power. Although fears were entertained that the vessel might have met with some obstruction on the way up, we believe she met with none, having found water deep enough the whole distance. As she hauled alongside the temporary wharf erected by the charterers, it was amusing to observe the eager interest and excitement she occasioned amongst the inhabitants, particularly the young, many of whom, we believe, never beheld such a sight before. Fortunately there were not very many passengers on board, and the captain and managers exhibited much good nature, otherwise the crowds of people, including children, who rushed upon the decks and examined the accommodation and machinery, might have been felt to be very inconvenient. We hail the arrival at our wharf of the little Huntress with much satisfaction, and hope she may prove the harbinger of a more extended system of steam communication upon the Hawkesbury, to be carried out at no distant day, and which will to some extent aid in developing the resources of our important district. At present, the steamer will be used for pleasure and excursion trips only, the first of which will take place on Monday. The Sydney Morning Herald - 6 February 1855.
RETURN TO SYDNEY CHARTER FERRY
After a short stay at Windsor she returned to Sydney where she was regularly chartered for ferrying passengers to various events. For a time she was leased to Henry Gilbert Smith, who used her as one of the first ferries on the Sunday Manly run.
1856
PADDLE WHEELS IMPROVED
MR. RANKEN’S NEW PADDLE – WHEEL FLOAT’S .
Some interest has lately been caused by an invention which is intended to do away with much of the loss of power, and therefore of speed in the common paddle-wheels and floats now in use in most steamers.
A trial has been made with Mr. Ranken’s improvement in the Huntress, running between Circular Quay and Cremorne, and the result is stated as having been very favourable. Upon this Mr. Ranken applied to the Australian Steam Navigation Company for leave to fit one of their sea-going vessels after the same fashion, for a trial of a hundred miles or so; but by some misunderstanding the two parties have come to issue, and science is disappointed. Whichever may be right, it is a pity that more cannot be known of the capabilities of discovery; anything that can increase speed, husband power or lessen the coal bill in steamboats, is a world wide benefit.
The invention, it seems, is simple, but the most simple efforts, have almost always been the manner in which genius works.
The following is a description, :- Upon the common paddle-wheel float, which strikes the water mostly at an angle of 45 degrees, is fitted an iron binding, and to use a homely simile, very like the turned up edges of a dust pan; this is meant to compress the water more solidly within a space, so that the propelling power may have more grip whereby to send the vessel ahead; but on account of a greater force being required to drive the paddle-wheels fitted like this, every alternate float is unshipped. As we believe, in the case of the Huntress in smooth water, Mr. Ranken’s plan answered as well as could be wished; still it is quite another matter with a ship in a sea-way, it being a question whether or not any such iron binding will ever stand the surging of the wheels in a heavy roll, either ahead or on the beam, which nothing can decide except a fair trial in the open sea. The Sydney Morning Herald - 5 July 1856.
1857
SYDNEY HARBOUR
In addition to charters and towing contracts, Huntress was regularly utilised on Sydney Harbour to transport passengers to the gardens at Cremorne every Sunday.
RETURN TO WINDSOR
During the winter of 1857, Huntress was sent to Windsor where she transported goods that were then sold by auction in Sydney. "SALES BY AUCTION. REGULAR PRODUCE SALE.
MR. W. PRITCHARD will sell by auction, on the Ground Floor of his New Mart, 70, Sussex-street, late Brierley, Dean, and Co.'s Stores, on WEDNESDAY, at 11 o'clock,
300 bushels of wheat, ex Huntress, from Windsor 300 ditto maize, ditto, ditto .
325 ditto fresh coarse bran, ditto, ditto
Also, several other parcels of maize, wheat, bran, hay, hides, sheepskins, tallow, &c., &c.
At half-past 11.
Chaff cutters, corn shellers, corn measures, &c., &c. 385"
Empire - 7 July 1857
On one of these voyages she encountered a sunken ketch on the Hawkesbury River. "The Huntress (s.), from the Hawkesbury, reports having seen, while coming down the river, a ketch sunk, with masts and sails standing. They found it to be the ketch Traveller, with the usual cargo; the mate of the Huntress made several attempts to tow her, but found she was too heavy, and as compelled to leave her there. It is not known whether the crew were saved or went down with the vessel." The Maitland Mercury - 9 July 1857
1858 - 1860
CONVERTED
ADVERTISED FOR SALE
Over this period the only activity reported was a regular series of advertisements in 1858 offering Huntress for sale. "Also, the powerful steamer HUNTRESS, 84 tons, and 50 H.P., capable of carrying 60 tons cargo, and 250 passengers on river service. The above vessels now lie for inspection in Waterview Bay. Apply to ROWNTREE [ROUNTREE] and CO., Mort's Dry Dock; or T. S. MORT and CO., Pitt-street. The Sydney Morning Herald - 16 October 1858.
CONVERTED TO DREDGE
Few details are available for the years 1858/59 but it appears that Huntress was converted into a dredge but details are unclear. She was reportedly re-measured as 86 gross tons 54 net but this requires confirmation.
PURCHASED BY NEW ZEALAND INTERESTS
In 1860 it was confirmed that the Huntress had been purchased by Mr. G. Griffith, as agent for the Provincial Government of Hawkes Bay. "The steamer Huntress, recently the property of Captain Rountree, but since purchased from him by Mr. G. Griffith, the agent in Sydney for the Provincial Government of Hawkes Bay, New Zealand, made a trial trip yesterday prior to her departure. She proceeded down the harbour and a few miles to sea. She averaged fully ten knots under steam, and under canvas was remarkably steady and easy. She is to be used as a steam-dredge for the harbour of Napier, Hawkes Bay, for which she has competent machinery, in addition to an effective set of new get, ordered from England." The Sydney Morning Herald - 27 March 1860.
She departed for Hawkes Bay on March on March 27th 1860.
Image Source: Image Collection of the State Library of NSW a128289 State Library NSW.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flick Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
would you ever agree that this scene does look familiar to each and every one of us? kinda dreamy to me though... ever wondered why sometimes our dreams have such vagueness with them, blurry, noisy, unclear images, should have added vignette to give emphasis on the girl, but the way that i have framed the photo is just way too restricted to put vignette that it may offset the girl,... well, I'm just making my theme this time "pain in a dream"...
I am very open to constructive criticisms so as to improve further my skills...I hope everyone is happy with their love lives! have a good Sunday everyone!
As Week 7 begins, the BFFs bid a fond farewell to the friends and family visitors. Brodie and Bernie bond over a ‘baking’ session. And in an attempt to cheer up a downtrodden Will after Judy’s elimination, Victoria invites himself to play video games with Will. But his intentions are misread by Gaspard and a fight erupts between the two. Victoria is comforted by Shane and reveals that he hates being treated as ‘sub-human’ because he’s Kylie’s assistant and not even being called by his legal name. Shane promises to call him Hector if it makes him feel more ‘whole’. Gaspard however is comforted by Will who convinces him to not give up as he can’t be disqualified for fighting with ‘the help’. Annoyed by the drama, Danika, Evan, Owen and Faith convene in Danikas room where the three BFFs learn more about Evan and even inspire him to pull a prank on Bernie.
Maxine calls the BFFs together to announce that they’ve been invited to attend the Kelli Montlé show in Milan Italy. Sam is excited by the prospect of exploring Italy with Nate, while still nervous about keeping the nature of their relationship a secret. Edward D informs Josh that he doesn’t have a passport so the two have to sit out the trip. They aren’t alone, however as Trevor has an important exam to take and can’t afford to take time to vacation in Italy.
After a ride in Nicos golden private plane, the BFFs arrive in Italy. Nico assigns the hotel rooms and conveniently puts himself and Maxine in a shared room while forcing Evan, Teddy and Owen to share a room with only two beds. The BFFs sight-see before the fashion show and meet Casper Darling, an influencer and beauty vlogger who has less than nice things to say about their style choices. Worried they’ll end up on Caspers worst dressed list, the BFFs decide to do a little shopping, only to run into Casper again after the fact. Though the second time around, Casper is apologetic and attempts to make amends. The peace treaty is short lived however when Casper and Nate get into a dispute over a misunderstanding. After linking up with Maxine again, the BFFs learn that Casper is the son of Dirk Darling, one of the lead producers for BFF.
Back in Sunnyvale, Edward D and Josh are visited by Chester McCoy, who arrives at the mansion looking for Shane. Edward D excitedly wants Chester to hang out, but Chester lets Edward D know, in no uncertain terms, that he has no interest in spending time with him and says Edward D is dead to him. Josh attempts to cheer Edward D up by picking up his favorite food at the market. But while Josh is away, Edward D is attacked by a clown and is later found by Josh, crucified in the garden.
At the venue of the Kelli Montlé show, the BFFs meet Shanelle’s boyfriend and Kelli’s top male model, Victor. Victor invites Kai backstage after a fashion emergency as the BFFs take their seats and enjoy the show. The BFFs quickly learn the nature of the fashion emergency when they spot Kai walking the runway show. They also notice a strange interaction between Evan and one of the male models, who Evan later identifies as an ‘old friend’ named Darrien. After the show the BFFs attend an after party where they meet Kelli and run into Star School alumni, Jamie, Bryce and Tristan. They also meet Darrien who’s psychic ability creeps out some BFFs and impress others. Teddy and Sam are left especially shaken when Darrien reveals the ghost of Freddie wants to communicate with Teddy and David.
Upon returning to the BFF mansion, Trevor gives the BFFs the sad news that Edward D was murdered. But also informs them that as a crime scene, the BFFs cannot stay in the mansion. After some arrangements, Maxine and the BFFs take up temporary residence in Westlake manor, home to the sassy Simone Westlake.
At eliminations, Owen wins the Pampered Pets challenge. But after Gaspard abruptly quits, all the BFFs are deemed safe and no one is eliminated
7 BFFs remain
Sharon's photo
Reykjavik, Iceland, 2010
It is a common misunderstanding that Sun Voyager is a Viking ship. It is quite understandable that many tourists think this when travelling in Iceland, the land of the Sagas. Nonetheless, it should be stressed that this was not the original intention. It is a dream boat and an ode to the sun. It represents the promise of undiscovered territory and a dream of hope, progress and freedom. -
I have Clare Beck Loos portrait of her husband which I have converted into a "Loos Portfolio". I do prefer this more to a sketchbook. I have put many designs into its pages and designs that overlap her letters, like a pictorial slideshow.
The Promenade des Anglaise house has a prominent garden in front giving it privacy. A low terrace is extended to a tree lined street alongside this garden.
Under the terrace a subterranean bohemian cafe is created, with a grand entrance of two staircases, the first leading to a bronze bust of the architect, and an arcade walkway with views of the garden, then down two side stairs to the main lower cafe level. At the other end, a grand staircase goes through the arcade level into a hallway that extends to the villa house. The misunderstood element is the contrast in spaces. The tiny stair down to the bronze bust of Loos shifts in scale to the circumference of the arcade with clerestory windows. The coffeehouse is meant for a salon-sized function yet is connected with grand stairs and hallways. The terrace should be private yet is open and guards the garden when the reverse should be the case. A very fancy railing about the circumference of the arcade level would disappoint Loos, but the size of the space is too big to avoid using this. Pillars of the arcade level seen from outside make the cafe seem intimate and bohemian when it isn't. The gradual reduction in size of the floor plan saves the space. Misunderstandings abound.
Amidst the confusion, this is a place for Loos to get away and relax with a cup of free coffee under the eaves and with the camaraderie of artists. I was reminded of the burdened poet in Les Contes Hoffmann and the Cafe Momus of La Boheme in envisioning the function of this space.
Design, concepts, text, photograph & drawing are copyright 2016 by David Lo
6th November 2011.
This isn't quite what I had in mind, but still.
I hate feeling powerless. I hate feeling like something special and important to me is threatened and being unable to do anything about it. Distance, time differences, emotions, misunderstandings, history. All these things are conspiring to make me feel very vulnerable and at risk of losing something precious, and to a large extent I feel powerless to stop the force that threatens it.
To avoid any misunderstandings I should say that this is my contest entry <3 The results will be known later :)
Credits HERE
."double rainbows" blow my mind ..but OMG baby ducks they leave me breathless.
this photo is far from perfect rather grainy and not in focus as it was taken on maximum zoom ... I could have got closer but but I didn't want to worry or disturb mummy duck as her babies so many and little..........an imperfect photo of life in perfection that never fails to warm my heart and enchant me.
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Cute Aggression.... 21st century term relating to to a particular kind of emotional response some humans experience when they find themselves confronted by a case of acute cuteness .
The above is simply my attempt at a possible definition for “ cute aggression “ not definitive therefore best not to quote me …. unless you actually wish to quote me ☺
. The exercise was made all the harder by my unwillingness to include the following words ….. ' describes, described describing ', to include a phrase. such as “ describes an emotional response” when definitive description is to a feeling, what a roadmap is to time travel ...cant be right ….can it ?.I mean its a contradiction in terms surely ,and that must be a huge “no no”....tantamount to gross misconduct if you're dictionary writer. wow my respect for those composing ( or is it compiling ...ummm) dictionaries has rocketed, it 's so much harder than I first imagined.
How they ever manage to end up with, such a neat and tidy alphabetically ordered oblong ,not a subjective paper mountain of crumplness is totally beyond me.
oh dear now look what's gone and happened …... this was meant to be a post about cute aggression not dictionary definition!! …..........oopsy.....
.I got distracted by some chat I found on the internet ,....it wasn't so much the article itself, that touch my heart ,but instead the beautifully level headed , gentle response, posted by the person who's original research the article was based on. She was responding to a hot headed comment posted by someone questioning research funding.
Anyway the whole thing just got my head whirring and over thinking about words, meanings emotions ,feelings and misunderstandings …...basically the whole damn complex ,communication minefield .that we all play in.
bla bla bla bla sorry I should shut up now …. I was just trying sort my brain, and get a few things off my chest ….... all without much thought as to being interesting or inspiring for anyone reading this ...not so much as an amusing fact ,or tasty little nugget of knowledge, have I offered you .
forgive maxxxi....
…..oh no no no hang on , its not much but here s a link to the article that triggered all this
news.nationalgeographic.com/2015/10/151010-science-psycho...
just in case anyone interested in the human condition wants it
oh PS
silly me I almost forgot
“ OMG THATS SOOOO CUTE!!! I JUST WANT TO SQUIDDGY IT TO DEATH “
(non definitive definition of acute aggression)
when misunderstandings were over missed turns on a board game.
heartbreak was over a broken toy or a lost book.
biggest worries were whether there would be enough playtime before sunset.
friendships were pure and solid.
and happiness was in the simplest things...candy, toys or a new pair of shoes!
disclaimer 1: to a child those were the most important issues in the whole wide world.
disclaimer 2: adulthood does have it's own perks and woes.
this one is for rusho.
thank you.
Fingal's Cave is a sea cave on the uninhabited island of Staffa, in the Inner Hebrides of Scotland, known for its natural acoustics. The National Trust for Scotland owns the cave as part of a national nature reserve. It became known as Fingal's Cave after the eponymous hero of an epic poem by 18th-century Scots poet-historian James Macpherson.
Fingal's Cave is formed entirely from hexagonally jointed basalt columns within a Paleocene lava flow and is similar in structure to both the Giant's Causeway in Northern Ireland and Ulva.
In these locations, cooling on the upper and lower surfaces of the solidified lava resulted in contraction and fracturing, starting in a blocky tetragonal pattern and transitioning to a regular hexagonal fracture pattern with fractures perpendicular to the cooling surfaces. As cooling continued these cracks gradually extended toward the centre of the flow, forming the long hexagonal columns we see in the wave-eroded cross-section today. Similar hexagonal fracture patterns are found in desiccation cracks in mud where contraction is due to loss of water instead of cooling.
Fingal's Cave was originally part of the Ulva estate of the Clan MacQuarrie from an early date until 1777. The cave was brought to the attention of the English-speaking world by 18th-century naturalist Sir Joseph Banks in 1772.
It became known as Fingal's Cave after the eponymous hero of an epic poem by 18th century Scots poet-historian James Macpherson. It formed part of his Ossian cycle of poems claimed to have been based on old Scottish Gaelic poems. In Irish mythology, the hero Fingal is known as Fionn mac Cumhaill, and it is suggested that Macpherson rendered the name as Fingal (meaning "white stranger") through a misunderstanding of the name which in old Gaelic would appear as "Finn". The legend of the Giant's Causeway has Finn (or Fionn) building the causeway between Ireland and Scotland.
The cave has a large arched entrance and is filled by the sea. Several sightseeing cruises organised from April to September by local companies pass the entrance to the cave. In calm conditions, one can land at the island's landing place (as some of these cruises permit) and walk the short distance to the cave, where a row of fractured columns forms a walkway just above high-water level permitting exploration on foot. From the inside, the entrance seems to frame the island of Iona across the water.
Romantic composer Felix Mendelssohn visited in 1829 and wrote an overture, The Hebrides, Op. 26, (also known as Fingal's Cave Overture), and was said to be inspired by the weird echoes in the cave. Mendelssohn's overture popularized the cave as a tourist destination. Other famous 19th-century visitors included author Jules Verne, who used it in his book Le Rayon Vert (The Green Ray), and mentions it in the novels Journey to the Center of the Earth and The Mysterious Island. Poets William Wordsworth, John Keats, and Alfred, Lord Tennyson and Romantic artist J. M. W. Turner, who painted Staffa, Fingal's Cave in 1832 also made the trip. In 1860 the German novelist Theodor Fontane visited the cave and described it in his travel report Jenseit des Tweed (Beyond the Tweed, Pictures and Letters from Scotland), Queen Victoria also made the trip.
The 19th century Austro-Hungarian guitarist and composer Johann Kaspar Mertz included a piece entitled Fingals-Höhle in his set of character pieces for guitar Bardenklänge.
The playwright August Strindberg also set scenes from his play A Dream Play in a place called "Fingal's Grotta". Scots novelist Sir Walter Scott described Fingal's Cave as "one of the most extraordinary places I ever beheld. It exceeded, in my mind, every description I had heard of it… composed entirely of basaltic pillars as high as the roof of a cathedral, and running deep into the rock, eternally swept by a deep and swelling sea, and paved, as it were, with ruddy marble, [it] baffles all description."
Artist Matthew Barney used the cave along with the Giant's Causeway for the opening and closing scenes of his art film, Cremaster 3. In 2008, the video artist Richard Ashrowan spent several days recording the interior of Fingal's Cave for an exhibition at the Foksal Gallery in Poland.
One of Pink Floyd's early songs bears this location's name. This instrumental was written for the film Zabriskie Point, but not used.
Lloyd House at Caltech has a mural representing Fingal's Cave.
The Alistair MacLean novel-based movie, When Eight Bells Toll, starring Anthony Hopkins, was filmed there.
It is possible that the township of Fingal, Tasmania was named after the cave in MacPherson's honour.
Staffa (Old Norse for stave or pillar island) is an island of the Inner Hebrides in Argyll and Bute, Scotland. The Vikings gave it this name as its columnar basalt reminded them of their houses, which were built from vertically placed tree-logs.
Staffa lies about 10 kilometres (6 miles) west of the Isle of Mull; its area is 33 hectares (82 acres) and the highest point is 42 metres (138 feet) above sea level.
The island came to prominence in the late 18th century after a visit by Sir Joseph Banks. He and his fellow-travellers extolled the natural beauty of the basalt columns in general and of the island's main sea cavern, which Banks renamed 'Fingal's Cave'. Their visit was followed by those of many other prominent personalities throughout the next two centuries, including Queen Victoria and Felix Mendelssohn. The latter's Hebrides Overture brought further fame to the island, which was by then uninhabited. It is now in the care of the National Trust for Scotland.
In prehistoric times (Pleistocene) Staffa was covered by the ice sheets which spread from Scotland out into the Atlantic Ocean beyond the Outer Hebrides. After the last retreat of the ice around 20,000 years ago, sea levels were up to 125 metres (410 ft) lower than at present. Although the isostatic rise of land makes estimating post-glacial coastlines a complex task, around 14,000 years ago it is likely that Staffa was part of a larger island, just off the coast of mainland Scotland, which would have included what are now Mull, Iona and the Treshnish Isles.
Steadily rising sea levels then further isolated this little island, which is entirely of volcanic origin. It consists of a basement of tuff, underneath colonnades of a black fine-grained Tertiary basalt, overlying which is a third layer of basaltic lava without a crystalline structure. By contrast, slow cooling of the second layer of basalt resulted in an extraordinary pattern of predominantly hexagonal columns which form the faces and walls of the principal caves. The lava contracted towards each of a series of equally spaced centres as it cooled and solidified into prismatic columns, a process known as columnar jointing. The columns typically have three to eight sides, six being most common. The columns are also divided horizontally by cross joints. These columnar jointed sections represent the tops and bottoms of individual lava flows. Between these sections lie regions of much more chaotic jointing, known as the entablature. The origin of the entablature is unknown, but could be due to flooding of the lava flow, causing much more rapid cooling, or the interaction of stress fields from the two regions of columnar jointing as they approach one another.
Similar formations are found at the Giant's Causeway in Northern Ireland, on the island of Ulva and at Ardmeanach on the Isle of Mull. Grooves in the roof of MacKinnon's cave indicate either a pyroclastic flow or a series of eroded ash falls in the rock above the columnar basalt. The 'Staffa Group' is the name given to the series of olivine tholeiite basalts found in the vicinity of Mull which erupted 55–58 million years ago.
Staffa lies about 10 kilometres (6 mi) west of Mull, and 9 km northeast of Iona. It is longitudinally oriented north–south, and is a kilometre long by about half a kilometre wide. The circumference is about 3.8 km in extent. In the northeast the isle shelves to a shore, but otherwise the coast is rugged and much indented; numerous caves have been carved out by rain, streams and sea. There is enough grass to feed a few cattle, and the island has a spring.
On the east coast are Goat Cave and Clamshell Cave. The latter is 10 m high, about 6 m wide at the entrance, and some 45 m long, and on one side of it the ridges of basalt stand out like the ribs of a ship. Near this cave is the pyramidal rock islet of Am Buachaille ('The Herdsman'), a pile of basalt columns seen fully only at low tide. Other outlying rocks include Eilean Dubh to the north-west and a series of skerries stretching for half a kilometre to the south-west. On the southwest shore are Boat Cave and Mackinnon's Cave (named after a 15th-century abbot of Iona), which has a tunnel connecting it to Cormorant Cave. These caves lie to the south-west and can be accessed from the bay of Port an Fhasgaidh at low tide. In 1945 a mine exploded near Boat Cave, causing damage to the cliff face which is still visible. Mackinnon's Cave is 107 metres long.
Staffa's most famous feature is Fingal's Cave, a large sea cave located near the southern tip of the island some 20 m high and 75 m long formed in cliffs of hexagonal basalt columns. This cliff face is called the Colonnade or The Great Face and it was these cliffs and their caves that inspired Felix Mendelssohn's Die Hebriden (English: Hebrides Overture opus 26), which was premiered in London in 1832. The original Gaelic name for Fingal's Cave is An Uamh Bhin – "the melodious cave" – but it was subsequently renamed after the 3rd-century Irish warrior Fionn MacCool. Mendelssohn was nonetheless inspired by the sound of the waves in the cave and waxed lyrical about his visit, claiming that he arrived in Scotland "with a rake for folk-songs, an ear for the lovely, fragrant countryside, and a heart for the bare legs of the natives."
Little is known of the early history of Staffa, although the Swiss town of Stäfa on Lake Zurich was named after the island by a monk from nearby Iona. Part of the Ulva estate of the MacQuarries from an early date until 1777, it was brought to the English-speaking world's attention after a visit by Sir Joseph Banks in August 1772. En route to Iceland in the company of the painter Johann Zoffany, the Bishop of Linköping, and the Swedish naturalist Daniel Solander, Banks (later a president of the Royal Society) was entertained by Maclean of Drummen, on the Isle of Mull. Hearing about Staffa he resolved to visit and set out from Tobermory the next day. The winds were light and they did not arrive until darkness had fallen. Banks wrote: It was too dark to see anything, so we carried our tent and baggage near the only house on the island, and began to cook our suppers, in order to be prepared for the earliest dawn, and to enjoy that which, from the conversation of the gentlemen we had, now raised the highest expectations of.
They were not disappointed. Despite becoming infested with lice during his short stay on the island, he provided glowing reports of his visit. He confessed that he was: forced to acknowledge that this piece of architecture, formed by nature, far surpasses that of the Louvre, that of St. Peter at Rome, all that remains of Palmyra and Paestum, and all that the genius, the taste and the luxury of the Greeks were capable of inventing.
Samuel Johnson and his protege James Boswell visited clan MacQuarrie on Ulva in 1773, the year after Banks' visit. Perhaps aware that Banks considered that the columnar basalt cliff formations on Ulva called "The Castles" rivalled Staffa's Johnson wrote:
When the islanders were reproached with their ignorance or insensibility of the wonders of Staffa, they had not much to reply. They had indeed considered it little, because they had always seen it; and none but philosophers, nor they always, are struck with wonder otherwise than by novelty.
Amongst the first eminent overseas visitors to Staffa were Barthélemy Faujas de Saint-Fond, a wealthy French zoologist and mineralogist and the American architect and naturalist William Thornton. Visiting in 1784, they were suitably impressed, Faujus writing: "this superb monument of nature, which in regard to its form bears so strong a resemblance to a work of art, though art can certainly claim no share in it."
19th and 20th centuries
Subsequently, a stream of famous visitors came to view Staffa's wonders including Robert Adam, Sir Walter Scott (1810), John Keats (1818), J. M. W. Turner, whose 1830 visit yielded an oil painting exhibited in 1832, William Wordsworth (1833), Jules Verne (1839), Alice Liddell (the inspiration for Alice in Wonderland) in 1878, David Livingstone (1864), Robert Louis Stevenson (1870) and Mendelssohn himself in 1829. Wordsworth, however, found the volume of tourism disappointing.
Writing more than a century later the writer W. H. Murray agreed, complaining that the visitors spoiled the "character and atmosphere", and rather stand-offishly suggesting that "to know Staffa one must go alone".
Others were more enthusiastic, despite the presence of numerous others. Queen Victoria and Prince Albert were rowed into the cave in the royal barge in 1847, and The Times correspondent recorded:
As the Royal Squadron cleared out of the Sound of Mull, and round the northern extremity of the island, a noble prospect lay before it, the steep and barren headlands of Ardnamurchan stretching away into the Atlantic on the right, on the left the precipitous cliffs of the Mull coast, and far away and embosomed in the ocean, the fantastic and varied forms of the adjacent islands. The horizon toward the north was a good deal obscured by haze, but, notwithstanding, Skye was distinctly visible... The deserted and solitary aspect of the island was brought out with a strange and startling effect by the presence of so many steamers; and as Her Majesty's barge with the Royal Standard floated into the cave, the crew dipping their oars with the greatest precision, nothing could be more animated and grand than the appearance which the vast basaltic entrance, so solemn in its proportions, presented.
Keats complained about the expense of the ferry, but was captivated by what he saw nonetheless. Displeased with his first efforts to describe this "cathedral of the sea" he finally settled on:
Not Aladdin magian/Ever such a work began, Not the wizard of the Dee, Ever such a dream could see; Not St John, in Patmos Isle, In the passion of his toil, When he saw the churches seven, Golden Aisl'd, built up in heaven, Gazed at such a rugged wonder.
--John Keats, Staffa
However inspiring the scenery, it was not an easy place in which to live. In 1772 there was only a single family, living on a diet of barley, oats, and potatoes, and whatever their grazing animals could provide, and growing flax. By the end of the 18th century they had deserted Staffa, apparently terrified by the severity of winter storms. Signs of "rig and furrow" agriculture can still be seen on the island but the only surviving building is the ruin of a 19th-century shelter for travellers.
By 1800 the island was under the ownership of Colin MacDonald of Lochboisdale. In 1816 his son Ranald MacDonald sold Staffa into the care of trustees. In 1821 these trustees sold the island to Alexander Forman as trustee, the purchase money being paid by his brother John Forman WS. It remained in the Forman family until sold by Bernard Gilpin Vincent "Pat" Forman in 1968. There were several private owners after that, including Alastair de Watteville, a descendant of Colin MacDonald who wrote a book about the island, until finally Jock Elliott Jr. of New York gifted it to the National Trust for Scotland in 1986 to honour the 60th birthday of his wife, Eleanor. A grateful National Trust bestowed upon her the honorific "Steward of Staffa". In a 2005 poll of Radio Times readers, Staffa was named as the eighth-greatest natural wonder in Britain.
During the 20th century there were issues of bogus postage stamps bearing Staffa's name.
In 1800 there were three red deer on the island, later replaced by goats and then by a small herd of black cattle. Subsequently, the summer grazing was used for sheep by crofters from Iona, but in 1997 all livestock was removed. This has led to a regeneration of the island's vegetation. The island supports a diverse range of plants, with species such as common heather, kidney vetch, common-bird's-foot trefoil, wild thyme and tormentil all found. The clifftop grassland supports species such as red fescue, yorkshire fog, thrift, sea campion, sea plantain and ribwort plantain.
Staffa is nationally important for breeding fulmars, common shags and puffins, and great skuas and gulls also nest on the island. The surrounding waters provide a livelihood for numerous seabirds, grey seals, dolphins, basking sharks, minke, and pilot whales.
The island has been designated as a national nature reserve since 2001. The national nature reserve is classified as a Category II protected area by the International Union for Conservation of Nature. Staffa is also a Site of Special Scientific Interest (SSSI), whilst the seas surrounding the island are designated as a Special Area of Conservation (SAC) due to the presence of harbour porpoises. Staffa is part of the Loch Na Keal National Scenic Area, one of 40 in Scotland.
Boat trips from Tiree, Tobermory, Oban, Ulva Ferry and Fionnphort on Mull, and Iona allow visitors to view the caves and the puffins that nest on the island between May and September. There is a landing place used by the tourist boats just north of Am Buachaille, but disembarkation is only possible in calm conditions. The island lacks a genuine anchorage.
The Hebrides is a concert overture that was composed by Felix Mendelssohn in 1830, revised in 1832, and published the next year as Mendelssohn's Op. 26. Some consider it an early tone poem.
It was inspired by one of Mendelssohn's trips to the British Isles, specifically an 1829 excursion to the Scottish island of Staffa, with its basalt sea cave known as Fingal's Cave. It was reported that the composer immediately jotted down the opening theme for his composition after seeing the island. He at first called the work To the Lonely Island or Zur einsamen Insel, but then settled on the present title. However, in 1834, the year after the first publication, Breitkopf & Härtel issued an edition with the name Fingalshöhle (Fingal's Cave) and this title stuck, causing some confusion.
Fingal's cave is a spot on the Hebridan Isle of Staffa, some fifty miles off the Scottish coast. According to legend the cave is the site of what was once the royal castle of Fion na Gael (anglicized to "Fingal"), ruler of the kingdom of Morven and father of the celebrated third-century warrior and bard known as Ossian. Every trace of the structure of the supposed castle has vanished and its floor has given way to the sea.
Being a concert overture, The Hebrides does not precede a play or opera, but is instead a standalone composition in a form common for the Romantic period. Dedicated to Frederick William IV of Prussia, then Crown Prince of Prussia, the B minor work became part of the standard orchestral repertoire and retains this position to the present day. The original handwritten score for the overture was purchased by the Bodleian Library on the 400th anniversary of its founding in 2002 for £600k.
As an indication of the esteem in which it is held by musicians, Johannes Brahms once said "I would gladly give all I have written, to have composed something like the Hebrides Overture".
Mendelssohn's first visited England in 1829 following invitations from Sir George Smart and the Philharmonic Society. Following his tour of England, Mendelssohn proceeded to Scotland, where he began work on his Symphony No. 3, Scottish. He was engaged on a tour of Scotland with his travelling companion Karl Klingemann when he sent a letter to his family with the opening phrase of the overture written on it. In a note to his sister Fanny, he said: "In order to make you understand how extraordinarily the Hebrides affected me, I send you the following, which came into my head there." The cave at that time was approximately 35 feet (11 m) high and over 200 feet (61 m) deep, and contained black basalt pillars.
The work was completed on 16 December 1830 and was originally entitled Die einsame Insel (The Lonely Island). However, Mendelssohn later revised the score and renamed the piece Die Hebriden (The Hebrides). Despite this, the title of Fingal's Cave was also used: on the orchestral parts he labelled the music The Hebrides, but on the score Mendelssohn labelled the music Fingal's Cave. This revision of the overture was premiered on 14 May 1832 in London in a concert conducted by Thomas Attwood, that also featured Mendelssohn's Overture to A Midsummer Night's Dream. The final revision was completed by 20 June 1832. and premiered on 10 January 1833 in Berlin under the composer's own baton.
The music, though labelled as an overture, is intended to stand as a complete work. Although programme music, it does not tell a specific story and is not "about" anything; instead, the piece depicts a mood and "sets a scene", making it an early example of such musical tone poems. The overture consists of two primary themes; the opening notes of the overture state the theme Mendelssohn wrote while visiting the cave, and is played initially by the violas, cellos, and bassoons. This lyrical theme, suggestive of the power and stunning beauty of the cave, is intended to develop feelings of loneliness and solitude. The second theme, meanwhile, depicts movement at sea and "rolling waves".
The piece is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
Performances of the overture typically last between 10½ and 11 minutes. The autograph manuscript of the work is held in the Bodleian Library, Oxford.
The overture can be heard in Luis Buñuel's film L'Age d'Or (1930).
The full work provides the soundtrack for the 1941 experimental film Moods of the Sea by Slavko Vorkapić and John Hoffman.
An extract served as a leitmotif for the inscrutable, omnipotent mynah bird who featured in the Inki cartoon series produced by Warner Bros., inevitably hopping along with the music.
An a cappella arrangement can be heard in Crash Twinsanity.
Heard in the 1943 film The Life and Death of Colonel Blimp by Michael Powell.
The overture is used in a 1949 CSIRO video "Division of radiophysics" .
Can be heard in the 1954 Warner Bros. Looney Tunes animated cartoon short From A to Z-Z-Z-Z.
The opening 2 minutes of the piece featured in the PlayStation video game Colony Wars: Vengeance during selected cutscenes.
The passages after the second theme, leading to the end of the exposition, were used for great dramatic effect on the "Lone Ranger" radio broadcasts.
Stay tuned to Voidology's photostream for an Aperture version of the mechanoid.
Also, he deserves credit for helping me out with the shoulder connection on the automaton. VOIDOLOGY INVENTED THE SHOULDER CONNECTION. MY APOLOGIES FOR ANY MISUNDERSTANDING. THANK YOU.
These are the series of illustrations to newest story – The flight of the swan telling about Dannee’s struggle with keeping peace between her friend and one of her romantic flashbacks in the past.
Even while Skyrim being at state of fragile peace Dannee learns that not all fights are tied with something epic as she tries to out some order and peace between two of her closest friends who had big misunderstanding along with nasty quarrel. In attempt to make her friend Serana see things from her perspective Dannee dwells in her own past as well as helping Serana deal with terrible but unseen wounds of her darkest memories…
The first part – www.nexusmods.com/skyrim/images/433485/?
The second part of the story – www.nexusmods.com/skyrim/images/433486/?
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
The Paddle Steamer Phantom replaced the smaller ferries on the Circular Quay to Manly run in 1859. This image - dated around 1860 - shows the level of development around Manly Cove at that time. This image has been included to indicate the development at Manly at the time the Huntress was operational on the Manly run.
The Phantom was a steel vessel - substantially larger than the smaller wooden ferries such as the Huntress that operated the service a few years beforehand.
HUNTRESS
The Huntress was built by Alexander Newton and William Malcolm at Pelican on the Manning River in 1853. She operated out of the Hunter River and Sydney Harbour with some brief periods on the Hawkesbury River before being purchased by New Zealand interests. This section deals with the Australian operations - 1853 -1860. Details of her operation in New Zealand Operation are to be found in New Zealand Operation
Other images related the Huntress are found in the Album HUNTRESS
SECTION 1. AUSTRALIAN OPERATION (1853 - 1860)
Details :
Name: Huntress
Type: Schooner Rigged, Cutter/Paddle Steamer.
Length: 89.1 ft
Beam: 16.2 ft
Draft: 7.6 ft
Engine: 2 x 40 h.p. Steam/Built and installed by G. Russell & Co (Sydney)
Builder: Alexander Newton and William Malcolm
Launched: September 1853, Pelican Shipyards, Manning River, NSW.
Registered: Sydney '147/1853' - '25/9/1853'
Re-Registered: Sydney 25/1857
Tonnage: Suggest 54.45 tons
Propelling Power: 32.01
Official Number: ON 032617
Construction:
-Carvel Planked
-Square Stern
Owners:
Australia
1853 -1856 Messrs. J. & A. Brown, of Newcastle.
1856 -1860 Thomas Stephenson Rountree [often incorrectly referred to as Rowntree], of Balmain.
New Zealand
1860 -1864 Government of Hawke’s Bay Province, New Zealand (registered Napier) Thomas Henry Fitzgerald. 12th March 1860.
1864 -1866 Donald McLean
1866 -1867 G. Edward Reid, 6th December 1866 (registered Auckland)
1867 -1871 William Souter 10th January 1867
1871 -1872 J. S. MacFarlane & Co.
HISTORY:
1853
NEW STEAMER. A contract for the building of a new steamboat was finally concluded yesterday by Messrs Malcolm and Newton. The matter has been under consideration for some time past, yet in consequence of some proposed alteration with regard to the vessel, it was only determined yesterday. The dimensions will be about 85 ft. keel, 16 ft. beam, and fore hold 7 ft. She will be built at Messrs. Malcolm and Newton’s yard on the Manning River. Her intended trade has not been given. The Maitland Mercury 5 March 1853.
(The side-wheel paddle-steamer Huntress was the only steamship built at the Pelican shipyard on the Manning River.)
MAIDEN VOYAGE
“The Phantom, ketch, has cleared out for the Manning River, taking up with her Captain Malcolm and a crew to bring down the new steamer [Huntress] lately built at that place by Messrs. Newton and Malcolm, the well-known shipwrights. The steamer is intended for the Hunter River trade, to ply between Newcastle and Morpeth, and is also to be used as a tug boat.
The steamer will come from the Manning under canvas to receive her engines, and proceed immediately to her destination. This will be a novel feature on the Hunter, and we congratulate the inhabitants on their new acquisition. The builders’ well-earned fame is sufficient guarantee of the faithfulness and superiority of build in the new boat.” The Maitland Mercury and Hunter General Advertiser - 6 August 1853
UNDER CANVAS - THREE MASTS
THE HUNTRESS STEAMER. This vessel arrived here on Sunday, the 25th, from the Manning River, for the purpose of being fitted with her engines, &c., which have been constructed by Mr. G. Russell, and, as a specimen of colonial shipbuilding, is worthy of some attention. She is intended for a tug-boat on the Hunter River, and will at the same time carry goods and passengers. Her dimensions are as follows:-Length of keel 86 feet 6 inches, depth of hold 7 feet 6 inches; draws when loaded 5 feet 10 inches aft, 5 feet 1 inch forward, and will be propelled by two engines of the united power of 80 horses. Her builders, Messrs. Newton and Malcolm (who also built the Scotia), have adhered to the usual American system adopted in their river boats, which allows of deck houses being placed on vessels if required, but at present she is flush fore and aft. She is owned by Messrs. J. and A. Brown, of Newcastle, and came up from the Manning rigged as a three–masted schooner, with a large cargo of grain, and proved an excellent sea-boat. [Captain James Malcolm, the agent, has politely furnished the above particulars.]
The Maitland Mercury - 1 October 1853
The same newspaper reported the Huntress arrived, from the Manning {26th September], with 1604 bushels grain, 65 hides, 2 tons bags, 700 felloes, 5000 feet timber, 2 casks beef, casks 2 paunches tallow.
CONVERSION TO STEAMER AND TRIALS
The Huntress was converted to a steam tug over a period of around three months; it appears that her central mast was removed leaving one fore and one rear mast [this needs checking]. She made a trial trip down to the Heads on 30th December 1853; she went from Pinchgut to the South Reef in 25 minutes, and from the reef to Millers Point in 31 minutes. On the 6th January 1854 she completed her trials, attaining 11 knots an hour outside the Heads.
1854
NEWCASTLE
On January the 24th 1854 the Huntress arrived at Newcastle to take up her new duties as the Newcastle steam-tug. On the 25th January she towed out a schooner on the and then proceeded to Morpeth in around four hours, returning to Newcastle on the 1st February to tow out the Mary Nicholson.
HUNTRESS RE-LOCATED TO SYDNEY
After 9 months operation on the Hunter River as a ferry from Morpeth to Newcastle and operating as a steam-tug as needed, Huntress was advertised for sale - firstly by Private Treaty and subsequently by auction. With no sale, she was moved to Sydney in November 1854 where she commenced operation as a charter boat. Almost immediately she commenced operation as a ferry taking passengers to observe the Balmain Regatta The Sydney Morning Herald - 30 November 1854. She was again offered for sale the following January
1855
WINDSOR SOJOURN
On the 1st February 1855 Huntress was sent to Windsor as so eloquently described:
"On Friday afternoon last [2nd Feb 1855], shortly before two o'clock, several gun-shots were suddenly heard fired in quick succession from the neighbourhood of Thompson's square, and numbers of men, women, and children might be seen hurrying towards the river. What could be the cause of this consternation, thought we? Nothing more nor less than the anxiously looked for arriving of the Huntress steamer, " walking the waters" of our noble Hawkesbury " like a thing of life!" The Huntress left Sydney the day previous and was twenty-four hours on the water, though actually under steam only thirteen hours and a half, having rested at night. We are informed that the passage might have been, and can be made easily in twelve hours, but this, being the maiden trip, was performed cautiously and under suppressed power. Although fears were entertained that the vessel might have met with some obstruction on the way up, we believe she met with none, having found water deep enough the whole distance. As she hauled alongside the temporary wharf erected by the charterers, it was amusing to observe the eager interest and excitement she occasioned amongst the inhabitants, particularly the young, many of whom, we believe, never beheld such a sight before. Fortunately there were not very many passengers on board, and the captain and managers exhibited much good nature, otherwise the crowds of people, including children, who rushed upon the decks and examined the accommodation and machinery, might have been felt to be very inconvenient. We hail the arrival at our wharf of the little Huntress with much satisfaction, and hope she may prove the harbinger of a more extended system of steam communication upon the Hawkesbury, to be carried out at no distant day, and which will to some extent aid in developing the resources of our important district. At present, the steamer will be used for pleasure and excursion trips only, the first of which will take place on Monday. The Sydney Morning Herald - 6 February 1855.
RETURN TO SYDNEY CHARTER FERRY
After a short stay at Windsor she returned to Sydney where she was regularly chartered for ferrying passengers to various events. For a time she was leased to Henry Gilbert Smith, who used her as one of the first ferries on the Sunday Manly run.
1856
PADDLE WHEELS IMPROVED
MR. RANKEN’S NEW PADDLE – WHEEL FLOAT’S .
Some interest has lately been caused by an invention which is intended to do away with much of the loss of power, and therefore of speed in the common paddle-wheels and floats now in use in most steamers.
A trial has been made with Mr. Ranken’s improvement in the Huntress, running between Circular Quay and Cremorne, and the result is stated as having been very favourable. Upon this Mr. Ranken applied to the Australian Steam Navigation Company for leave to fit one of their sea-going vessels after the same fashion, for a trial of a hundred miles or so; but by some misunderstanding the two parties have come to issue, and science is disappointed. Whichever may be right, it is a pity that more cannot be known of the capabilities of discovery; anything that can increase speed, husband power or lessen the coal bill in steamboats, is a world wide benefit.
The invention, it seems, is simple, but the most simple efforts, have almost always been the manner in which genius works.
The following is a description, :- Upon the common paddle-wheel float, which strikes the water mostly at an angle of 45 degrees, is fitted an iron binding, and to use a homely simile, very like the turned up edges of a dust pan; this is meant to compress the water more solidly within a space, so that the propelling power may have more grip whereby to send the vessel ahead; but on account of a greater force being required to drive the paddle-wheels fitted like this, every alternate float is unshipped. As we believe, in the case of the Huntress in smooth water, Mr. Ranken’s plan answered as well as could be wished; still it is quite another matter with a ship in a sea-way, it being a question whether or not any such iron binding will ever stand the surging of the wheels in a heavy roll, either ahead or on the beam, which nothing can decide except a fair trial in the open sea. The Sydney Morning Herald - 5 July 1856.
1857
SYDNEY HARBOUR
In addition to charters and towing contracts, Huntress was regularly utilised on Sydney Harbour to transport passengers to the gardens at Cremorne every Sunday.
RETURN TO WINDSOR
During the winter of 1857, Huntress was sent to Windsor where she transported goods that were then sold by auction in Sydney. "SALES BY AUCTION. REGULAR PRODUCE SALE.
MR. W. PRITCHARD will sell by auction, on the Ground Floor of his New Mart, 70, Sussex-street, late Brierley, Dean, and Co.'s Stores, on WEDNESDAY, at 11 o'clock,
300 bushels of wheat, ex Huntress, from Windsor 300 ditto maize, ditto, ditto .
325 ditto fresh coarse bran, ditto, ditto
Also, several other parcels of maize, wheat, bran, hay, hides, sheepskins, tallow, &c., &c.
At half-past 11.
Chaff cutters, corn shellers, corn measures, &c., &c. 385"
Empire - 7 July 1857
On one of these voyages she encountered a sunken ketch on the Hawkesbury River. "The Huntress (s.), from the Hawkesbury, reports having seen, while coming down the river, a ketch sunk, with masts and sails standing. They found it to be the ketch Traveller, with the usual cargo; the mate of the Huntress made several attempts to tow her, but found she was too heavy, and as compelled to leave her there. It is not known whether the crew were saved or went down with the vessel." The Maitland Mercury - 9 July 1857
1858 - 1860
CONVERTED
ADVERTISED FOR SALE
Over this period the only activity reported was a regular series of advertisements in 1858 offering Huntress for sale. "Also, the powerful steamer HUNTRESS, 84 tons, and 50 H.P., capable of carrying 60 tons cargo, and 250 passengers on river service. The above vessels now lie for inspection in Waterview Bay. Apply to ROWNTREE [ROUNTREE] and CO., Mort's Dry Dock; or T. S. MORT and CO., Pitt-street. The Sydney Morning Herald - 16 October 1858.
CONVERTED TO DREDGE
Few details are available for the years 1858/59 but it appears that Huntress was converted into a dredge but details are unclear. She was reportedly re-measured as 86 gross tons 54 net but this requires confirmation.
PURCHASED BY NEW ZEALAND INTERESTS
In 1860 it was confirmed that the Huntress had been purchased by Mr. G. Griffith, as agent for the Provincial Government of Hawkes Bay. "The steamer Huntress, recently the property of Captain Rountree, but since purchased from him by Mr. G. Griffith, the agent in Sydney for the Provincial Government of Hawkes Bay, New Zealand, made a trial trip yesterday prior to her departure. She proceeded down the harbour and a few miles to sea. She averaged fully ten knots under steam, and under canvas was remarkably steady and easy. She is to be used as a steam-dredge for the harbour of Napier, Hawkes Bay, for which she has competent machinery, in addition to an effective set of new get, ordered from England." The Sydney Morning Herald - 27 March 1860.
She departed for Hawkes Bay on March on March 27th 1860.
Image Source: Image Collection of the State Library of NSW.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flick Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
I want very much to tell, to talk about, the wholeness inside every human being. It's a strange thing that every human being has a sort of dignity or wholeness in him, and out of that develops relationships to other human beings, tensions, misunderstandings, tenderness, coming in contact, touching and being touched, the cutting off of a contact and what happens then.
Ingmar Bergman
"She gazed up at the enormous face. Forty days it had taken her to learn what kind of smile was hidden beneath the dark moustache. O cruel, needless misunderstanding! O stubborn, self-willed exile from the loving breast! Two handywipe-scented tears trickled down the sides of her nose. But it was all right, everything was all right, the struggle was finished. She had won the victory over herself. She loved Big Brother."
Our last stop in Chicago, IL. The sundae was delicious and Tom did help eat this Huge dessert and took this shot of me eating my favorite thing to eat besides his homemade fresh strawberry pie for my birthday. I am sorry everyone, it is not my birthday here. My birthday is on the 2nd day of June, I was trying to say that this is my second favorite dessert. So Sorry for the misunderstanding my friends.
During my trip in Andalucia, we stopped by an ex train station. The railway were converted into a bike trail, and the train station become a stop for bikers and tourists. This was very suggestive. Inside that stop, I saw this old chariot with various kind of pumpkins. I think It deserve to take a shoot.
If you like it, or if you want to use it, please drop a message! I really appreciate it!
p.s: after some not-so-pleasant misunderstanding or misbehaviour, I sadly decided to limitate hardly the group in which I post my photo. Thanks for understanding
Ever wonder what happened after Johnny Thunder and the Adventurers left China with Marco Polo's Golden Dragon in the Orient Expedition theme? Where did Jing Lee, the martial arts student who helped Johnny and his pals get the Dragon and depose the evil false Emperor Chang Wu, go?
Jing Lee used the money Johnny gave her for her services and bought a rather large Junk. (that's a Chinese type of sailing ship, to those who don't know!) She named it the Wanderer (after her nickname) and set out to form a band of friends to help scour the globe on her own as a kind of backup Adventurers group to Johnny & Co. If the main group were unable to take a quest or were too far away, she and her crew would do it. Soon she will be setting off on her own quest: the Jade Dragon is calling her name!
Jing Lee has become obsessed with finding the legendary Jade Dragon. This statue was supposedly the last one made by a lost martial arts master whose dying wish was to bring his rather large masterpiece to life. The statue did become real, but flew away after being attacked by misunderstanding villagers. The dragon hasn't been seen in nearly 900 years, but Jing Lee has a hunch that someone has a clue they don't realize they have. The only problem is San Sinister has the only known clue, and he won't let another dragon slip through his hook!
BUILDER'S NOTES: Coming soon after I build Johnny's home base is this 70816 MOD. I plan on using a modified set 70612 (Green Ninja Mech Dragon) for the Jade Dragon I mentioned... Any thoughts?
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
Publicity shot for the Conservation Council ACT Region.
Very late on a Friday afternoon, August 1, as people were heading off for drinks or to the pub or the snow fields, or tidying crockery in the office kitchen before heading home, the Federal Environment Minister, Hon Murray Watt, MP, quietly announced the go-ahead for the Canberra Airport to build a road at the end of a runway, giving the citically endangered Canberra Grassland Earless Dragon (lizard), which lives in habitat at the end of the runway, a red hot crack at extinction in the wild.
Hmm, am I misunderstanding Murray Watt's job description?
conservationcouncil.org.au/blog/2025/08/04/the-australian...
www.canberratimes.com.au/video/local/x9o4asi/earless-drag...
Mrs. Frida Fox is living in a log cabin in the middle of a forest - together with some whimsical creatures: A neurotic hedgehog who is afraid of needlings and other spikey things, a snail who dislikes fruits, vegetables and salad (and who is only eating toast with sausage every day) and her stepdaughter Gisela Goose (and the name is already telling it: She is a goose. It's a widespread misunderstanding that foxes use to eat geese, most of them don't eat meat at all: Frida Fox is a vegeterian already her whole life).
And depending on the season - there is also a wild duck living in Frida's house: Wilma Wanderingduck. And she always knows the best stories from exciting things around the world: Whether a princess marries a garbageman, a super star gets her thirteenth divorce or the hot womanizer actor finally admits that he is gay.
Narciss is a friend to every toy, his voice always one of sympathy and support. But between each words he feeds guilt and loneliness, twisting the whispers he hears and leaving them paranoid and dependent . Narciss holds the hidden secrets of many within the Lost Toy Room as he moves about and plays friend and whispering confidant, stirring up divisions and misunderstandings.
Above all, Narciss plays on the deepest fear of every toy, that they were abandoned because of them and that the others toys will find out.
Narciss is a vain creature and has built a nest for himself in one of the corners made out of fluff, stuffing and his collection of shiny things he has found, stolen, bartered or blackmailed. He sits in his bright home and admires his reflection and the new face that Loki gave him.
Featured in the Appwhisperer PictureBook Column
theappwhisperer.com/2013/03/13/picturebook-narciss-by-ben...
Fer-de-lance (Bothrops asper).
Bothrops species can be distinguished by their broad, flattened heads which are set apart from the rest of their bodies. The head of this snake is light to dark brown or even black. Although usually absent, it may have occipital blotches or streaks that range from indistinct to distinct. The underside is most often pale yellow. This species has different patterns and colours on its dorsal and ventral sides and it exhibits a postorbital stripe. The ventral side is yellow, cream, or a whitish grey, with dark blotches that are more frequent closer to the posterior end. Ventrolaterally, B. asper has interchanging grey scales which are more pale towards the medial line. Dark triangles with pale edges can be seen laterally, which range in number from 18 to 25. Apices either alternate or are reflective of each other over the middorsal line. In the interspaces, there are dark, paravertebral blotches. Specimens may have a yellow zig-zag-shaped line on each side of the body. There is a great variety of colours on its dorsal side: olive, grey, light brown to dark brown, tan or sometimes nearly black. To prevent water loss where they occur in drier regions, this species has more scales.
Specimens of this species may weigh up to 6 kilograms (13 lb) and are often 1.2 to 1.8 meters (3.9 to 5.9 ft) in length. Very big females can reach lengths up to 2.5 metres (8.2 ft), although this is uncommon.[3][20] These are among the most sexually dimorphic of all snakes. The two sexes are born the same size, but by age 7 to 12 months, females begin to grow at a much faster rate than males. Females have thick, heavy bodies and grow significantly larger than males. They also have heads two or three times the size of males relative to their size and proportionally bigger fangs (typically 2.5 cm), as well.
Across its geographic range, this species varies greatly phenotypically. As a result, great confusion between it and other related species, most notably Bothrops atrox, which is similar in colour but usually has yellow or rust-like tones and rectangular or trapezoidal blotches.
It is found on the Gulf - Atlantic versant of eastern Mexico as far north as the state of Tamaulipas, southward through the entire Yucatán Peninsula extending into Central America, including Guatemala, Belize, Honduras, Nicaragua, Costa Rica and Panama. An isolated population occurs in south-eastern Chiapas (Mexico) and southwestern Guatemala. In northern South America, it is found in Colombia, Ecuador, Guyana and Venezuela. The type locality given is "Obispo, on the Isthmus of Darien" (Panama).
This is mostly a lowland species that, in Mexico and Central America, occurs from about sea level to 1,200 to 1,300 meters (3,900 to 4,300 ft) altitude. In South America, it apparently ranges to considerably higher elevations: up to 2,500 metres (8,200 ft) in Venezuela and at least 2,640 metres (8,660 ft) in Colombia according to herpetologist Lancini.
According to Campbell and Lamar (2004), its range in Ecuador extends as far south along the Pacific coast as El Oro Province and the Vilcabamba area of the Río Catamayo Valley. This species is reported to occur from seven (Bolívar, Carchi, Chimborazo, Esmeraldas, Guayas, Los Ríos and Pichincha) of the fourteen provinces along the Pacific slope of Ecuador. There are even a few records from northern coastal Peru, with these snakes being reported in the Tumbes Region. It is also known from the island of Gorgona off the Pacific coast of Colombia.
B. asper occurs throughout the inter-Andes valleys of Colombia across the Caribbean coastal plain through central Venezuela north of the Orinoco as far east as the Delta Amacuro region. This is the only Bothrops species that occurs on the island of Trinidad, although the situation there is complicated due to proximity of Trinidad to the Orinoco Delta where it may be sympatric with B. atrox.
Due to the casual and informal application of the name "Fer-de-lance" being applied to any number of species of Latin America pit vipers in the genus Bothrops, there is much confusion and misunderstanding, particularly in popular literature, as to proper nomenclature. Populations of Bothrops often referred to as Fer-de-lance on the island of Saint Lucia are Bothrops caribbaeus. Populations of Bothrops referred to as Fer-de-lance on the island of Martinique are regarded as Bothrops lanceolatus.
This species likes moist environments, and occurs in most life zones located at low or middle elevations (up to 600 metres (2,000 ft)), excluding those with strong seasonal dry periods. They are, however, sometimes found at much higher elevations. This is true in the premontane forest in Costa Rica, the cloud forest of Guatemala and Mexico, or the lower montane wet forest in the Caribbean Region of Colombia and Ecuador. It chiefly inhabits tropical rainforest and evergreen forest, but it also occurs in drier areas of tropical deciduous forest, thorn forest and pine savannah near lakes, rivers and streams. The home range of B. asper averages between 3.71 ha and 5.95 ha, which is comparatively small in relation to other pit vipers.
B. asper is nocturnal and solitary. It is less active in colder and drier periods. This species is often found near rivers and streams, basking in the sun during the day and lying still while well camouflaged in leaf litter or under forest cover waiting to ambush prey such as rats and mice that come within range during the night. When cornered or threatened, this species can be very defensive and may exhibit an S-coiled defence display. Juveniles are often semi arboreal, and even adults are sometimes encountered in bushes and low trees. Juveniles are also known to exhibit caudal luring, a use of their differently coloured tail tips to lure prey.[3] Although both males and females display this behavior, only males have bright coloured tail tips.
Compared to the common lancehead, B. atrox, these snakes have been described as excitable and unpredictable when disturbed. They can, and often will, move very quickly, usually opting to flee from danger, but are capable of suddenly reversing direction to vigorously defend themselves. Adult specimens, when cornered and fully alert, are dangerous. In a review of bites from this species suffered by field biologists, Hardy (1994) referred to it as the "ultimate pit viper".
Bothrops asper is a diet generalist and is known to prey on a remarkably wide range of animals. A generalized ontogenetic diet shift occurs, with a higher percentage of ectothermic prey in juveniles, changing to a greater percentage of endothermic prey in adults, particularly small mammals. However both juveniles and adults, regardless of size or age, are known to opportunistically prey on ectothermic and endothermic species. Reports of invertebrate and insect remains in the digestive tracts along with frog and lizard remains are believed to represent secondary ingestion, however the dissection of several specimens containing only insect remains such as beetles (Coleoptera), and bugs (Hemiptera) are believed to reflect insects as primary prey too. Cannibalism has been reported in both captive and wild juveniles and the species is known to scavenge on dead frogs and rodents.
The timing of the reproductive cycle and the litter size of this species vary according to location: in some parts of Costa Rica, for example, it is more prolific than in others. Reproduction is highly seasonal and in Costa Rica, reproductive cycles are tightly related to rainfall patterns. The timing of breeding differs between populations in the Caribbean and Pacific lowlands. On the Pacific side, mating took place between September and November, with females giving birth between April and June. The average number of offspring was 18.6 (five to 40) in this population. Neonates ranged in total length from 28 to 34.6 centimeters (11.0 to 13.6 in) and in weight from 6.7 to 13.1 grams (0.24 to 0.46 oz). On the Atlantic side, mating was observed in March, and births occurred between September and November. The average number of offspring was 41.1 (14–86), whereas the total length of neonates ranged from 27 to 36.5 centimetres (10.6 to 14.4 in), and weighed from 6.1 to 20.2 grams (0.22 to 0.71 oz). In both populations, gestation time ranged from six to eight months, and the size of a litter correlated significantly with the size of the female. This species is considered to be the most prolific of all snakes in the Americas.
Male-male combat in this species has not been observed. Females will mate with more than one male during mating season. Mating includes a series of movements of the male, which then slowly chases an accepting female. The female then stops movement and extends her posture to mate. It is not known whether this species exhibits annual or biannual reproduction.
Studio photo by Nick Dobbs 09-11-2024
The Han Destroyer is named for Admiral Dr. Han. The announcement of the Han Destroyer started a panic, as well as riots, as the people believed that this weapon's purpose was to destroy the beloved Dr. Han. Hundreds of thousands of people died, and the dynasty was nearly overthrown. Thankfully, Dr. Han stopped the rebels, explaining that it had all been a misunderstanding.
Batman arrived to the Batcave as fast as he could .After many secret doors to the cave opened he noticed his old butler standing right to the bat computer and staring at him with a serious face ,after Bruce took of the mask he walked to Alfred and asked.
"Are the results ready for the hand prints I have send you Alfred?"
"I checked the date and figured it is not April Fools day master Bruce ,I appreciate your sense of humor but why would you send in your own hand prints and detract me from my work ?"
Bruce Wayne was shocked after what he heard at first he thought that was a misunderstanding and thought to check if the hand prints he send and the ones that Alfred tested are the same.
"It can't be ,there must've been some kind of Error when I sent you the hand prints .Let me check in if they are the same. "
After another test Batman found out that the prints are indeed the same and tried to understand what went wrong.
"I don't understand what is going on Alfred."
"So do I master Bruce ,maybe if you explain me what is going on I will try to help as much as I can."
"You see ,I and GCPD have been trying to find a criminal who has been committing murders throughout a week in a very strange way by removing some parts from the victims face,teeth,skin etc.,we have almost no information of him and don't know who he can be ,at the last murder he has left some hand prints on a glue bottle he used to commit his crime ,after I send the prints to you so we can figure out who he might be and after you know the story ."
"I see...But how could he get your hand prints in the first place?"
"I have no idea .What will I tell Gordon ,he already knows that I found the hand prints of the Silent Killer ,what to do?.... "
"Well sir not many people can get close to you to get those prints ,they must be some close friends to you as you haven't been showing of to public as Bruce Wayne for a long time .Somebody tries to take revenge on you ,someone who you once may have hurt.... "
With these words Alfred walked away to the elevator to get back to his work leaving Bruce Wayne thinking about Alfreds words.
"A friend who wants revenge?A friend who is a surgeon ,who is trying to twist my mind because of what I have done to him long time ago....I only know one person who was close to me and blames me for everything bad that has happened to him in his life !!!! And I know just who that can be.... "
Batman puts on his mask and starts typing on the computer ,after getting the result with a picture of a man ,he runs to the Bat pod and drives away fast to find the Silent Killer....
"Paris, May 15, 1908: After several incidents with robbers and uninvited visitors, several jewellers and hotels have decided to use guardian robots for their and their guests' safety. Please cooperate with the guardians in order to avoid misunderstandings."
A series of AI-generated pictures of guardian robots, in different art styles.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see their content. Should I see "this group is not available to you", my pictures won't be made available to that group. Thanks for your understanding.
At least I got one of the twins ! He is super cute !
Some will say that I'm very lucky to get the Blond Anniversary Kiss Poppy, I feel lucky indeed, but on the other hand, I've been miserable about the new Monarchs ... I have no idea how, but after a misunderstanding with my usual dealer, she didn't put aside the twin dolls for me, so I had to hunt down for them elsewhere ... I easily ordered Pin with another European dealer, but Taj was completely sold out, except at american dealers with huge prices to be added shipping costs and custom fees ... I wasn't happy about that at all, so I decided to get only his outfit ... but there was no way to get it ... so I entered an auction for the doll, and have been lucky in having him and there he is :)
Now, going back to Pin, usually when I order with my second dealer, there is absolutely no issue, so I was confident that all would be well, but it wasn't counting on the fact that a new french delivery service replaced the usual french post on the french shipping part of the journey to me ... that delivery service is absolutely useless, their website isn't updated, you never know when you will get your delivery, the delivery guy doesn't call you on your phone to tell you that he's coming ... long story short, one evening as I was checking again their website I saw that they haven't been able to deliver the parcel to me so they sent it back to the sender ... I feel outraged as there is always someone at home since the pandemic arrived, my husband is working at home since mid March... so there is no way that a delivery wasn't able to take place, even if I was out on errands ... I sent a claim on their website, I got a prewritten answer that doesn't give me useful information and I contacted my dealer, but didn't get any answer ... so again as we are entering a new lockdown tomorrow I have a parcel wandering about ...