There are fragile hearts

And sacred hearts

Untethered

Some say it’s only a pump

With empty chambers

Endlessly

Thump-Thumpity-Thumping

Till it stops

 

The seat of the soul?

Of love?

 

Who knows

God knows

 

I want custom made hearts

For different occasions

(Going Thumpity-Thump)

One Teflon coated

(Only gain/no pain)

Another for raiding

Her heart shaped box

Climbing

her mount(ains)/once again

Deep-diving with terrible thoughts (In my pocket)

 

Another

to hunt/gather the ghosts

of lost loves

(pain/no gain)

Another

For breakfast with god

(the one of my

misunderstanding)

 

And one made of paper

To gather the elusive dream

 

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today we are a short distance from Cavendish Mews, in the nearby upper-class suburb of Belgravia where Lettice is paying an unexpected call on Lady Gladys Caxton at her Regency terrace in Eaton Square*. Through her social connections, Lettice’s Aunt Egg contrived an invitation for Lettice to an amusing Friday to Monday long weekend party held by Sir John and Lady Caxton, who are very well known amongst the smarter bohemian set of London society for their weekend parties at their Scottish country estate, Gossington, and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John. Over the course of the weekend, Lettice was coerced into accepting Lady Glady’s request that she redecorate Phoebe’s small Bloomsbury pied-à-terre** in Ridgmount Gardens. Phoebe, upon coming of age inherited the flat, which had belonged to her parents, Reginald and Marjorie Chambers, who died out in India when Phoebe was still a little girl. The flat was held in trust by Lady Gladys until her ward came of age. When Phoebe decided to pursue a career in garden design and was accepted by a school in London closely associated with the Royal Society, she started living part time in Ridgmount Gardens. Lady Gladys felt that the pied-à-terre was too old fashioned and outdated in its appointment for a young girl like Phoebe. When Lady Gladys arranged for Lettice to inspect the flat, Lettice quickly became aware of Lady Gladys’ ulterior motives as she overrode the rather mousy Pheobe and instructed Lettice to redecorate everything to her own instructions and taste, whist eradicating any traces of Pheobe’s parents. Reluctantly, Lettice commenced on the commission which is nearing its completion. However earlier today Pheobe came to visit the flat whilst Lettice was there, and with a little coercion, Pheobe shared what she really felt about the redecoration of her parent’s pied-à-terre. Desperately wanting to express herself independently, Pheobe hoped living at the flat she would finally be able to get out from underneath the domineering influence of her aunt. Yet now the flat is simply another extension of Lady Glady’s wishes, and the elements of her parents that Pheobe adored have been appropriated by Lady Gladys. Determined to undo the wrong she has done by Pheobe by agreeing to all of Lady Glady’s wishes, in a moment of energizing anger, Lettice has decided to confront Lady Gladys, so now she is at Eaton Square.

 

“I’m sorry Miss Chetwynd, but if you haven’t made an appointment, I’m afraid that Lady Gladys cannot see you.” explains Miss Goodwin, Lady Gladys’ rather harried personal secretary, as she rustles papers, rearranging them distractedly into different piles on her small desk as she speaks. “She is simply too busy!”

 

“But Miss Goodwin…” Lettice begins.

 

“No, Miss Chetwynd!” the secretary replies more firmly. “Lady Gladys had a book reading in Charing Cross at two, and then there are the details of her American book tour to iron out.”

 

“You must be able to fit me in, Miss Goodwyn!” Lettice implores desperately. “I simply must see her about Phoebe’s pied-à-terre.”

 

“Is there something wrong with Miss Chambers’ pied-à-terre, Miss Chetwynd?”

 

“No… well, yes… well… it’s nearly ready, but it’s all wrong.” Lettice replies, flustered as she falls under the sharp, owl-like gaze of the middle-aged spinster secretary, made all the more prominent by her gold rimmed pince-nez****. “It’s difficult to explain.” she finally concludes in a rather deflated fashion.

 

Miss Goodwin arches her expertly plucked and shaped eyebrows over her eyes sceptically. “Evidently.” she remarks in a dismissive fashion. Reluctantly picking up her appointment book for Lady Gladys, she flips through the lined pages filled with her neatly written copperplate. “Let’s see.” she mutters, exhaling through her nostrils in frustration as she does. “I can fit you in next Tuesday at three o’clock if you like.” She picks up her fountain pen in readiness to record Lettice’s name.

 

“Next Tuesday?” Lettice retorts in horror. “But I can’t wait until next Tuesday, Miss Goodwin.”

 

“Oh?” Miss Goodwin queries. “But I thought you said the flat redecoration was nearly complete, Miss Chetwynd.”

 

“Well it is, Miss Goodwin.”

 

“Then, I’m sure this small matter,” the secretary emphasises the last two words as she speaks. “Can wait until then.”

 

Lettice gulps for air in an exasperated fashion. “But… I…”

 

“No, Miss Chetwynd!” Miss Goodwin says again, firmly pressing the palms of both her hands into the piles of paper before her defiantly.

 

“What’s all this sound of discourse then?” comes a male voice, booming through the charged air of Miss Goodwin’s small office on the ground floor of the Eaton Square terrace.

 

“Oh! Sir John!” the secretary exclaims, as Lady Glady’s husband, a tall and white haired gentleman in a smart morning suit pops his head around the door, his gentle face moulded into a look of concern. “Please forgive us. I was just explaining to Miss Chetwynd, that Lady Gladys cannot possibly see her now.”

 

“Oh enough of the ‘sir’ and ‘lady’, Goody,” Sir John says with a smile as he sees Lettice standing in front of the secretary’s desk, addressing Lady Glady’s secretary by the pet name given her by Sir John and Lady Gladys. “Lettice knows us intimately enough to know we don’t go by the titles bestowed upon us.” His smile broadens. “Lettice, what an unexpected pleasure.” He steps into the room and places his large hands firmly upon her shoulders. “I was just on my way out to Whites***** when I heard the commotion. Whatever is the matter, my dear?”

 

“Si… John,” Lettice begins, her eyes looking imploringly at Sir John as he towers over her. “It’s imperative I see Gladys right away. It’s about Pheobe and the flat.”

 

“That does sound serious.” he remarks, his face clouding over.

 

“Oh it is, and that’s why I must see Gladys now.” She turns her head slightly and glares at Miss Goodwin, whose own face is sternly defiant in her reluctance to admit Lettice.

 

“Well,” Sir John says with a chuckle. “I’ve quite literally just left her in her upstairs study, autographing some of her novels. She isn’t due at Foyles****** until two o’clock, is she, Goody?” Sir John doesn’t wait for her reply as he sweeps an arm around Lettice’s shoulder comfortingly and guides her away from the secretary and towards the door. “So come along.”

 

Leaving the affronted Miss Goodwin behind, Sir John leads Lettice up the grand main staircase of the terrace, with its thick stair carpet affixed with brass stair rods******* and stylish gilt detailed black metal balustrade.

 

“Are these all Caxtons?” Lettice asks as she gazes up the generous Regency proportioned stairwell at the portraits in oils hanging in gilded frames along the walls.

 

“Hhhmm… a few.” Sir John mutters. “Like him.” He points to a rather serious looking gentleman in middle-class mid Victorian sombre black. “But most of them I bought when I bought the house. It seemed a shame for them to be parted, especially as their former bankrupted owner had no use for them any more. He needed the money, and I… well…” He chuckles a little awkwardly.

 

“You needed the lineage.” Lettice completes his sentence.

 

“How perceptive you are, Lettice.” Sir John says without missing a beat as they walk. “It’s what comes with the pretentions of a social climbing first wife, and my acquired title*******. I’m not as fortunate as you to have such a distinguished lineage, having been born into a wool merchant family in Hallifax.”

 

Lettice doesn’t reply, and merely smiles and nods her acknowledgement.

 

“Now, what’s all this about Pheobe’s flat then, Lettice? I hope you aren’t having any problems with the wages for the tradesmen traipsing in and out of Ridgmount Gardens. I’ve been writing so many cheques for them lately that I can barely keep up.”

 

“Oh, it has nothing to do with their wages, John.”

 

“Then what? You sounded most insistent back there with Miss Goodwin, and whilst I don’t claim to know you well, you don’t strike me as a girl who gives in to having histrionic fits.”

 

Lettice smiles and chuckles softly as Sir John’s remark reminds her of her friend, ‘Moaning’ Minnie Palmerston, wife of a London banker, who is known for her histrionics.

 

The pair reach the landing between the ground and first floor, where a large marble bust of a gentleman in a periwig******** stares out with blind eyes and a frozen, magnanimous smile at the treetops of the garden square outside through a large twelve pane sash window. Lettice stops, causing Sir John to do the same.

 

“May I be frank, Si… err, John?” Lettice asks, gazing up at the man’s wrinkled face.

 

“Please, Lettice.” he agrees.

 

“Well, I’ve had concerns about this commission, ever since I first visited Ridgmount Gardens.”

 

“Concerns?” Sir John’s face crumples. “What concerns, Lettice?”

 

“When Gladys took me there, well no, even before that, I’ve been worried about Glady’s motivations for wanting the flat decorated.”

 

“What motivations?”

 

“It struck me, John, as she discussed the redecoration for the flat with me, that it is more to Gladys’ taste than Pheobe’s.”

 

“Is that all?” Sir John chuckles and sighs with relief. “You’ve met Pheobe. She’s a sweet child, and I love her as one of my own, but she isn’t overly forthcoming, is she?”

 

“But it’s more than that. I’ve observed that whenever Pheobe expresses an opinion that contradicts Gladys, that Gladys wears her down to her down, and brings her around to her own way of thinking.”

 

“Ahh..” Sir John says a little awkwardly. “Well, you may lay the blame for that solely at my feet, dear Lettice. I’m afraid that when I met Gladys, I was so taken by her pluck and spirit that I indulged her. I saw so much potential in her: potential that was stymied due to her lack of wealth. We’ve been married for a good many years now, and I’m afraid that she is rather used to getting her own way.”

 

“Well, I can work with that, John. Gladys isn’t without panache and certainly has a sense of style.”

 

“Then I don’t see the problem, my dear.” He looks quizzically at her. “You said you wanted to be frank. Speak plainly.”

 

Lettice sighs and her shoulders slump. “You’ll think it preposterous, and I am sorry to say this, but I think that Gladys is eradicating the memory of Pheobe’s parents.”

 

Sir John laughs. “You’re right, I do find that idea preposterous, my dear, but only because Pheobe has very little memories of her parents there to erase. She only ever lived the first year of her life in Ridgmount Gardens before Reginald took her and Marjorie back to India, and when he and Marjorie died out there, Pheobe was only five, and Gladys and I were married by that time, so we took Pheobe back to Gossington and she grew up there. She has no associations with Ridgmount Gardens, other than she has always known that her father bequeathed it to her and that she would take possession of it when she came of age.”

 

“John, Pheobe came to the flat today to fetch some of the books she needed that had been packed up when she decamped Ridgmount Gardens so the redecoration could commence, and she expressed the opinion which she also did with Gladys that she wanted to keep her father’s writing desk and her mother’s crockery. Pheobe says that she feels the essence of her parents in those pieces more than in the photographs she has of them.”

 

Sir John smiles indulgently. “That sounds like Pheobe. She’s always been fey and other world like, imagining that she can see inside people to their inner essence, ever since she was that forlorn child we brought back from Bombay.” He shakes his head dismissively.

 

“Yet Gladys has taken the bureau in spite of Phoebe’s wishes, claiming that her brother intended for her to have it, and she gave me the china to dispose of. Pheobe also told me that Gladys has said in front of her that her brother should never have married Phoebe’s mother. It seems to me that she is intentionally trying to remove any reminders of her brother and his wife.”

 

“It is true that there was never any love lost between Gladys and her sister-in-law. I’m not quite sure why, other that the fact she claimed that Marjorie stymied Reginald’s career in some way. I couldn’t see that myself. He was on his way to being a magistrate from what I could see. She was always evasive, never wanting to rake over the coals. I only ever met Reginald and Marjorie a few times around Gladys’ and my wedding day, and even then, it was only a fleeting visit, so I cannot say that I was critical of their marriage the way Gladys was. I did chide Gladys for speaking out of turn about Marjorie in front of Pheobe, but,” He looks guiltily at Lettice. “You know what Gladys is like. She’s always spoken her mind, and for all the fault in her that it may be, it is one of the reasons I love her.”

 

“But to intentionally remove any reminders of Mr. and Mrs. Chambers, John?”

 

“Oh I’m sure it isn’t intentional, Lettice.” Sir John assures her. “It’s good you’ve come when you have. You can speak to Gladys about this misunderstanding.”

 

“Misunderstanding?”

 

“Yes, I’m sure that’s all that it is. Whatever my wife may or may not be, she has tried all her life to do the best my Pheobe, and I’m sure that if Phoebe is as impassioned as you say she is about her father’s desk and her mother’s china, she probably just needs someone else to speak for her about it to Gladys.” He wraps his arm around Lettice assuring and gives her forearm a hearty rub. “And you’ll be capital about that. Now, come along.”

 

The pair take the final flight of stairs to the first floor in thoughtful silence. Sir John leads Lettice up to a doorway, knocks and opens it, walking in without waiting for a reply. “Look who I found downstairs, having the fiercest argument with your goodly protectress, Gladys.”

 

Lettice follows Sir John into a beautiful high ceilinged first-floor room flooded with light from two large and tall Regency windows. Like Gossington, the Scottish Baronial style English Art and Crafts castle near the hamlet of Kershopefoot in Cumberland belonging to Sir John and Lady Gladys, the walls are decorated with William Morris********* patterned wallpaper, and the room is furnished with Edwardian and Art Nouveau furnishings. However, unlike Gossington’s public rooms, which are crammed full of Edwardian clutter, the scheme in this room is far lighter, with the delicate and softer ‘Willow Bough’ pattern in the paper, and rather than being upholstered in Morris pattern as well, the sofas and chairs situated about the room are covered in a stripped back creamy Regency stripe, perhaps in deference to the terrace’s origins. Even the clutter here is less, with fewer vases and trinkets covering the surfaces of tables. In fact, the mantle is the most cluttered, and even then it is mostly with invitations and correspondence addressed to Lady Gladys’ non de plume of Madeline St John. And there, at a small black japanned regency desk sits Lady Gladys in her favoured pastel shades and pearls.

 

“Lettice!” she gasps, looking up from signing a copy of her latest Madeline St John romance novel, ‘Miranda’. “What an unexpected pleasure.” She picks herself up out of her high backed black japanned and gilt French Second Empire chair and opens her arms to Lettice, exposing the pretty knitted patterns woven through her light, pale pink cardigan that she has chosen to wear over a pink floral print cotton frock. As Lettice crosses the room, gracefully moving through the obstacle course of low occasional tables and comfortable salon and armchairs, Lady Gladys’ face clouds. “Or is it? Did… did we have an appointment today, my dear?”

 

“No, no, Gladys.” Lettice assures her as she reaches Lady Gladys and allows herself to enveloped in her lavender scented embrace. “It’s an unannounced visit.”

 

“Well then, I do hope that Goody wasn’t too cantankerous with you. I adore her, and she’s an excellent and superbly organised secretary, but Goody doesn’t particularly like surprise visits and will do almost anything to stick rigidly to her arrangement of my schedules.”

 

“I caught Goody in full flight, and rescued poor Lettice from her recalcitrant clutches.” Sir John remarks.

 

“Always the knight in shining armour, John. Bravo!” Lady Gladys applauds her husband.

 

“Well, I’m off then.” Sir John says.

 

“Oh, won’t you stay, John?” Lettice says, her voice cracking. She had been hoping he might stick to form as her rescuer and stay to help influence her pleas with Lady Gladys favourably.

 

“Oh no, Lettice my dear!” He starts to back away towards the door. “Whites waits for no man, and nor does my contract bridge partner. I’ve tarried long enough. Besides,” he adds. “This is between you two ladies.” And with that, he turns on his heel and retreats out the door, closing it quietly behind him.

 

“Say hullo to Fillmore for me, and give him my love, John.” Gladys calls after his retreating footsteps.

 

The room falls into a soft silence broken only by the twitter of birds in the trees outside, the purring of a passing motorcar on the road and the gentle tick of a gilt clock on a bombe chest between the two windows.

 

“Well, I have a little bit of time before I must away to Foyles.” Lady Gladys says, pulling back the sleeve of her cardigan and glancing at her delicate gold and diamond studded wristwatch. “Oh! Which reminds me, I must, must, must, sign copies of a couple of my novels for your maid. Edith, isn’t it?”

 

“Quite so, Gladys.”

 

“Good! You can take her a copy of ‘Miranda’ today.” Lady Gladys takes a seat again as she takes up a copy of the book and inscribes it with a flourish of her pen. “To Edith, with my best wishes, Madeline St John.” she utters as she writes. Finishing the inscription, she closes the cover of the book with a thwack. “I almost need a forger on my retinue of office staff to sign all the requested copies of my books.” She hands the book to Lettice. “Please, sit.” She indicates to a tall wingback armchair by the fireplace with an open gesture. As Lettice sits, she spins in her own seat, leaning heavily against the chair’s left ornately spindled arm. “Now, what can I do for you, Lettice?”

 

Lettice takes a deep breath. “Well, Gladys, I wanted to talk to you about the flat.”

 

“Oh yes!” Gladys crows, clapping her hands, the diamonds and other precious stones of her rings winking in the light. “My spies tell me that it has been quite the hive of activity at Ridgmount Gardens!”

 

“Your spies?”

 

“Oh, don’t look so shocked, Lettice.” Lady Gladys laughs. “Bloomsbury is such an artistic area, full of writers, many of whom I know.” She smiles slyly. “Writers are notorious for being observant of their surroundings. It doesn’t take long for the jungle drums to start beating, my dear.”

 

“Oh.” Lettice remarks.

 

“Now, what is it about the flat you want to talk about?” Yet even as she asks, she then adds, “Oh, the chintz curtains I wanted did arrive, didn’t they, Lettice?”

 

Lettice shudders at the thought of them. “Yes, Gladys, and they are hanging in the drawing room, just as you’d requested.”

 

“Excellent!”

 

“But it’s your requests,” Lettice gulps awkwardly. “Or rather… your demands… that I’ve come to speak to you about.”

 

“Demands?” A defensive edge makes its way into her well enunciated words as Lady Gladys queries Lettice’s remark.

 

“Commands.” Lettice blunders.

 

“Commands!” Lady Glady’s eyes flicker slightly.

 

“There’s a problem with your requests, Gladys.” Lettice tries to venture, her voice faltering and sounding weak as the words catch in her throat.

 

“A problem with my requests, Lettice?” Lady Gladys lowers her left arm so it dangles down by her side, whilst raising her right to her chin in a ponderous pose as she considers her visitor, perching on the edge of her seat awkwardly, as if seeing her for the first time. “What could possibly be wrong with any of the requests I have made? Have I made demands that are unreasonable? Is there something wrong with the shade of green of the walls, the choice of soft furnishings,” She pauses. “The chintz curtains?”

 

“Well,” Lettice tries to momentarily make light of the moment. “Chintz isn’t something I’d choose for myself, Gladys.”

 

“I chose those for Phoebe specifically,” Lady Gladys says sharply, the volume of her voice rising slightly as she does.. “Because I thought she might appreciate the connection between the nature she so loves and her living space.”

 

“And she does, Gladys.” Lettice defends. “She even remarked on them when she was at Ridgmount Gardens today.”

 

“Oh, so that’s where she went.”

 

“She came to fetch some books she left behind at the flat that she needs for her studies.”

 

“Or so Pheobe claims.” Lady Gladys retorts.

 

“And whilst we were there, we had a conversation,” Lettice tries to steal her voice as she adds, “An honest conversation.”

 

Lady Gladys does not reply immediately, but considers Lettice’s statement before asking, “And what was it in that honest conversation that now has you at my door, Lettice?”

 

Lettice notices, as she feels sure she is meant to, that the endearments of ‘my dear’, usually attached to her name, have suddenly vanished.

 

Well, you’ll forgive me, Gladys, but when Pheobe and I were speaking, she shared with me her concerns that the flat is perhaps not being redecorated,” Lettice quickly, yet carefully considers each word as she speaks it, conscious of the precarious situation she finds herself in. She doesn’t want to invoke Lady Gladys’ ire against phoebe, nor against herself. “In the… the style which she would prefer.”

 

“The style she would prefer?” Gladys suddenly leans back in her seat and starts laughing, but the laugh is devoid of joy. “Lettice, Pheobe has no opinion when it comes to style, the little mouse.” She stares out of the window into the sunshine bathing the trees of the gated garden square across the road. “Actually, she has very little opinion about anything, quite frankly.”

 

“Well, there I would beg to disagree with you, Gladys.” Lettice retorts, suddenly filled with a necessity to defend Phoebe.

 

“Do you indeed?”

 

“I do.” Lettice affirms, her voice growing stronger. “You see, you have a very… a very strong personality.”

 

“Forthright is what John would call my personality.”

 

“Strong, forthright: either description amounts to much the same. I’ve observed that on the rare occasions Phoebe disagrees with your opinion, you quickly snuff out any objection.”

 

“Such as?” Lady Gladys asks warily.

 

“Such as when I first visited Ridgmount Gardens with you, after we had been to your book launch at Selfridges, when Phoebe protested that she wanted to keep her father’s bureau desk, you wouldn’t let her.”

 

“Lettice,” Lady Gladys sighs heavily. “As I mentioned to you both then, and have repeated several times when the subject of my brother’s desk has been raised by Phoebe subsequently with me, Reginald wanted me to have it. He simply died before he had a chance to put his affairs in order.”

 

“And her mother’s china?”

 

“Good god, Lettice!” Lady Gladys exclaims. “Why on earth should Phoebe want those old hat Style Liberty********** cups, saucers and plates, when she can have something of far superior quality and are more up-to-date in style.”

 

“You seem to be a proponent of Style Liberty, Gladys.” Lettice indicates with waving gestures about the room.

 

“And as I said to you at Gossington, the style may have been fashionable when I was younger, but it died when all our young men did, during the war. It’s past: dead! Anyway,” she sulks. “They are cheap, nasty pieces of pottery, and many of them are chipped, even if Marjorie kept them for best. She never did have good taste.”

 

“Whether they are cheap or chipped, Gladys, Phoebe feels that her flat is missing her parent’s essence.” When Lady Gladys scoffs scornfully, Lettice continues, “She specifically mentioned the chips in her mother’s plates and teacups and the grooves and ink stains in her father’s bureau.”

 

“Phoebe always was an odd child,” Lady Gladys ruminates. “Going on about the essence of a person. She has photos to look at if she wants to get an essence of her long dead parents. Lettice, John and I have been far more of parents to her than Reginald and Marjorie.”

 

“I’m not disputing that, Gladys. All I am stating is what Phoebe told me. You have your own desk,” Lettice points to the delicate desk before which Lady Gladys sits. “Why not give Phoebe what she wants? Is it so hard?”

 

“I’ve been giving that child all that she needs and wants for years: ever since I brought her back from India as a five year old. I’ve given her everything a real mother would.”

 

“Then why not give her the bureau. Please, Gladys.”

 

“I repeat!” Lady Gladys snaps. “Reginald wanted me to have his bureau! It’s mine!”

 

Lady Gladys suddenly sits upright in her seat and slams her palms into its arm rests, huffing heavily with frustration. “Well Lettice, I have enjoyed our impromptu little tête-à-tête, but I’m afraid I really must go. I don’t wish to keep the Messrs Foyle waiting. They have been very good to me, arranging this reading at their bookshop.”

 

“But…” Lettice begins.

 

Lady Gladys picks up a silver bell from the surface of her desk and rings it, the metal bell emitting a high pitched ring. “Whom, may I ask is paying the bills for all the tradespeople you have engaged on your little project of redecorating Ridgmount Gardens?”

 

“Sir John.”

 

“Then let me remind you that Sir John is acting on my behalf, paying those bills. When you agreed to accept my commission, we entered into a contract: a contract that you and I both signed before our lawyers.”

 

“Yes, at your insistence.”

 

“Exactly, because I suspected a situation somewhat sticky like this might arise. I didn’t have to choose you to redecorate Phoebe’s flat. I could have chosen any number of my friends who dabble in interior design. Indeed Syrie Maugham*********** felt quite slighted that I chose you over her, with all her successes. I wanted to give you the opportunity to increase your profile as a society interior designer , because my word goes a long way.” “Lettice, I might be many things, but I’m not a woman without tact, but as our time today is up, you must force me to be blunt.” She begins to shuffle the remaining copies of her novels on her desk irritably. “You agree that you signed a contract with me, so as your client I request… no I demand,” She uses Lettice’s choice of words back at her. “That you do everything I want: everything, down to the last little detail, or I shall consider the contract null and void, and therefore I shall be under no obligation to arrange for John to pay any outstanding bills, and further to that, if you do anything forcing me to terminate our contract, I shall make sure that every drawing room is talking about your untrustworthiness, Lettice. Do I make myself clear?”

 

Just at that moment, Miss Goodwin bustles into the room. “You rang, Gladys?”

 

“Yes Goody.” Gladys says with a painted smile. “My delightful impromptu meeting with Miss Chetwynd is over. Would you kindly show her out. I must get ready for my reading at Foyles.”

 

“Yes Gladys.” She smiles at Lettice. “Right this way, Miss Chetwynd.”

 

As Miss Goodwin ushers Lettice towards the door, Gladys adds from her seat at her desk, “Thank you so much for visiting me today, my dear Lettice. I think it has helped us both better understand our positions. I’m sure you agree.”

 

“This way, Miss Chetwynd.” Miss Goodwin says again as she guides the shocked and silent Lettice out of the door, closing it quietly behind her.

 

*Eaton Square is a rectangular residential garden square in London's Belgravia district. It is the largest square in London. It is one of the three squares built by the landowning Grosvenor family when they developed the main part of Belgravia in the Nineteenth Century that are named after places in Cheshire — in this case Eaton Hall, the Grosvenor country house. It is larger but less grand than the central feature of the district, Belgrave Square, and both larger and grander than Chester Square. The first block was laid out by Thomas Cubitt from 1827. In 2016 it was named as the "Most Expensive Place to Buy Property in Britain", with a full terraced house costing on average seventeen million pounds — many of such town houses have been converted, within the same, protected structures, into upmarket apartments.

 

**A pied-à-terre is a small flat, house, or room kept for occasional use.

 

***Charing Cross is a junction in Westminster, London, England, where six routes meet. Since the early 19th century, Charing Cross has been the notional "centre of London" and became the point from which distances from London are measured. It was also famous in the late Nineteenth and early Twentieth Centuries as being the centre for bookselling in London.

 

****Pince-nez is a style of glasses, popular in the late Nineteenth and early Twentieth Centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer, "to pinch", and nez, "nose".

 

*****White's is a gentlemen's club in St James's, London. Founded in 1693 as a hot chocolate shop in Mayfair, it is the oldest gentleman's club in London. Notable current members include Charles III and the Prince of Wales and former British prime minister David Cameron, whose father Ian Cameron was the club's chairman, was a member for fifteen years but resigned in 2008, over the club's declining to admit women. The club continues to maintain its tradition as a club for gentlemen only, although one of its best known chefs from the early 1900s was Rosa Lewis, a model for the central character in the BBC television series “The Duchess of Duke Street”.

 

******W & G Foyle Ltd. (usually called simply Foyles) is a bookseller with a chain of seven stores in England. It is best known for its flagship store in Charing Cross Road, London. Foyles was once listed in the Guinness Book of Records as the world's largest bookshop in terms of shelf length, at 30 miles (48 km), and of number of titles on display. Brothers William and Gilbert Foyle founded the business in 1903. After failing entrance exams for the civil service, the brothers offered their redundant textbooks for sale and were inundated by offers. This inspired them to launch a second-hand book business from home. Flushed with success, they opened a small shop on Station Parade in Queen's Road, Peckham, where they painted "With all Faith" in gilt letters above the door. The brothers opened their first West End shop in 1904, at 16 Cecil Court. A year later they hired their first member of staff, who promptly disappeared with the weekly takings. By 1906, their shop was at 135 Charing Cross Road and they were described as London's largest educational booksellers. By 1910, Foyles had added four suburban branches: at Harringay, Shepherd's Bush, Kilburn and Brixton. Not long afterwards, the brothers moved their central London store to 119 Charing Cross Road, the Foyles Building, where it remained until 2014. Foyles was famed in the past for its anachronistic, eccentric and sometimes infuriating business practices (ones I have been personally involved in), so much so that it became a tourist attraction. It has since modernised, and has opened several branches and an online store.

 

*******A stair rod, also commonly referred to as a carpet rod, is an ornamental decorative hardware item used to hold carpeting in place on steps.

 

********Titles into the British Peerage weren't for sale as such, but a social climbing gentleman could certainly buy his way into the nobility if he were wealthy and well connected enough, and used the social and political power of wealth wisely. In the pre-war (Great War) years, when money went a great deal further than it did before the introduction of heavy income taxes and death duties, if you had money, it was not hugely difficult to effectively buy yourself a seat in parliament or a commission in the military (both of which were functionally up for sale), which could often result in a peerage being granted if you stayed around long enough in the right circles, or were favoured by the right people. The Tories of the late Eighteenth Century were infamous for packing the House of Lords with supporters in order to retain a majority (most aristocratic families had favoured the Whigs earlier in the Georgian era). If a man were shrewd enough to curry favour with a Tory like Lord North or Pitt the Younger, then he could probably get a title quite easily, since the Tory base of support was within the untitled gentry, and they needed to maintain control of the Lords. Currying favour with the monarch worked equally well, and King Edward VII was famous for minting fresh peers regularly, filling his levees with wealthy industrialists, manufacturers and men of business whom he found more engaging than the idle peers of long standing aristocratic titles.

 

********A periwig a highly styled wig worn formerly as a fashionable headdress by both women and men in the Eighteenth Century and retained by judges and barristers as part of their professional dress to this day.

 

*********William Morris (24th of March 1834 – 3rd of October 1896) was a British textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co.

 

**********The artistic movement we know of today internationally as Art Nouveau, was more commonly known as the “Arts and Crafts Movement” or “Style Liberty” in the United Kingdom during the years before and after the Great War, driven by the Glasgow School of Arts, where a great many proponents of the style came from, and by the luxury London shop Liberty on Regent Street which sold a great deal of William Morris’ designs to the general public.

 

***********Gwendoline Maud Syrie Maugham was a leading British interior decorator of the 1920s and 1930s who popularised rooms decorated entirely in white. In the 1910s, Maugham began her interior design career as an apprentice under Ernest Thornton-Smith for a London decorating firm, learning there about the intricacies of furniture restoration, trompe-l'œil, curtain design, and the mechanics of traditional upholstery. In 1922, two years before this story is set, at the age of 42, Maugham borrowed £400.00 and opened her own interior decorating business at 85 Baker Street, London. As the shop flourished, Maugham began decorating, taking on projects in Palm Beach and California. By 1930, she had shops in London, Chicago, and New York. Maugham is best-remembered for the all-white music room at her house at 213 King's Road in London. For the grand unveiling of her all-white room, Maugham went to the extreme of dipping her white canvas draperies in cement. The room was filled with massive white floral arrangements and the overall effect was stunning. Maugham charged high prices and could be very dictatorial with her clients and employees. She once told a hesitant client, "If you don't have ten thousand dollars to spend, I don't want to waste my time."

 

This English Arts and Crafts upper-class drawing room is different to what you may think at first glance, for it is made up entirely of 1:12 size dollhouse miniatures.

 

Fun things to look for in this tableau include:

 

Lady Glady’s pretty black japanned desk has been made by the high-end miniature furniture manufacturer Bespaq, and it has been hand painted with chinoiserie designs. Her Louis XIV white Regency stripe upholstered chair and its pair which can just be seen behind the desk to the left of the fireplace have been made by the high-end miniature furniture manufacturer, J.B.M. They too have been hand painted and decorated, even along the tops of the arms. On the desk are some 1:12 artisan miniature ink bottles, a silver pen and a blotter all made by the Little Green Workshop in England who specialise in high end, high quality miniatures. The ink bottles are made from tiny faceted crystal beads and have sterling silver bottoms and lids. The pen is a twist of silver with a tiny seed pearl inserted into the end of it The ink blotter is sterling silver too and has a blotter made of real black felt, cut meticulously to size to fit snugly inside the frame. The silver double frame on the top of the desk comes from Mick and Marie’s Miniature Collectables. The silver tray holding letters on the top left of the desk is sterling silver as well and was acquired from Kathleen Knight’s Dolls’ House Shop in the United Kingdom.

 

Also on the desk are some copies of Lady Gladys’ books. They are all examples of 1:12 size miniatures made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. In this case, this selection of romance novels are not designed to be opened. What might amaze you in spite of this fact is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make them all miniature artisan pieces. The books in the Art Nouveau fretwork cabinet in the background are all made by Ken Blythe as well. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.

 

The correspondence on the fireplace mantle and on the silver tray on Lady Gladys’ desk were made meticulously by Little Things Dollhouse Miniatures in Lancashire. They are 1:12 miniature versions of real documents.

 

At either end of mantle stand a pair of Staffordshire sheep which have been hand made, painted and gilded by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys. If you look closely, you will see that the sheep actually have smiles on their faces!

 

The two Art Nouveau style vases at either end of the mantlepiece and the squat one in the middle half hidden by correspondence came from Beautifully Handmade Miniatures in Kettering. The irises in the vase on the left-hand side of the mantle are all made of polymer clay that is moulded on wires to allow them to be shaped at will and put into individually formed floral arrangements. Very realistic looking, they are made by a 1:12 miniature specialist in Germany.

 

The two gilt edged paintings hanging to either side of the fireplace were made by Marie Makes Miniatures in the United Kingdom. The painting in the white painted wooden frame hanging above the mantlepiece comes from Kathleen Knight’s Dolls’ House Shop as does the finely moulded plaster fireplace itself and its metal grate.

 

The enclosed bookcase full of Ken Blythe’s miniature books in the background to the left of the photo with its glass doors and Art Nouveau fretwork was made by Bespaq Miniatures, as were the white Regency stripe upholstered wingback armchair in front of the fireplace and sofa just visible to the left of the photograph. The hand embroidered footstool in front of the armchair comes from Kathleen Knight’s Dolls’ House Shop.

 

The wallpaper used to decorate Lady Gladys’ walls is William Morris’ ‘Willow Bough’ pattern.

 

The Persian rug on the floor has been woven by Pike, Pike and Company in the United Kingdom.

Jersey City is the seat of Hudson County, New Jersey, and the second-largest city in New Jersey. According to the United States Census Bureau, the city had a total area of 21.080 square miles (54.596 km2), including 14.794 square miles (38.316 km2) of land and 6.286 square miles (16.281 km2) of water (29.82%). As of the 1990 Census, it had the smallest land area of the 100 most populous cities in America.

 

Jersey City is bordered to the east by the Hudson River, to the north by Secaucus, North Bergen, Union City and Hoboken, to the west, across the Hackensack, by Kearny and Newark, and to the south by Bayonne. Given their proximity and accessibility by rapid transit to Manhattan, Jersey City and Hudson County are sometimes referred to as New York City's Sixth Borough.

 

Jersey City is the second-most populous city in the U.S. state of New Jersey, after Newark. It is the seat of Hudson County, as well as the county's largest city. As of 2014, Jersey City's Census-estimated population was 262,146, with the largest population increase of any municipality in New Jersey since 2010, representing an increase of 5.9% from the 2010 United States Census, when the city's population was enumerated at 247,597.

 

Part of the New York metropolitan area, Jersey City is bounded on the east by the Hudson River and Upper New York Bay and on the west by the Hackensack River and Newark Bay. A port of entry, with 11 miles (18 km) of waterfront and significant rail connections, the city is an important transportation terminus and distribution and manufacturing center for the Port of New York and New Jersey. Financial and service industries as well as direct rapid transit access to Manhattan in New York City have played a prominent role in the redevelopment of the Jersey City waterfront and the creation of one of the nation's largest downtown central business districts.

 

After a peak population of 316,715 measured in the 1930 Census, the city's population saw a half-century long decline to a low of 223,532 in the 1980 Census, but since then the city's population has grown, with the 2010 population reflecting an increase of 7,542 (+3.1%) from the 240,055 counted in the 2000 Census, which had in turn increased by 11,518 (+5.0%) from the 228,537 counted in the 1990 Census

 

The land comprising what is now Jersey City was inhabited by the Lenape, a collection of tribes (later called Delaware Indian). In 1609, Henry Hudson, seeking an alternate route to East Asia, anchored his small vessel Halve Maen (English: Half Moon) at Sandy Hook, Harsimus Cove and Weehawken Cove, and elsewhere along what was later named the North River. After spending nine days surveying the area and meeting its inhabitants, he sailed as far north as Albany. By 1621, the Dutch West India Company was organized to manage this new territory and in June 1623, New Netherland became a Dutch province, with headquarters in New Amsterdam. Michael Reyniersz Pauw received a land grant as patroon on the condition that he would establish a settlement of not fewer than fifty persons within four years. He chose the west bank of the North River (Hudson River) and purchased the land from the Lenape. This grant is dated November 22, 1630 and is the earliest known conveyance for what are now Hoboken and Jersey City. Pauw, however, was an absentee landlord who neglected to populate the area and was obliged to sell his holdings back to the Company in 1633. That year, a house was built at Communipaw for Jan Evertsen Bout, superintendent of the colony, which had been named Pavonia (the Latinized form of Pauw's name, which means peacock). Shortly after, another house was built at Harsimus Cove and became the home of Cornelius Van Vorst, who had succeeded Bout as superintendent, and whose family would become influential in the development of the city. Relations with the Lenape deteriorated, in part because of the colonialist's mismanagement and misunderstanding of the indigenous people, and led to series of raids and reprisals and the virtual destruction of the settlement on the west bank. During Kieft's War, approximately eighty Lenapes were killed by the Dutch in a massacre at Pavonia on the night of February 25, 1643.

 

Scattered communities of farmsteads characterized the Dutch settlements at Pavonia: Communipaw, Harsimus, Paulus Hook, Hoebuck, Awiehaken, and other lands "behind Kil van Kull". The first village (located inside a palisaded garrison) established on what is now Bergen Square in 1660, and is considered to be the oldest town in what would become the state of New Jersey.

 

from Wikipedia

During the spring when the male prairie chicken boom and dance to woo the female of the species, there might be a misunderstanding about what exactly the boundary of each males little dance area. So squabbles might occur. Cloudy, overcast morning with lots of wind make photography really tough.

Hessane is a member of the Dark Brotherhood since the day she became a vampire - and that is certainly a very long time.

She was Listener right until she left everything behind thanks to some misunderstandings and some unnecessary deaths.

She is now back to carry on but with Astrid in the way, she cannot work as she intended to do.

Right now her greatest fear is to lose Cicero - she always looked after the little jester and now his life was in danger. She has to find him before the lapdog of the Sanctuary's Mistress do so...

"Date: 1788. Artist: Jacques Louis David (French, Paris 1748–1825 Brussels). Medium: Oil on canvas.

 

A landmark of European portraiture that asserts a modern, scientifically minded couple in fashionable but simple dress, this painting was nonetheless excluded from the Salon of 1789 for fears it would further ignite revolutionary zeal. Technical analysis has revealed that a first iteration excluded the scientific instruments and would have been a far more conventional portrait of a wealthy, fashionable couple of the tax-collector class. Lavoisier was a pioneering chemist credited with the discovery of oxygen and the chemical composition of water through experiments in which his wife actively collaborated. However, he was also involved in studies of gunpowder and a misunderstanding about his removal of this precious commodity from the Bastille in the summer of 1789 threw his alliances into question. This mishap and his status as a tax collector (the more prosaic means by which he funded his scientific research) led him to be guillotined in 1794." - info from the Met.

 

"The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.

 

The Metropolitan Museum of Art was founded in 1870 with its mission to bring art and art education to the American people. The museum's permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from 1st-century Rome through modern American design, are installed in its galleries.

 

The Fifth Avenue building opened on March 30, 1880. In 2021, despite the COVID-19 pandemic in New York City, the museum attracted 1,958,000 visitors, ranking fourth on the list of most-visited art museums in the world.

 

New York, often called New York City or NYC, is the most populous city in the United States. With a 2020 population of 8,804,190 distributed over 300.46 square miles (778.2 km2), New York City is also the most densely populated major city in the United States. The city is within the southern tip of New York State, and constitutes the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area – the largest metropolitan area in the world by urban landmass. With over 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York is one of the world's most populous megacities, and over 58 million people live within 250 mi (400 km) of the city. New York City is a global cultural, financial, and media center with a significant influence on commerce, health care and life sciences, entertainment, research, technology, education, politics, tourism, dining, art, fashion, and sports. New York is the most photographed city in the world. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, an established safe haven for global investors, and is sometimes described as the capital of the world." - info from Wikipedia.

 

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

 

Now on Instagram.

 

Become a patron to my photography on Patreon or donate.

yesterday I think we had a little misunderstanding in the shop by Catwa, I just want to say that I make my avatar for myself, and I only give tips on what I can find out to improve the style I haven't got there yet but it looks a lot better than the original shape fromCatya, all I do is test what I personally like better

don't want to enrich myself in my shop I'll do it for you, my sisters, have a nice Sunday Shoes from Belezza Not Really Working one by Shape Feet Size 25 looks same alpha not included only feet shape

 

Visit this location at Moonlite Photo Studio in Second Life

This is the site of the former garage of Page Hunton which stopped selling fuel well over twenty years ago. I am still having trouble working out exactly how the layout of this site changed over the years but I think the building/house we see over to the right was extended both outwards and inwards over the years. That would mean the original forecourt shop was demolished and the huge units we see here now were built subsequently. It would seem, at least according to Google Maps, that three business share this site now, Bolts MOT and Service Centre, Shire Autos and East Coast Castings. I spoke to the chap who ran East Coast Castings and he gave me the impression that they now own the entire site, but that might be a misunderstanding on my part. Anyway, it was once a petrol station as you can see below, a rare sighting of the John Hudson brand that used to be reasonably prevalent in East Anglia up to the mid 1990s.

www.google.co.uk/maps/@52.5704945,0.8683466,3a,75y,239.72...

BELMOND #60163 Tornado is running under the orange cloud before sunset, seen near the New Barn Farm, Abinger Hammer. Rumour said that steam has changed to diesel for this run - nevertheless people waited around. luckily it was misunderstanding of a tech email and Tornado did turn up!

I was very proud of myself last night. Any geek should be very pleased to know that they've lived their lives in such a way that when you and your friends get together for dinner, one of those friends might bring a replica prop "Blade Runner" police blaster.

 

Notes:

 

1) If you come to a dinner party with me and you bring a replica prop "Blade Runner" police blaster, I will name you the Winner of Dinner Party.

 

2) If you let me hold your replica prop "Blade Runner" police blaster and I tell you that I only want to hold it for "a minute," I am lying to you.

 

3) If you own a replica prop "Blade Runner" police blaster, a large printed sign reading MOVIE PROP in big red letters taped to the top of the case was a smart move. Yes, it makes it a little easier to get the case through a TSA screening but I reckon that it also prevents socially-awkward moments at restaurants. For instance, if SWAT crashes in through the window and tasers guests, and they help themselves to some of the onion rings that the group is sharing while the misunderstandings are sorted out, is it appropriate for them to kick in a few bucks when it's time to split the check?

 

4) This is why adults with kids hate adults without kids. "Yup, I saw this for sale online, and it looked like it was really fun, and I wanted it, so I bought it," Maggie might have said. "You can do cool things like that, when you're not blowing all of your income on things like pediatric dental care."

 

(To be fair: I don't get to buy the Super Star Destroyer Lego Model and pretend that I got it for my kid.)

We talk a lot about freedom of speech on flickr recently.

It is about the censureship of Flickr by the national provider of the United Arab Emirates. This provider blocked the acces for local users to Flickr because of the very explicit content of certain of the streams.

...

A lot of flickr fellows have reacted very heartly and with talent (we are on flickr) to what we spontaneously call a violation a the right of expression and/or information. [UAE block pool]. I tend to agree.

...

In the same time it is curious that we don't really accept that a country, a people, a culture makes different choices than ours. Why it is so simply accepted that our references, our "western" life style should be imposed to every body ?

In the last hundred years we've been imposing our culture to the world. From the calendar, to the laws of commerce, until the way we count the hours of the day and more especially here, the way we think about freedom, communication & medias.

...

It is very rare to see, where this censure is commented on flickr, a proposition to make pornography [or perceived as] more identifiable and subject to filter on flickr ? I don't even know if it is possible or really make sense _ But _ if it is the preoccupation of our fellow in UAE why don't try to help them live the way they decided to ? We can together note that we see the world our way and have no doubt about [the relativity of] our point of vue.

...

What if, some people just want to be free to limit the acces to nudity for their kids ? As it is a very vivid subject in a lot of European or american families. What if the only way right now is to simply black list any domain name showing some ? Even if this site is also a great place of creativity and exchange.

...

I really love to exchange this way through flickr. It is a daily joy and probably an addiction too ! ;-). I would just like to point out that we act like there is only one right way of thinking. We should expect reactions and misunderstandings - Just like if you were subject to such an opression - And of course you're not stupid it is not *only* about flickr.

...

United we stand. Divided we fall. I agree.

To be united we need to get to know each others.

To exchange, we need to be different and accept those differences.

...

BTW :

> the petition is here

and contents very interesting informations.

> And an interesting contribution

from ☆ \\ 759 // ☆ who lives in UAE

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/?

  

I think it is important to understand that minimalism is not a manifesto for spartan living.

 

This is a recurrent misunderstanding that springs in part from its association with movements where renunciation of one sort or another is a central theme - it is unusual for a discussion of architectural simplicity not to include some reference to Zen Buddhism, the Cistercian monks or the Shakers.

 

One may respond to the aesthetic expressions and indeed share many of the needs that these movements have sought to address without adopting particular codes of behaviour: one can want a place where it is possible to be still without necessarily wanting to pray in it. Comfort is synonymous with a state of total clarity where the eye, the mind and the physical body are at ease, where nothing jars or distracts. This emphasis on a quality of experience is important. BSSR-Studio is steadily becoming one of the most interesting parts of our residence.

 

Some people seem to have an idea that the only role the individual has in such spaces is the capacity to contaminate. In the sort of work that interests me, the antithesis is true: the individual is always at its heart.

 

Explore BSSR  House

www.flickr.com/photos/55176801@N02/sets/72157625373026635...

  

Iona is a small island in the Inner Hebrides, off the Ross of Mull on the western coast of Scotland. It is mainly known for Iona Abbey, though there are other buildings on the island. Iona Abbey was a centre of Gaelic monasticism for three centuries and is today known for its relative tranquility and natural environment. It is a tourist destination and a place for spiritual retreats. Its modern Scottish Gaelic name means "Iona of (Saint) Columba" (formerly anglicised as "Icolmkill").

 

In 2019, the island's estimated population was 120. Residents engage in farming, using traditional methods. Other occupations include crofting and tourism-related work; some craftsmen make goods for sale locally, such as pottery, tapestries, jewellery and knitted goods. In March 1980, the Hugh Fraser Foundation donated much of the main island (and its off-lying islands) to the current owner, the National Trust for Scotland. The abbey and some church buildings are owned by the Iona Cathedral Trust.

 

One publication, describing the religious significance of the island, says that the island is "known as the birthplace of Celtic Christianity in Scotland,” and notes that “St Columba came here in the year 563 to establish the Abbey, which still stands".

 

Because the Hebrides have been successively occupied by speakers of several languages since the Iron Age, many of its islands’ names have more than one possible meaning. Nonetheless, few, if any, have accumulated as many different names over the centuries as the island now known in English as "Iona".

 

The place-name scholar William J. Watson has shown that the earliest recorded names of the island meant something like "yew-place". The element Ivo-, denoting "yew", occurs in inscriptions in the ogham alphabet (Iva-cattos, Iva-geni) and in Gaulish names (Ivo-rix, Ivo-magus); it may also be the basis of early Gaelic names like Eógan (ogham: Ivo-genos). The island's name may also be related to the name of a mythological figure, Fer hÍ mac Eogabail, the foster-son of Manannán, whose forename meaning "man of the yew".

 

Coates (2006) disputes the "yew" interpretation due to a lack of archeological evidence for yew on the island. Coates instead compares the Punic term ’y ("island, isolated place").

 

Mac an Tàilleir (2003) has analyzed the more recent Gaelic names of Ì, Ì Chaluim Chille and Eilean Idhe. He notes that the name Ì was "generally lengthened to avoid confusion" to Ì Chaluim Chille, which means "Calum's Iona" or "island of Calum's monastery". (“Calum”’s Latinized form is "Columba".) This confusion would have arisen because ì, the original name of the island, would have been confused with the now-obsolete Gaelic noun ì, meaning "island", which was derived from the Old Norse word for island (ey). Eilean Idhe means "the isle of Iona", also known as Ì nam ban bòidheach ("the isle of beautiful women"). The modern English name comes from yet another variant, Ioua, which arose either from Adomnán's 7th-century attempt to make the Gaelic name fit Latin grammar, or spontaneously, as a derivative of Ivova ("yew place"). The change in the island's name from Ioua' to Iona, which is attested from c.1274, resulted from a transcription error due to the similarity of "n" and "u" in Insular Minuscule script.

 

Despite the continuity of forms in Gaelic from the pre-Norse to the post-Norse era, Haswell-Smith (2004) speculates that the island’s name may be connected with the Norse word Hiōe, meaning "island of the den of the brown bear". The medieval English-language version of the name was "Icolmkill" (and variants thereof).

 

Murray (1966) claims that the "ancient" Gaelic name was Innis nan Druinich ("the isle of Druidic hermits"), but there is no evidence for the "ancient" use of such a name before the nineteenth century, when it appears in the New Statistical Account and it may arise from a misunderstanding of the name Cladh nan Druineach, which means 'burial ground of the embroideresses or artificers' – a cemetery on the east shore of the island. He also repeats a Gaelic story (which he admits is apocryphal) that as Columba's coracle first drew close to the island one of his companions cried out "Chì mi i" meaning "I see her" and that Columba's response was "Henceforth we shall call her Ì".

 

The geology of Iona is quite complex given the island's size and quite distinct from that of nearby Mull. About half of the island's bedrock is Scourian gneiss assigned to the Lewisian complex and dating from the Archaean eon making it some of the oldest rock in Britain and indeed Europe. Closely associated with these gneisses are mylonite and meta-anorthosite and melagabbro. Along the eastern coast facing Mull are steeply dipping Neoproterozoic age metaconglomerates, metasandstones, metamudstones and hornfelsed metasiltstones ascribed to the Iona Group, described traditionally as Torridonian. In the southwest and on parts of the west coast are pelites and semipelites of Archaean to Proterozoic age. There are small outcrops of Silurian age pink granite on southeastern beaches, similar to those of the Ross of Mull pluton cross the sound to the east. Numerous geological faults cross the island, many in a E-W or NW-SE alignment. Devonian aged microdiorite dykes are found in places and some of these are themselves cut by Palaeocene age camptonite and monchiquite dykes ascribed to the 'Iona-Ross of Mull dyke swarm’. More recent sedimentary deposits of Quaternary age include both present day beach deposits and raised marine deposits around Iona as well as some restricted areas of blown sand.

 

Iona lies about 2 kilometres (1 mile) from the coast of Mull. It is about 2 km (1 mi) wide and 6 km (4 mi) long with a resident population of 125. Like other places swept by ocean breezes, there are few trees; most of them are near the parish church.

 

Iona's highest point is Dùn Ì, 101 m (331 ft), an Iron Age hill fort dating from 100 BC – AD 200. Iona's geographical features include the Bay at the Back of the Ocean and Càrn Cùl ri Éirinn (the Hill/Cairn of [turning the] Back to Ireland), said to be adjacent to the beach where St. Columba first landed.

 

The main settlement, located at St. Ronan's Bay on the eastern side of the island, is called Baile Mòr and is also known locally as "The Village". The primary school, post office, the island's two hotels, the Bishop's House and the ruins of the Nunnery are here. The Abbey and MacLeod Centre are a short walk to the north. Port Bàn (white port) beach on the west side of the island is home to the Iona Beach Party.

 

There are numerous offshore islets and skerries: Eilean Annraidh (island of storm) and Eilean Chalbha (calf island) to the north, Rèidh Eilean and Stac MhicMhurchaidh to the west and Eilean Mùsimul (mouse holm island) and Soa Island to the south are amongst the largest. The steamer Cathcart Park carrying a cargo of salt from Runcorn to Wick ran aground on Soa on 15 April 1912, the crew of 11 escaping in two boats.

 

On a map of 1874, the following territorial subdivision is indicated (from north to south):

Ceann Tsear (East Head)

Sliabh Meanach (Middle Mountain)

Machar (Low-lying Grassy Plain)

Sliginach (Shelly Area)

Sliabh Siar (Rear Mountain)

Staonaig (Sloping Ground)

 

In the early Historic Period Iona lay within the Gaelic kingdom of Dál Riata, in the region controlled by the Cenél Loairn (i.e. Lorn, as it was then). The island was the site of a highly important monastery (see Iona Abbey) during the Early Middle Ages. The monastery was founded in 563 by the monk Columba, also known as Colm Cille, who sailed here from Ireland to live the monastic life. Much later legends (a thousand years later, and without any good evidence) said that he had been exiled from his native Ireland as a result of his involvement in the Battle of Cul Dreimhne. Columba and twelve companions went into exile on Iona and founded a monastery there. The monastery was hugely successful, and may have played a role in the conversion to Christianity of the Picts and Gaels of present-day Scotland in the late 6th century, and was certainly central to the conversion of the Anglo-Saxon kingdom of Northumbria in 635. Many satellite institutions were founded, and Iona became the centre of one of the most important monastic systems in Great Britain and Ireland.

 

Iona became a renowned centre of learning, and its scriptorium produced highly important documents, probably including the original texts of the Iona Chronicle, thought to be the source for the early Irish annals. The monastery is often associated with the distinctive practices and traditions known as Celtic Christianity. In particular, Iona was a major supporter of the "Celtic" system for calculating the date of Easter at the time of the Easter controversy, which pitted supporters of the Celtic system against those favoring the "Roman" system used elsewhere in Western Christianity. The controversy weakened Iona's ties to Northumbria, which adopted the Roman system at the Synod of Whitby in 664, and to Pictland, which followed suit in the early 8th century. Iona itself did not adopt the Roman system until 715, according to the Anglo-Saxon historian Bede. Iona's prominence was further diminished over the next centuries as a result of Viking raids and the rise of other powerful monasteries in the system, such as the Abbey of Kells.

 

The Book of Kells may have been produced or begun on Iona towards the end of the 8th century. Around this time the island's exemplary high crosses were sculpted; these may be the first such crosses to contain the ring around the intersection that became characteristic of the "Celtic cross". The series of Viking raids on Iona began in 794 and, after its treasures had been plundered many times, Columba's relics were removed and divided two ways between Scotland and Ireland in 849 as the monastery was abandoned.

 

As the Norse domination of the west coast of Scotland advanced, Iona became part of the Kingdom of the Isles. The Norse Rex plurimarum insularum Amlaíb Cuarán died in 980 or 981 whilst in "religious retirement" on Iona. Nonetheless, the island was sacked twice by his successors, on Christmas night 986 and again in 987. Although Iona was never again important to Ireland, it rose to prominence once more in Scotland following the establishment of the Kingdom of Scotland in the later 9th century; the ruling dynasty of Scotland traced its origin to Iona, and the island thus became an important spiritual centre for the new kingdom, with many of its early kings buried there. However, a campaign by Magnus Barelegs led to the formal acknowledgement of Norwegian control of Argyll, in 1098.

 

Somerled, the brother-in-law of Norway's governor of the region (the King of the Isles), launched a revolt, and made the kingdom independent. A convent for Augustinian nuns was established in about 1208, with Bethóc, Somerled's daughter, as first prioress. The present buildings are of the Benedictine abbey, Iona Abbey, from about 1203, dissolved at the Reformation.

 

On Somerled's death, nominal Norwegian overlordship of the Kingdom was re-established, but de facto control was split between Somerled's sons, and his brother-in-law.

 

Following the 1266 Treaty of Perth the Hebrides were transferred from Norwegian to Scottish overlordship. At the end of the century, King John Balliol was challenged for the throne by Robert the Bruce. By this point, Somerled's descendants had split into three groups, the MacRory, MacDougalls, and MacDonalds. The MacDougalls backed Balliol, so when he was defeated by de Bruys, the latter exiled the MacDougalls and transferred their island territories to the MacDonalds; by marrying the heir of the MacRorys, the heir of the MacDonalds re-unified most of Somerled's realm, creating the Lordship of the Isles, under nominal Scottish authority. Iona, which had been a MacDougall territory (together with the rest of Lorn), was given to the Campbells, where it remained for half a century.

 

In 1354, though in exile and without control of his ancestral lands, John, the MacDougall heir, quitclaimed any rights he had over Mull and Iona to the Lord of the Isles (though this had no meaningful effect at the time). When Robert's son, David II, became king, he spent some time in English captivity; following his release, in 1357, he restored MacDougall authority over Lorn. The 1354 quitclaim, which seems to have been an attempt to ensure peace in just such an eventuality, took automatic effect, splitting Mull and Iona from Lorn, and making it subject to the Lordship of the Isles. Iona remained part of the Lordship of the Isles for the next century and a half.

 

Following the 1491 Raid on Ross, the Lordship of the Isles was dismantled, and Scotland gained full control of Iona for the second time. The monastery and nunnery continued to be active until the Reformation, when buildings were demolished and all but three of the 360 carved crosses destroyed. The Augustine nunnery now only survives as a number of 13th century ruins, including a church and cloister. By the 1760s little more of the nunnery remained standing than at present, though it is the most complete remnant of a medieval nunnery in Scotland.

 

After a visit in 1773, the English writer Samuel Johnson remarked:

 

The island, which was once the metropolis of learning and piety, now has no school for education, nor temple for worship.

He estimated the population of the village at 70 families or perhaps 350 inhabitants.

 

In the 19th century green-streaked marble was commercially mined in the south-east of Iona; the quarry and machinery survive, see 'Marble Quarry remains' below.

 

Abbey and other ecclesiastical properties and the marble quarry, or to enjoy the nine beaches that are within walking distance of the main area.

 

Iona Abbey, now an ecumenical church, is of particular historical and religious interest to pilgrims and visitors alike. It is the most elaborate and best-preserved ecclesiastical building surviving from the Middle Ages in the Western Isles of Scotland. Though modest in scale in comparison to medieval abbeys elsewhere in Western Europe, it has a wealth of fine architectural detail, and monuments of many periods. The 8th Duke of Argyll presented the sacred buildings and sites of the island to the Iona Cathedral trust in 1899. Historic Environment Scotland also recommends visiting the Augustinian nunnery, "the most complete nunnery complex to survive in Scotland". It was founded at the same time as the Abbey; many ruins from the 14th century are visible. The nunnery declined after the Scottish Reformation but was still used as a burial place for women.

 

In front of the Abbey stands the 9th-century St Martin's Cross, one of the best-preserved Celtic crosses in the British Isles, and a replica of the 8th-century St John's Cross (original fragments in the Abbey museum).

 

The ancient burial ground, called the Rèilig Odhrain (Eng: Oran's "burial place" or "cemetery"), contains the 12th-century chapel of St Odhrán (said to be Columba's uncle), restored at the same time as the Abbey itself. It contains a number of medieval grave monuments. The abbey graveyard is said to contain the graves of many early Scottish Kings, as well as Norse kings from Ireland and Norway. Iona became the burial site for the kings of Dál Riata and their successors. Notable burials there include:

 

Cináed mac Ailpín, king of the Picts (also known today as "Kenneth I of Scotland")

Domnall mac Causantín, alternatively "king of the Picts" or "king of Scotland" ("Donald II")

Máel Coluim mac Domnaill, king of Scotland ("Malcolm I")

Donnchad mac Crínáin, king of Scotland ("Duncan I")

Mac Bethad mac Findlaích, king of Scotland ("Macbeth")

Domnall mac Donnchada, king of Scotland ("Donald III")

John Smith, Labour Party Leader

 

In 1549 an inventory of 48 Scottish, 8 Norwegian and 4 Irish kings was recorded. None of these graves are now identifiable (their inscriptions were reported to have worn away at the end of the 17th century). Saint Baithin and Saint Failbhe may also be buried on the island. The Abbey graveyard is also the final resting place of John Smith, the former Labour Party leader, who loved Iona. His grave is marked with an epitaph quoting Alexander Pope: "An honest man's the noblest work of God".

 

Limited archaeological investigations commissioned by the National Trust for Scotland found some evidence for ancient burials in 2013. The excavations, conducted in the area of Martyrs Bay, revealed burials from the 6th–8th centuries, probably jumbled up and reburied in the 13–15th centuries.

 

Other early Christian and medieval monuments have been removed for preservation to the cloister arcade of the Abbey, and the Abbey museum (in the medieval infirmary). The ancient buildings of Iona Abbey are now cared for by Historic Environment Scotland (there is an entrance charge to visit them).

 

The remains of a marble quarrying enterprise are present in a small bay on the south-east shore of Iona. The quarry is the source of 'Iona Marble', a translucent green and white stone, much used in brooches and other jewellery. The stone has been known of for centuries and was credited with healing and other powers. While the quarry had been used in a small way, it was not until around the end of the 18th century when it was opened up on a more industrial scale by the Duke of Argyle. The difficulties of extracting the hard stone and transporting it meant that the scheme was short lived. Another attempt was started in 1907, this time more successful with considerable quantities of stone extracted and indeed exported. The First World War impacted the quarry, with little quarrying after 1914 and the operation finally closed in 1919. A painting showing the quarry in operation, The Marble Quarry, Iona (1909) by David Young Cameron, is in the collection of Cartwright Hall art gallery in Bradford. The site has been designated as a Scheduled Ancient Monument.

 

The island, other than the land owned by the Iona Cathedral Trust, was purchased from the Duke of Argyll by Hugh Fraser in 1979 and donated to the National Trust for Scotland. In 2001 Iona's population was 125 and by the time of the 2011 census this had grown to 177 usual residents. During the same period Scottish island populations as a whole grew by 4% to 103,702. The estimated permanent population in 2020 was 120.

 

The island's tourism bureau estimated that roughly 130,000 visitors arrived each year. Many tourists come to visit the Abbey and other ecclesiastical properties and the marble quarry, or to enjoy the nine beaches that are within walking distance of the main area.

 

Not to be confused with the local island community, Iona (Abbey) Community is based within Iona Abbey.

 

In 1938 George MacLeod founded the Iona Community, an ecumenical Christian community of men and women from different walks of life and different traditions in the Christian church committed to seeking new ways of living the Gospel of Jesus in today's world. This community is a leading force in the present Celtic Christian revival.

 

The Iona Community runs three residential centres on the Isle of Iona and on Mull, where one can live together in community with people of every background from all over the world. Weeks at the centres often follow a programme related to the concerns of the Iona Community.

 

The 8 tonne Fallen Christ sculpture by Ronald Rae was permanently situated outside the MacLeod Centre in February 2008.

 

Visitors can reach Iona by the 10-minute ferry trip across the Sound of Iona from Fionnphort on Mull. The most common route from the mainland is via Oban in Argyll and Bute, where regular ferries connect to Craignure on Mull, from where the scenic road runs 37 miles (60 kilometres) to Fionnphort. Tourist coaches and local bus services meet the ferries.

 

Car ownership is lightly regulated, with no requirement for a MOT Certificate or payment of Road Tax for cars kept permanently on the island, but vehicular access is restricted to permanent residents and there are few cars. Visitors are not allowed to bring vehicles onto the island although "blue badge holders with restricted mobility ... may apply for a permit under certain exemptions". Visitors will find the village, the shops, the post office, the cafe, the hotels and the abbey are all within walking distance. Bike hire is available at the pier, and on Mull. Taxi service is also available.

 

Conde Nast Traveller recommends the island for its "peaceful atmosphere ... a popular place for spiritual retreats" but also recommends the "sandy beaches, cliffs, rocks, fields and bogs ... "wildflowers and birds such as the rare corncrake and puffins" as well as the "abundance of sea life".

 

The Iona Council advises visitors that they can find a campsite (at Cnoc Oran), a hostel (at Lagandorain), family run bed and breakfasts, and two hotels on the island in addition to several self-catering houses. The agency also mentions that distances are short, with the Abbey a mere 10 minutes’ walk from the pier. Tourists can rent bikes or use the local taxi.

 

The island of Iona has played an important role in Scottish landscape painting, especially during the Twentieth Century. As travel to north and west Scotland became easier from the mid C18 on, artists' visits to the island steadily increased. The Abbey remains in particular became frequently recorded during this early period. Many of the artists are listed and illustrated in the valuable book, Iona Portrayed – The Island through Artists' Eyes 1760–1960, which lists over 170 artists known to have painted on the island.

 

The C20 however saw the greatest period of influence on landscape painting, in particular through the many paintings of the island produced by F C B Cadell and S J Peploe, two of the ‘Scottish Colourists’. As with many artists, both professional and amateur, they were attracted by the unique quality of light, the white sandy beaches, the aquamarine colours of the sea and the landscape of rich greens and rocky outcrops. While Cadell and Peploe are perhaps best known, many major Scottish painters of the C20 worked on Iona and visited many times – for example George Houston, D Y Cameron, James Shearer, John Duncan and John Maclauchlan Milne, among many.

 

Samuel Johnson wrote "That man is little to be envied whose patriotism would not gain force upon the plains of Marathon, or whose piety would not grow warmer amid the ruins of Iona."

 

In Jules Verne's novel The Green Ray, the heroes visit Iona in chapters 13 to 16. The inspiration is romantic, the ruins of the island are conducive to daydreaming. The young heroine, Helena Campbell, argues that Scotland in general and Iona in particular are the scene of the appearance of goblins and other familiar demons.

 

In Jean Raspail's novel The Fisherman's Ring (1995), his cardinal is one of the last to support the antipope Benedict XIII and his successors.

 

In the novel The Carved Stone (by Guillaume Prévost), the young Samuel Faulkner is projected in time as he searches for his father and lands on Iona in the year 800, then threatened by the Vikings.

 

"Peace of Iona" is a song written by Mike Scott that appears on the studio album Universal Hall and on the live recording Karma to Burn by The Waterboys. Iona is the setting for the song "Oran" on the 1997 Steve McDonald album Stone of Destiny.

 

Kenneth C. Steven published an anthology of poetry entitled Iona: Poems in 2000 inspired by his association with the island and the surrounding area.

 

Iona is featured prominently in the first episode ("By the Skin of Our Teeth") of the celebrated arts series Civilisation: A Personal View by Kenneth Clark (1969).

 

Iona is the setting of Jeanne M. Dams' Dorothy Martin mystery Holy Terror of the Hebrides (1998).

 

The Academy Award–nominated Irish animated film The Secret of Kells is about the creation of the Book of Kells. One of the characters, Brother Aidan, is a master illuminator from Iona Abbey who had helped to illustrate the Book, but had to escape the island with it during a Viking invasion.

 

Frances Macdonald the contemporary Scottish artist based in Crinian, Argyll, regularly paints landscapes on Iona.

 

Neil Gaiman's poem "In Relig Odhrain", published in Trigger Warning: Short Fictions and Disturbances (2015), retells the story of Oran's death, and the creation of the chapel on Iona. This poem was made into a short stop-motion animated film, released in 2019.

 

Iona's local golf course was featured on Season 7's Adventure's in Golf by documentary filmmaker, Erik Anders Lang.

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Ordo Asparagales Link, Handbuch [Link] 1: 272. 1829

Familia Asparagaceae Juss. 1789., Gen. Pl.: 40. 1789

Subfamilia Agavoideae Herb., Amaryllidaceae: 48, 57, 67, 121. Apr 1837 (Agaveae)

Tribu Yucceae Bartl., Ord. Nat. Pl.: 50. 1830 (Yuccea)

Genus Yucca L., Sp. Pl. 1: 319. 1753

Section Yucca [Subgen. Euyucca Sect. Sarcocarpa Engelm, Botany (Fortieth Parallel): 496. 1973 / Subgen. Sarcoyucca Trel., Rep. (Annual) Missouri Bot. Gard. 13: 45. 1902]

[Series Yucca]

Yucca aloifolia L., Sp. Pl. 1: 319. 1753

[Series Gloriosae Hochstätter, Succulenta (Netherlands) 81 (2): 89-94. 2002]

Yucca gloriosa L., Sp. Pl. 1: 319. 1753

Yucca aloifolia x gloriosa (?)

Presumeably a backcross between the two aforementioned taxa, native or man-made.

Probably a 'short-day' plant, it begins to bloom usually until September / October, never in the period from May to July! This year these starts to bloom very early! An flower initiation at this Yucca I never observed if was a day length 15 hours or a night length of less than 9 hours.

Yucca x vomerensis C. Sprenger in Cat., 1901

In his "Mitteilungen über meine Yucca-Hibriden und -Formen" (Mitt. Deutsch. Dendrol. Ges. Nr. 29: 119. 1920) he wrote:.

"Yucca aloifolia x gloriosa gave me a large number of seedlings, but among themselves mostly very consistent, so that one could call them without further ado, one and all as 'vomerensis'."

Yucca x glorifolia nom. nud.

(not an valid name, and there can be misunderstandings because also used for Y. gloriosa x recurvifolia hybrids)

In the Botany of the Bermudas by H. B. Small, 1913, is listed

Yucca Glorifolia. Linn. - but these is probably a possible reading error from Carl Linnaeus handwritten record in his Species Plantarum 1748!/

Similar forms are also called Yucca gloriosa 'aloifolia form'.

Have not been getting out as much as I use to. Have second new knee and while waiting for some easier walking weather have decided to post some photos from my archives. Jan 2018.

Why do Norwegian stamps say Norge and Noreg?

 

It's because Norway has two written languages: Norwegian Bokmål and Norwegian Nynorsk.

 

Norge is the name of the country in Bokmål, while in Nynorsk "Norway" is spelled Noreg.

 

Here's an explanation:

 

For the majority of Norwegians, Norwegian Bokmål is the main language.

 

Norwegian Nynorsk on the other hand can easily be categorized as a minority, with only 10-15 percent of the Norwegian population using this as their main language.

 

However, public institutions are required by law to use both written languages and a minimum of 25 percent nynorsk (although they don’t always follow the law).

 

A common misunderstanding however is that Norwegians speak nynorsk. In actual fact no one really does, as it is a written language, created by linguist and poet Ivar Aasen.

 

In the 1840s, Aasen travelled around the country, listening and taking notes on all the different dialects he heard. In 1848, based on all these dialects, he published the book Det norske Folkesprogs grammatikk (Grammar of the Norwegian folk language). And thus, Nynorsk was born.

 

Many Norwegians with Norwegian Nynorsk as their secondary language find it difficult to master, as it really is written in a completely different way than the language of the majority.

 

Born in Sunnmøre, nynorsk is automatically my main language. Hence, I got the benefit of learning both; nynorsk since elementary school, and bokmål through television, books and media in general, and later at school as my secondary Norwegian language.

 

[Here is], a small illustrative example: The sentence “actually, there is controversy regarding the written languages” would in Norwegian Bokmål be: “Det er egentlig uenighet angående de skriftlige språkformene”. In Norwegian Nynorsk, the same sentence could be written as follows: “I røynda rår det usemje kring dei skriftlege målformene”. Of course tourists get confused. Norwegians do, too!

 

I`ve also been asked if Norwegians can understand the other Scandinavian languages. The answer is yes- usually we can. Norwegian, Swedish and Danish are, mostly, very much alike, although all three languages hold many dialects, some of them less easily understood than others (such as my own, I keep hearing).

 

Most Norwegians also find Swedish more comprehensible than Danish, although written Danish is often perceived as easier to understand than written Swedish. This has got to do with the fact that Norway was under Danish rule up until 1814. Danish was therefore the official written language in Norway for a long time, greatly influencing the Norwegian language of today.

 

hankristine.wordpress.com/2013/11/15/norge-and-noreg/

  

Oslo, Norway

Close-up natural-light street portrait (animal portrait, full-face view) of an inquisitive, agnostic ram whose horns are painted red (port side) and green (starboard side) in order to avoid inter-species misunderstandings and collisions;

Varanasi, Uttar Pradesh, India.

 

More context:

Facing the Ghats of Varanasi (photo blog).

 

Exhibitions:

Barrie Photo Club: Members’ Monthly Slideshow (Favourites),

May 2017.

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.

'Fewer misunderstandings that way' (City of thieves - Cyrus Moore, Sphere, Little Brown Book Group)

...misunderstanding...

Göynüş Vadisi, located in the area known as the Phrygian Valley, is a long and narrow valley surrounded by high cliffs of volcanic tuff. The old name of the valley - Köhnüş - derives from the Turkish word köhnemiş, which means the area damaged by weather conditions. The valley lies at the foot of Mount Türkmen, from the south is restricted by Aslankayalar rocks, from the west - by Türkmen formations, and from the north- Yokhalil outcrop. In the center of the valley rises the hill where there are the ruins of fortress Köhnüş fortress. In Göynüş Valley there are numerous traces left by the Phrygian civilization. Among them, the most impressive are two rock monuments, now called Aslantaş and Yılantaş. The area of Göynüş Valley was first examined by a Scottish archaeologist William Mitchell Ramsay in the years 1884-1887. He identified two monumental tombs and another Phrygian monument called Maltaş. In the mid-twentieth century a Dutch archaeologist, Caroline Henriette Emilie Haspels, conducted another survey of the valley and found many more Phrygian rock monuments, carved in hard to reach areas of Aslankayalar and Akkuş Yuvası massifs. In 1995-1996, two Turkish archaeologists - Taciser Tüfekçi Sivas and Hakan Sivas - discovered two altars of rock, located in Boncuklu Inler Mevkii and near the Maltaş monument. To recapitulate, in Göynüş Valley there is a large number of Phrygian monuments, including 40 tombs, forming the largest Phrygian necropolis known to researchers so far. Additionally, in the valley, one can find rock tombs from the Roman period, and Byzantine churches and chapels carved into the rocks. The oldest Phrygian monuments of Göynüş Valley date back to the period from the eighth to the sixth century BC. Two of the most fascinating Phrygian tombs are located just off the road crossing the valley. The first one is called Aslantaş or i.e. the Lions' Rock. This monument was carved in the northern vertical wall of a cubic rock, about 11 meters high. The façade of the tomb is decorated with reliefs of two mighty lions. The animals are depicted standing upright on their hind legs, as if preparing to jump. Their jaws are open, solidified in a silent roar. Between the silhouettes of the standing lions, there is a square entrance to the tomb. The chamber of this tomb was carved on a rectangular plan and is decorated in a sophisticated way. Below, at the feet of the roaring lions, there are much worse preserved reliefs depicting another two lions in a sitting position. The second great Phrygian tomb is known locally as Yılantaş or the Snakes' Rock. In fact, the monument does not depict any snakes, but lions, and the researchers describe it as Kırık Aslantaş (i.e. the Broken Lions' Rock). The misunderstanding as to the name and the original appearance of the monument is due to its poor condition. Its original façade had been split and then broke up into pieces, spread out on the ground, most likely as a result of an earthquake.

Minolta Maxxum 7000 | Ilford FP4 Plus Film

You'd think a lifelong Beatles fan who lives as close to Liverpool as I do would have been here before now. You see, I've always thought I don't need to do tourism because I'm already local.

location: Places / France / Alsace / Strasbourg / Palais de Rohan

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EFFIArt

ORTON effects

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In Zusammenarbeit mit den Stilisten des berühmten Design-Labels haben die Spezialisten von „ad personam“ ein Fahrzeug entworfen, das gegenüber dem Murcièlago LP 640 in Serienversion umfangreiche Modifikationen im Innenraum aufweist.

 

Als Charakteristikum tragen Türen, Schottwand, Mitteltunnel, Dachhimmel und Sitze eine Meanderform als Ziernaht und zitieren damit die Versace-typische Formensprache.

 

Als weitere Besonderheit haben die Versace-Designer ein edles Kofferset aus dem gleichen Material für das Sondermodell kreiert.

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tags:

Straßburg France Frankreich Lumix Lamborghini Murcièlago "LP 640" Versace carinashotcc Ferruccio "Ferruccio Lamborghini"

 

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Lamborghini cars

 

Automobili Lamborghini S.p.A., commonly known as Lamborghini, is a manufacturer of high performance sports cars based in the small Italian village of Sant'Agata Bolognese, near Bologna. The company was founded in 1963 by Ferruccio Lamborghini (1916–1993) as a spin-off from his very successful tractor factory, Lamborghini Trattori S.p.A..

Ferruccio Lamborghini was an enthusiastic owner of sports cars, including a Ferrari. There are several versions of why Lamborghini started his company, all of them involving a conflict between himself and Enzo Ferrari.

 

The most likely version, one that has been corroborated several times, is that Ferruccio Lamborghini met Enzo Ferrari at a party, and, naturally, the talk drifted to sports cars. Lamborghini pointed out a few things in Ferrari's designs which he did not agree with. Ferrari, a notorious hothead, got apoplectic. "If you don't like the way I build my cars, why don't you go build one in that tractor factory of yours."

 

Featuring bodies designed by Franco Scaglione, Touring of Milan, Zagato, Mario Marazzi, Bertone, ItalDesign, Marcello Gandini and Luc Donckerwolke, Lamborghini's cars are not only amongst the most expensive and powerful road-going vehicles made, but are also amongst the most stunning and impressive in appearance. Contrary to a frequent misunderstanding, Ferruccio himself never was a bullfighting supporter but loved Bulls and was a Taurus, which explains why most models have a name somehow related to bulls.

 

More details see Wikipedia:

en.wikipedia.org/wiki/Lamborghini

 

Official website:

www.lamborghini.com/

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.

 

Dear Mom & Dad,

 

Glad to hear you got the whole thing cleared up with the police and they let you out of jail. So sorry about the whole misunderstanding. On a brighter note, we're having a blast. Literally. Little Johnny was so cranky, I thought he might be constipated. I got him a Chili Cone Queso at the Cozy Cone Motel and dropped a bunch of laxitives in it to help him out. In hind sight, I may have given him too many. While we were at the Radiator Springs Curios shop he said he had to go. I dropped a dime on the floor and it rolled under a counter. It only took about 30 minutes to get it back but it was too late by that time. I barely made it out of the store before you know what hit the fan. Little Johnny was taken away by ambulance and the hazmat team came and got his pants. I'll go and see if he is ok after I get off Maters Junkyard Jamboree.

 

Love,

Your only son (I figured you might be too embarrassed to claim Little Johnny as a son anymore)

 

HSS

  

Post Cards From Radiator Springs Series

www.flickr.com/photos/hbmike2000/sets/72157630681046046/

St Mary's Lighthouse is on the tiny St Mary's (or Bait) Island, just north of Whitley Bay on the coast of North East England. The small rocky tidal island is linked to the mainland by a short concrete causeway which is submerged at high tide.

 

The first light here was in the priory - an 11th-century monastic chapel, whose monks maintained a lantern on the tower to warn passing ships of the danger of the rocks. A lighthouse was built here in 1664 using stone from the priory. This was demolished when the current lighthouse and adjacent keepers' cottages were built in 1898 by the John Miller company of Tynemouth, using 645 blocks of stone and 750,000 bricks. A first-order 'bi-valve' rotating optic was installed by Barbier & Bénard of Paris, very similar to the one they had provided the previous year for Lundy North Lighthouse; it displayed a group-flashing characteristic, flashing twice every 20 seconds. The lamp was powered by paraffin, and was not electrified until 1977; St Mary's was by then the last Trinity House lighthouse lit by oil.

 

As part of the electrification process the fine first-order fresnel lens was removed by Trinity House (it was later put on display in their National Lighthouse Museum in Penzance). Its place in the tower was taken by a four-tier revolving sealed beam lamp array, manufactured by Pharos Marine; it was powered by two 12-volt batteries, charged from the mains electricity supply.

 

The lighthouse was decommissioned in 1984 (two years after its conversion to automatic operation). The revolving sealed beam array was reused two years later (in reduced form) on the Inner Dowsing light platform in the North Sea, as part of its conversion to become 'the first major lighthouse to be run using solar power'. In 1986 a blue plaque was created to record its early history.

 

A few years later, St Mary's was opened as a visitor attraction by the local council. In place of the original optic, Trinity House offered a smaller one from their decommissioned lighthouse at Withernsea, and this can still be seen at the top of the tower.

 

Following closure of the Penzance lighthouse museum, the original lens was returned to St Mary's in 2011 to be put on display.

 

Since 2012 St Mary's lighthouse has been grade II listed. While it no longer functions as a working lighthouse, it is easily accessible (when the tide is out) and regularly open to visitors; in addition to the lighthouse itself there is a small museum, a visitor's centre, and a café. The cottage was upgraded with a wood pellet boiler in 2014.

 

In 2017 a renovation plan for the site (including roof-top viewing platforms and various glass-covered extensions) was rejected by the local planning authority due to environmental concerns. A new refurbishment proposal (to include rebuilding the original optic) was presented in 2018; however the Heritage Lottery Fund later turned down North Tyneside Council's £2.1m funding application.

 

Another Victorian lighthouse may be found a few miles to the south of the River Tyne. Souter Lighthouse is also now decommissioned, and open to visitors. Souter Lighthouse can be seen with the naked eye from the top of St Mary's Lighthouse.

 

St Mary's Island, sometimes referred to as Bait Island is a small sandstone island near the seaside resort of Whitley Bay, Tyne and Wear, England. It is a Local Nature Reserve.

 

St Mary's Island was originally called Bates Island, Hartley Bates or Bates Hill as it was originally owned by the Bates family who were prominent locally, and the area of coastal mainland lying between the Brierdene Burn and Seaton Burn formed the township of Hartley. It is sometimes known as Bait Island, probably due to a misunderstanding of the meaning of the name. The island is opposite Curry's Point on the mainland and is connected to the coast at low tide by a rocky causeway for about 16 hours a day. The main feature of the island is St Mary's Lighthouse which was built in 1898.

 

In medieval times there was a chapel on the island dedicated to St Helen. Within the chapel was the Lady Light, also known as St Katherine's Light. The light was later, wrongly, ascribed to St Mary and, as a result, the island became known as St Mary's Island. It is debatable whether the light was used as a warning to shipping or was purely religious. Next to the chapel was a burial ground where monks and local people were interred. Traces of St. Helen's Chapel were destroyed when the lighthouse was built in 1898.

 

During the 19th century there was an inn, known as the 'Square and Compass', on the island, run by a Mr George Ewen. In 1895, after complaints about rowdy customers trespassing on nearby land, the landlord, Lord Hastings, had Mr Ewen and his family evicted from the island.

 

The lighthouse continued to function until 1984, when it was taken out of service. The lighthouse is now open to visitors who can climb the steps to the lantern room, if they wish, or see the Visitors' Centre.

 

Tyne and Wear is a ceremonial county in North East England. It borders Northumberland to the north and County Durham to the south, and the largest settlement is the city of Newcastle upon Tyne.

 

The county is largely urbanised. It had a population of 1.14 million in 2021. After Newcastle (300,125) the largest settlements are the city of Sunderland (170,134), Gateshead (120,046), and South Shields (75,337). Nearly all of the county's settlements belong to either the Tyneside or Wearside conurbations, the latter of which also extends into County Durham. Tyne and Wear contains five metropolitan boroughs: Gateshead, Newcastle upon Tyne, Sunderland, North Tyneside and South Tyneside, and is covered by two combined authorities, North of Tyne and North East. The county was established in 1974 and was historically part of Northumberland and County Durham, with the River Tyne forming the border between the two.

 

The most notable geographic features of the county are the River Tyne and River Wear, after which it is named and along which its major settlements developed. The county is also notable for its coastline to the North Sea in the east, which is characterised by tall limestone cliffs and wide beaches.

 

In the late 600s and into the 700s Saint Bede lived as a monk at the monastery of St. Peter and of St. Paul writing histories of the Early Middle Ages including the Ecclesiastical History of the English People.

 

Roughly 150 years ago, in the village of Marsden in South Shields, Souter Lighthouse was built, the first electric structure of this type.

 

The Local Government Act 1888 constituted Newcastle upon Tyne, Gateshead and Sunderland as county boroughs (Newcastle had "county corporate" status as the "County and Town of Newcastle upon Tyne" since 1400). Tynemouth joined them in 1904. Between the county boroughs, various other settlements also formed part of the administrative counties of Durham and of Northumberland.

 

The need to reform local government on Tyneside was recognised by the government as early as 1935, when a Royal Commission to Investigate the Conditions of Local Government on Tyneside was appointed. The three commissioners were to examine the system of local government in the areas of local government north and south of the river Tyne from the sea to the boundary of the Rural District of Castle Ward and Hexham in the County of Northumberland and to the Western boundary of the County of Durham, to consider what changes, if any, should be made in the existing arrangements with a view to securing greater economy and efficiency, and to make recommendations.

 

The report of the Royal Commission, published in 1937, recommended the establishment of a Regional Council for Northumberland and Tyneside (to be called the "Northumberland Regional Council") to administer services that needed to be exercised over a wide area, with a second tier of smaller units for other local-government purposes. The second-tier units would form by amalgamating the various existing boroughs and districts. The county boroughs in the area would lose their status. Within this area, a single municipality would be formed covering the four county boroughs of Newcastle, Gateshead, Tynemouth, South Shields and other urban districts and boroughs.

 

A minority report proposed amalgamation of Newcastle, Gateshead, Wallsend, Jarrow, Felling, Gosforth, Hebburn and Newburn into a single "county borough of Newcastle-on-Tyneside". The 1937 proposals never came into operation: local authorities could not agree on a scheme and the legislation of the time did not allow central government to compel one.

 

Tyneside (excluding Sunderland) was a Special Review Area under the Local Government Act 1958. The Local Government Commission for England came back with a recommendation to create a new county of Tyneside based on the review area, divided into four separate boroughs. This was not implemented. The Redcliffe-Maud Report proposed a Tyneside unitary authority, again excluding Sunderland, which would have set up a separate East Durham unitary authority.

 

The White Paper that led to the Local Government Act 1972 proposed as "area 2" a metropolitan county including Newcastle and Sunderland, extending as far south down the coast as Seaham and Easington, and bordering "area 4" (which would become Tees Valley). The Bill as presented in November 1971 pruned back the southern edge of the area, and gave it the name "Tyneside". The name "Tyneside" proved controversial on Wearside, and a government amendment changed the name to "Tyne and Wear" at the request of Sunderland County Borough Council.

 

Tyne and Wear either has or closely borders two official Met Office stations, neither located in one of the major urban centres. The locations for those are in marine Tynemouth where Tyne meets the North Sea east of Newcastle and inland Durham in County Durham around 20 kilometres (12 mi) south-west of Sunderland. There are some clear differences between the stations temperature and precipitation patterns even though both have a cool-summer and mild-winter oceanic climate.

 

Tyne and Wear contains green belt interspersed throughout the county, mainly on the fringes of the Tyneside/Wearside conurbation. There is also an inter-urban line of belt helping to keep the districts of South Tyneside, Gateshead, and Sunderland separated. It was first drawn up from the 1950s. All the county's districts contain some portion of belt.

 

Although Tyne and Wear County Council was abolished in 1986, several joint bodies exist to run certain services on a county-wide basis. Most notable is the Tyne and Wear Passenger Transport Authority, which co-ordinates transport policy. Through its passenger transport executive, known as Nexus, it owns and operates the Tyne and Wear Metro light rail system, and the Shields ferry service and the Tyne Tunnel, linking communities on either side of the River Tyne. Also through Nexus, the authority subsidises socially necessary transport services (including taxis) and operates a concessionary fares scheme for the elderly and disabled. Nexus has been an executive body of the North East Joint Transport Committee since November 2018.

 

Other joint bodies include the Tyne and Wear Fire and Rescue Service and Tyne & Wear Archives & Museums, which was created from the merger of the Tyne and Wear Archives Service and Tyne and Wear Museums. These joint bodies are administered by representatives of all five of the constituent councils. In addition the Northumbria Police force covers Northumberland and Tyne and Wear.

 

There have been occasional calls for Tyne and Wear to be abolished and the traditional border between Northumberland and County Durham to be restored.

 

Tyne and Wear is divided into 12 Parliamentary constituencies. Historically, the area has been a Labour stronghold; South Shields is the only Parliamentary constituency that has never returned a Conservative Member of Parliament (MP) to the House of Commons since the Reform Act of 1832.

 

Newcastle and Sunderland are known for declaring their election results early on election night. Therefore, they frequently give the first indication of nationwide trends. An example of this was at the 2016 European Union referendum. Newcastle was the first large city to declare, and 50.6% of voters voted to Remain; this proportion was far lower than predicted by experts. Sunderland declared soon after and gave a 62% vote to Leave, much higher than expected. These two results were seen as an early sign that the United Kingdom had voted to Leave.

 

Offshore Group Newcastle make oil platforms. Sage Group, who produce accounting software, are based at Hazlerigg at the northern end of the Newcastle bypass. Northern Rock, which became a bank in 1997 and was taken over by Virgin Money in November 2011, and the Newcastle Building Society are based in Gosforth. The Gosforth-based bakery Greggs now has over 1,500 shops. The Balliol Business Park in Longbenton contains Procter & Gamble research and global business centres and a tax credits call centre for HMRC, and is the former home of Findus UK. The Government National Insurance Contributions Office in Longbenton, demolished and replaced in 2000, had a 1 mile (1.6 km) long corridor.

 

Be-Ro and the Go-Ahead Group bus company are in central Newcastle. Nestlé use the former Rowntrees chocolate factory on the east of the A1. BAE Systems Land & Armaments in Scotswood, formerly Vickers-Armstrongs, is the main producer of British Army tanks such as the Challenger 2. A Rolls-Royce apprentice training site is next door.[18] Siemens Energy Service Fossil make steam turbines at the CA Parsons Works in South Heaton. Sir Charles Parsons invented the steam turbine in 1884, and developed an important local company. Domestos, a product whose main ingredient is sodium hypochlorite, was originated in Newcastle in 1929 by William Handley, and was distributed from the area for many years.

 

Clarke Chapman is next to the A167 in Gateshead. The MetroCentre, the largest shopping centre in Europe, is in Dunston. Scottish & Newcastle was the largest UK-owned brewery until it was bought by Heineken and Carlsberg in April 2008, and produced Newcastle Brown Ale at the Newcastle Federation Brewery in Dunston until production moved to Tadcaster in September 2010. At Team Valley are De La Rue, with their largest banknote printing facility, and Myson Radiators, the second largest in the UK market. Petards make surveillance equipment including ANPR cameras, and its Joyce-Loebl division makes electronic warfare systems and countermeasure dispensing systems such as the AN/ALE-47. Sevcon, an international company formed from a part of Smith Electric, is a world leader in electric vehicle controls. AEI Cables and Komatsu UK construction equipment at Birtley.

 

J. Barbour & Sons make outdoor clothing in Simonside, Jarrow. SAFT Batteries make primary lithium batteries on the Tyne in South Shields. Bellway plc houses is in Seaton Burn in North Tyneside. Cobalt Business Park, the largest office park in the UK, is at Wallsend, on the former site of Atmel, and is the home of North Tyneside Council. Swan Hunter until 2006 made ships in Wallsend, and still designs ships. Soil Machine Dynamics in Wallsend on the Tyne makes Remotely operated underwater vehicles, and its Ultra Trencher 1 is the world's largest submersible robot.

 

The car dealership Evans Halshaw is in Sunderland. The car factory owned by Nissan Motor Manufacturing UK between North Hylton and Washington is the largest in the UK. Grundfos, the world's leading pump manufacturer, builds pumps in Sunderland. Calsonic Kansei UK, formerly Magna, make automotive instrument panels and car trim at the Pennywell Industrial Estate. Gestamp UK make automotive components. Smith Electric Vehicles originated in Washington. The LG Electronics microwave oven factory opened in 1989, closed in May 2004, and later became the site of the Tanfield Group. Goodyear Dunlop had their only UK car tyre factory next to the Tanfield site until its 2006 closure. BAE Systems Global Combat Systems moved to a new £75 million factory at the former Goodyear site in 2011, where they make large calibre ammunition for tanks and artillery.

 

The government's child benefit office is in Washington. Liebherr build cranes next to the Wear at Deptford. The outdoor clothing company Berghaus is in Castletown. Vaux Breweries, who owned Swallow Hotels, closed in 1999. ScS Sofas are on Borough Road. There are many call centres in Sunderland, notably EDF Energy at the Doxford International Business Park, which is also the home of the headquarters of the large international transport company Arriva and Nike UK. Rolls-Royce planned to move their production of fan and turbine discs to BAE Systems' new site in 2016.

Michael McFaul, Ambassador to Russia under President Barack Obama, was the architect of Obama’s effort to reset American relations with Russia. His accomplishments included a new START accord limiting nuclear arms; the opening of the Northern Distribution Network allowing the United States to send supplies to its troops in Afghanistan by way of Russia; cooperation on Iran and North Korea, and; Russia’s accession to the World Trade Organization.

 

According to McFaul, this photograph was taken during a tense moment following a phone call between then Russian President Dmitry Anatolyevich Medvedev and Obama. The call concerned the new START treaty and Medvedev's mistaken impression that the US had agreed to constraints on its nuclear missile defense. As he was thanking Obama for these concessions, McFaul, who had been listening on another phone, slipped Obama a note saying "we cannot accept that deal". The deal fell through and, after the call, Obama was livid. In the end the misunderstanding was straightened out and the accord was ultimately successful.

...misunderstanding all you see.

 

"Strawberry fields forever", Beatles

"I don't believe it!..." One foot in the grave was the only title |I could think of with this tortoise, seen at the Royal Norfolk Show, after seeing such a creature in the opening titles of the British TV show for 11 years.

 

One Foot in the Grave is a British BBC television sitcom series written by David Renwick. There were six series and seven Christmas specials over an eleven-year period, from early 1990 to late 2000. The first five series were broadcast between January 1990 and January 1995. For the next five years, the show appeared only as Christmas specials, followed by one final series in 2000.

 

The series features the exploits of Victor Meldrew, played by Richard Wilson, and his long-suffering wife, Margaret, played by Annette Crosbie. The programmes invariably deal with Meldrew's battle against the problems he creates for himself. Set in a typical suburb in southern England, Victor takes involuntary early retirement. His various efforts to keep himself busy, while encountering various misfortunes and misunderstandings are the themes of the sitcom. Indoor scenes were filmed at BBC Television Centre with most exterior scenes filmed on Tresillian Way in Walkford on the Dorset/Hampshire border.[1] Despite its traditional production, the series subverts its domestic sitcom setting with elements of black humour and surrealism.

   

Putin is thinking that nothing is impossible -NO PAIN - NO GAIN!

 

Putin learnt lots from terrorists by fighting them over the years, he’s mastered all their skills, strategies, tactics to the point that he’s become better than all the terrorists, all put together, that have come before him -let’s not forget he was a spy for over 16 years so he’s more cunning, cruel and merciless than all world leaders and tyrants put together

 

The CIA is convinced that Putin’s nuclear war in Ukraine is on the cards, it takes a spy to know one so they should know!

 

In Putin’s game, one can’t afford to bluff! if Putin says expect WW3 if anyone frustrates his plans then we have to take his threat seriously

 

The only way the free world can stop this mad dog is to outsmart him at his own game; any peace talks that doesn’t involve total unconditional hand over of Ukraine to Russia are just diversions aimed at tricking deal makers into giving him more time to grab as much as possible of Ukraine as he can

 

The free world must be prepared for the worst possible scenario and go all out with whatever it takes to deliver a lethal blow to the Kremlin’s war machine -worst possible economic sanctions may not be enough as it’s going to take a long time to work

 

Putin and his butchers have to take Ukraine before Sanctions start to bite, to speed things up they’re in the process to unleash the best they have to eliminate the Ukrainian military and all weapons types that made their way in from around the world -in this war Putin is the aggressor and therefore a step ahead

 

To this day the Ukrainian military have shown higher professionalism and competence with outdated inferior weapons, if they can take delivery of modern weaponry and learn to use them then they have a fair chance to push the Russian back even though they’ll always be outnumbered

 

In this conflict Ukrainians are the underdogs

Here's today's bear portrait .... a giant seen lumbering along on a hillside surrounding Kluane Lake last summer. She had a nice smile, despite her mobile fan club of vampirical insects ... So much so that I was nearly tempted to go on up and help her shoo the moscas away.

Of course, a misunderstanding might have been fatal ...

# 8 Reading

 

As a very small child the main evening activity seemed to read ... neither we nor any neighbour had a television, so I was surrounded by newspaper-readers, book-readers, magazine-readers ...

 

Often sitting at one of the armrests of the velvet-covered armchairs (see # 7, but this time not upside down, lol) - spying over the shoulder of one of them, trying to figure out, what he or she was doing.

And asking, asking, asking: "What do you read there, read it to me, what's written there, tell me, tell me, what's the meaning of this word, of that word". Driving everybody crazy for sure, lol.

 

Often they refused to tell me, what was going on in all their books or papers, annnoyed, or out of some pedagogic thoughts, that young children should not read too soon - but sometimes they were reading to me a headline or something else.

Gosh, how I hated it.

And stored every small piece of information - without ever knowing it.

But a few days before my sixth birthday - magic happened. Suddenly all the letters fell into place, and I could read - not fast in the beginning, but the world of the words opened up.

 

And never closed again.

 

At this time we moved from an apartment in a big city to a huge house in a very small city - I found myself suddenly pretty forlorn, as none of my 3 much older sisters moved in with us. But fortunately close by was a library. They had strict rules, few books were allowed for small children ... and it took all of my persuasive power, that I was allowed to move on there early.

 

And I read ... and read ... and read ... I couldnt stop myself - I carried piles of books home every week, as much as I was allowed to. Worlds, emotions, lifestyles, different times opened up to me, I disappeared completely into other worlds, living in them, crying, laughing - breath stopped, muscles tense, forgotten reality, homework, household duties .... so absorbed, that friends and family were driven mad by my absently murmured "mmm" to their questions or demands.

Not my problem, I lived elsewhere - the lady of the castle, the shaman, the witch, swimming with dolphins, walking across the tundra of the Ice Age ...

 

I always had to read the end first, I couldnt bear the tension otherwise, but if I knew, the end was happy, I could follow the stories without having nightmares, lol.

And I still do it, a bit embarrassing for a woman my age, lol, but I have to read the end first, even in thrillers ... up to now I can bear the meanders, the misunderstandings, the horror much better, if I know, in the end all will be well ... lol.

Some books are like life-time-companions ... read and reread and read again - others were just passing acquaintances .

Popular fiction, classical literature - for a long time I wished, I would tend more to the latter ... lol, but zero - whenever a story grasps me emotionally, I am in ...

 

This love from the earliest years will probably stay with me for all my life (and what a gorgeous gift and love it was and is, fiction, non-fiction, crime thriller, to travel and to expanding the mind), even if it takes more now, to grab my attention, and even if I love to expand my mind now differently, too.

  

PS. I wished, I could sort out more of the books, I probably wont read again and decide, which ones I want to take. Lol.

 

Music - none ... I dont need anything else, while diving into stories.

Love stories - none in reality ... lol, but brought to me by books through imagination, at least in my earlier years, dozens ... (hundreds?).... Lol.

 

Göynüş Vadisi, located in the area known as the Phrygian Valley, is a long and narrow valley surrounded by high cliffs of volcanic tuff. The old name of the valley - Köhnüş - derives from the Turkish word köhnemiş, which means the area damaged by weather conditions. The valley lies at the foot of Mount Türkmen, from the south is restricted by Aslankayalar rocks, from the west - by Türkmen formations, and from the north- Yokhalil outcrop. In the center of the valley rises the hill where there are the ruins of fortress Köhnüş fortress. In Göynüş Valley there are numerous traces left by the Phrygian civilization. Among them, the most impressive are two rock monuments, now called Aslantaş and Yılantaş. The area of Göynüş Valley was first examined by a Scottish archaeologist William Mitchell Ramsay in the years 1884-1887. He identified two monumental tombs and another Phrygian monument called Maltaş. In the mid-twentieth century a Dutch archaeologist, Caroline Henriette Emilie Haspels, conducted another survey of the valley and found many more Phrygian rock monuments, carved in hard to reach areas of Aslankayalar and Akkuş Yuvası massifs. In 1995-1996, two Turkish archaeologists - Taciser Tüfekçi Sivas and Hakan Sivas - discovered two altars of rock, located in Boncuklu Inler Mevkii and near the Maltaş monument. To recapitulate, in Göynüş Valley there is a large number of Phrygian monuments, including 40 tombs, forming the largest Phrygian necropolis known to researchers so far. Additionally, in the valley, one can find rock tombs from the Roman period, and Byzantine churches and chapels carved into the rocks. The oldest Phrygian monuments of Göynüş Valley date back to the period from the eighth to the sixth century BC. Two of the most fascinating Phrygian tombs are located just off the road crossing the valley. The first one is called Aslantaş or i.e. the Lions' Rock. This monument was carved in the northern vertical wall of a cubic rock, about 11 meters high. The façade of the tomb is decorated with reliefs of two mighty lions. The animals are depicted standing upright on their hind legs, as if preparing to jump. Their jaws are open, solidified in a silent roar. Between the silhouettes of the standing lions, there is a square entrance to the tomb. The chamber of this tomb was carved on a rectangular plan and is decorated in a sophisticated way. Below, at the feet of the roaring lions, there are much worse preserved reliefs depicting another two lions in a sitting position. The second great Phrygian tomb is known locally as Yılantaş or the Snakes' Rock. In fact, the monument does not depict any snakes, but lions, and the researchers describe it as Kırık Aslantaş (i.e. the Broken Lions' Rock). The misunderstanding as to the name and the original appearance of the monument is due to its poor condition. Its original façade had been split and then broke up into pieces, spread out on the ground, most likely as a result of an earthquake.

If you enter Holyrood Park from Meadowbank Terrace and walk a short way along Duke’s Walk, you may notice a pile of rocks that appear to have been abandoned. However, on closer examination you will find that this is a low cairn, roughly cemented together. Like me, on first seeing it you may think ‘What the **** is that about?’ Well, it turns out that it is a cairn laid in the memory of a victim of a horrible murder that took place in the park in 1720.

 

One of the main characters in the story behind the cairn is a rather pathetic individual called Nicol Muschet. Nicol was the eldest of several children and was brought up in an extremely religious and God fearing, Presbyterian household, at the family estate in Boghall. His father died when he was young and after this Nicol became a bit of a mollycoddled mummy’s boy, who made a show of being pious and holy to please his mother.

 

As a young man, Nicol left the clutches of his mother and went to Edinburgh where he studied at the university there to become a surgeon. Like many young students leaving home for the first time, Nicol soon discovered the joys of bad company, drunkenness, and sex. After graduating as a surgeon in 1716, Nicol moved to Alloa and became an apprentice to the surgeon John Napier. However, he found that Napier had little work for him and his life in Alloa was very dull compared to the life he had lived in Edinburgh. So, after a year or so Nicol left Alloa and returned back home to his mother, thinking that living the life of a country Laird could be to his liking. There though, he soon found that he had no aptitude for managing the estate and his mother’s piety and the way she expected him to live his life irritated him greatly. It was not long before he was looking for something else to do.

 

In August 1719 Nicol took a trip to Edinburgh to watch a dissection take place at the university. He took some temporary lodgings with a view to maybe staying on and finding work in the town as a surgeon. A few days after arriving he was out walking when he passed the house belonging to Adam Hall, a merchant of the town. Standing outside was the maid of the house and Nicol recognised her as an acquaintance from his days as a student. He stopped to chat with her, and she invited him into the house for a drop of ale. They had a drink together and caught up with what was happening in each other’s lives. While they were sitting talking, they were joined by Margaret Hall, the daughter of the house. Nicol’s friend then left to carry out her chores, leaving Nicol and Margaret in each other’s company. As they talked, Nicol found that not only was Margaret attractive, but she was easy company to keep, young, impressionable, and already bit infatuated with him. He decided that it may be fun to try and seduce her. This little plan was helped along by Margaret finding him more permanent lodgings with a friend of her family. She then became a regular visitor and spent much time with him.

 

On the 5 September 1719, after knowing each other for just three weeks, Nicol and Margaret were married. Nicol’s plan to seduce Margaret had worked, but unfortunately for him her father had found out and demanded for the sake of his daughter’s honour that they marry. So, marry they did. Now, Nicol could have been happy with his lot, as not only did he now have a young and attractive wife, he had also married the daughter of a wealthy merchant. And maybe for the first few weeks Nicol was happy, but he soon grew bored of Margaret and with his boredom grew a resentment of her. He began to blame her for trapping him in a marriage he did not want and saw her as some floozy who had seduced him. He was one of those weak men who always blames others for their misfortunes, rather than admitting to any mistakes they may have made. Who convince themselves that they have been wronged rather than seeing the faults in any of their own actions. So, after being married for a couple of months Nicol decided to leave his wife and travel out of Scotland to seek work as a surgeon.

 

Nicol left Margaret at her father’s house on Castle Hill, where they had been living together, and made his way back to his mother’s. There he gave her a story about wanting to travel abroad to better his career as a surgeon and asked her for the money to do so. It would appear that Nicol did not let his mother know anything of his marriage to Margaret when discussing his plans for a life abroad. Indeed, his mother seems to have known nothing of his marriage until many months later. Nicol’s plans for his future did not go down well with his mother, who was worried that it exposed her son to a dangerous life in foreign lands. Given this she persuaded him not to pursue this idea any further.

 

Disillusioned and angry and feeling that his mother had thwarted his plans, Nicol returned to Edinburgh a few days later. He did not, however, inform Margaret of his return and rather than returning to her father’s house, he lodged in the rooms of a friend. While back in Edinburgh Nicol met up with James Campbell of Burnbank, or Bankie to his friends, an acquaintance with whom he had some business transactions. Bankie was the Storekeeper at Edinburgh Castle and was by all accounts a devious and cunning individual and as corrupt as they come. Nicol told Bankie of his woes and after listening to him, Bankie said that he could help…for a sum of money of course. He told Nicol that for the sum of £50, he would arrange for Margaret’s name to be so besmirched that Nicol would have no problem in being granted a divorce from her. Over a few ales at a nearby tavern they then drew up an agreement in which it was stated that Nicol would pay Bankie the money on him producing ‘…two legal depositions, or affidavits of two witnesses, of the whorish practices of Margaret Hall…’

 

Over the next few days in taverns around Edinburgh, Nicol and Bankie met up to discuss their plot against Margaret. Bankie then came up with the idea that Nicol would take up rooms in a nearby tavern and they would both meet up with Margaret for a drink there. They would then drug her by lacing her drink with liquid laudanum so that she would fall asleep. Once asleep they would undress her and put her to bed, then a friend of Bankie’s, John McGregory, would lie naked in the bed with her. Two other friends of Bankie, James Muschet (a distant relative of Nicol’s) and his wife Grissel Bell would be called from a nearby tavern to witness this. They would then provide the evidence for the claims of adultery against Margaret.

 

Nicol and Bankie looked around for a suitable place in which to carry out their plot and soon found rooms in one of the many taverns in Edinburgh. A few days later they invited Margaret around for a drink. By this time Nicol had told another of his friends, Alexander Pennecuik, about the plot and had persuaded him to help. So, Margaret came round to the tavern and Nicol made his excuses to her for his previous behaviour and entertained her while Bankie and Pennecuik provided her with drinks they had spiked. Margaret became sleepy after a while but did not pass out. Getting bored of waiting, Nicol took her up to bed and lay with her for a while until she fell asleep. He then jumped out of bed and left the room while McGregory, who had been waiting in the wings, stripped naked and jumped in. The witnesses were then called in to view the scene and McGregory got out of the bed and left.

 

While Margaret slept, Nicol and his co-conspirators left the tavern. Nicol went to his friend Pennecuik’s rooms in the Canongate. There he wrote a letter to Margaret telling her that he had left her because of her adulterous behaviour, was on his way to London and she would never see him again. He had the letter delivered to her and stayed hidden with Pennecuik for the next two weeks. Nicol appears to have believed that his letter would put Margaret into such a state of despair that she would jump into bed with the first man going and he would then have plenty of evidence of her adultery. However, on receiving the letter Margaret’s first thoughts were that she must go to see Nicol’s mother to plead her case and let her know that she was innocent of the accusations made against her. Before leaving Edinburgh for the journey to Boghall, Margaret bumped into Bankie and told him of her plans. He tried to persuade her not to go and told her he would trace Nicol for her, but she left later that day anyway. Worried that she would scupper his plans and win an ally in Nicol’s mother, Bankie gave false evidence to a Justice that Margaret was suspected of theft and obtained a warrant for her arrest. He and an associate then set of in pursuit of her and caught up with her in Linlithgow. There they arranged for her to be arrested by a local Constable. After she was arrested Bankie turned up and pretended to be a concerned friend who had heard of her trouble. He told her that he had arranged for her to be bailed, but she would have to come back to Edinburgh with him for this to be done. In Edinburgh Bankie arranged and paid for accommodation for her under the pretence of looking after her while he sorted out her bail. In reality though it was to keep her away from friends and family, who may become suspicious of him if she told them what had happened. After a couple of days in Edinburgh, Margaret decided once again to leave. She hired a horse and discreetly left, travelling down to Boghall before Bankie was aware she had gone. Bankie, still plotting away as ever, then wrote her a long letter promising her that if she returned to Edinburgh, he would plead her case with Nicol and let him know that everything had been a misunderstanding. Margaret, still in love with Nicol and believing that her marriage to him could still be salvaged, returned.

 

Realising that Margaret was not going to do them the favour of finding herself another man, Nicol and Bankie took the evidence they had manufactured against her to a lawyer they were friendly with. He looked through what they had and advised them that unless they could show that McGregory and Margaret knew each other and had been seen several times in each other’s company, they had no case. Disappointed with this outcome they made their way to a nearby tavern to plot what to do next. There they came up with the great idea that Bankie would invite James Muschet, his wife Grissel Bell, Margaret and McGregory to his rooms for drinks. If this were done for several days, Margaret would have then been seen in McGregory’s company enough times for them to proceed with their case against her. Nicol would, of course, pay McGregory, Muschet and Bell to attend and would also pay for their drinks. The plot was put into action, but very quickly Nicol grew disillusioned with it, as it seemed he was just paying out a lot of money for Bankie and his associates to get drunk. So, he called it all off and gave up on the idea of divorce.

 

Shortly after this Bankie and Nicol came up with another idea. Murder. They would poison Margaret. She had happily taken the drinks spiked with Laudanum, so why not put poison in her drink and be done with her for good? They decided that James Muschet would be the man to do it and that Nicol would pay him for poisoning her and would also provide the poison required. So, James Muschet was provided with a paper of sugar and poison and some brandy. He took this to Margaret and drank with her, adding the poisoned sugar to her drink. However, rather than killing her, the poison made Margaret violently ill and vomit for several days, but then she recovered.

 

Bankie, not disheartened by this told Nicol that they should just keep on poisoning her, as it would weaken her and eventually kill her. Nicol agreed with this, and they decided that they would change from the poison they had been using and instead use corrosive mercury. To keep Margaret from becoming suspicious this was added to nutmeg in a nutmeg grater, as Margaret would grate this herself into her ale. Again, this did not work and though it made Margaret ill she stubbornly didn’t die. However, it was noticed that the poison had a devastating effect on the nutmeg grinder, which was discoloured and looked like it had been burnt. It was discreetly removed and given to Alexander Pennecuik to dispose of. Nicol, who had not seen Margaret since he had supposedly left for London, then decided to pay her a visit, and help things along. He went to Margaret’s lodgings and on the pretence of making amends, spent time with her, drank with her and provided her with drinks. The drinks were of course poisoned with corrosive mercury. James Muschet, who was there too, poisoned a few of her drinks as well. Apart from making her ill, the poison had no other effect. Nicol decided that this plot was going nowhere, and it was dropped

 

In one of the many taverns in Edinburgh the plotters met again to discuss their plans on how to get rid of Margaret. Bankie suggested that James Muschet could invite her to Leith, get her drunk and then drown her in a pond on the way home. James did not like this idea, as he felt it would be too obviously a murder and that he would end up being hanged for it if they went ahead. Grissel suggested that she and James ride out with Margaret and that the saddle on her horse could be loosened so that it would throw her. If they arranged this near to Kirkliston Water, she would be drowned, and it would look like an accident. It was decided that there were too many difficulties in arranging this. The plan they eventually settled on was that Grissel would invite Margaret to her and James’ rooms in Dickson’s Close and she would entertain her and keep her there until late in the night. James meanwhile would hide out in the close and strike Margaret over the head with a hammer when she left to make her way home. He would then arrange her body, so it looked like she had fallen in the dark and struck her head. Did this plot succeed? Of course not. Several attempts were made. Margaret went to visit Grissel and stayed late, but every time she left there were people around in the street, so James was unable to strike her. The plan then had to be put on hold for a week, as James had developed severe toothache from standing out in the cold waiting for Margaret to leave. Then when he was better, their landlord grew annoyed by Margaret staying late all the time and told James and Grissel she was not welcome there anymore.

 

Nicol was now completely fed up with the plots and felt he had been duped by Bankie, James and Grissel. He wondered if they had ever had any intention of carrying through with any of the plots or if they were just stringing him along to get money out of him. He realised that if he wanted to be rid of Margaret, he would have to take matters into his own hands.

 

On the morning of Monday 17 October 1720 Nicol borrowed his landlady’s knife and then spent some time in the Canongate Kirk listening to sermons. On leaving the kirk he made his way to Barnaby Lloyds, a nearby tavern. There he met James Muschet and again they hatched a plot to kill Margaret. This time it was agreed that James would hide in a nearby close, and that Nicol would leave the tavern with Margaret, lead her down the close and James would strike. Margaret was then sent for, and she arrived and spent time drinking with the two men. James then left to go and take his place in the close and wait for them. Once he had left Nicol realised that it was unlikely that James would carry through with this latest plot and he was overtaken with a desire to kill Margaret himself, as that way he could get it over and done with. He asked her to walk with him to Duddingston and she agreed to accompany him there. As they walked, Margaret became increasingly aware of Nicol’s silence and his strange mood. Tired and fed up with the way he treated her and never being quite sure of his feelings towards her, she asked if he would rather she just left him to his thoughts and went home. Nicol grew angry with her, and he told her that if she left him and returned home, he would have nothing more to do with her. Margaret then carried on walking with him. They reached Duke’s Walk in Holyrood Park and there Margaret questioned the route they were taking. Nicol told her they were taking a different route to Duddingston, then made as if he was going to embrace her and put his knife to her throat. Margaret cried out to him – ‘And was that your design in bringing me here, to cut my throat?’ Nicol then accused her of being a whore and cheating on him. Margaret, who was innocent of all the accusations he made, denied them saying she had done nothing wrong other than loving him. He then made to cut her throat with the knife, but she moved her head defensively and he caught her on the chin. She then fought with him and tried to grab the knife from him, but he cut through her hand with it. She cried to him – ‘My love, my love, do not murder me.’ Nicol had no time for her cries for mercy and in his cold rage he grabbed her by the hair, pulled her to the ground and cut her throat several times with the knife. As Margaret lay on the ground dying, she said to him - ‘Oh man! It is done now, you need not give me more.’ Nicol then walked away from her, but suddenly fearing she that might recover from the wounds he had inflicted he walked back to where she lay and ‘cut her throat almost through, and so left her.’ He then fled the scene and went to James Muschet’s rooms where he told James and Grissel what he had done.

 

The next morning Margaret’s body was found and by her body was the sleeve of a man with the letter N embroidered in green silk on it. The body was identified later that day as being that of Margaret Hall and it was quickly realised that the sleeve must belong to her husband Nicol. Grissel, in the meantime, had come to the conclusion that it may be best for her and James to get their side of the story out before Nicol was arrested, so she went to the authorities and told them what she knew of the murder and of Nicol’s confession to her. She and James then gave ‘King’s evidence’ against Nicol and in return were spared from any prosecution. A few days later Nicol was arrested and confessed to the murder. In prison as he awaited trial, Nicol received a letter from his mother, Jean Mushet. In this she told him how ashamed she was of him and of the terrible acts he had committed. She advised him to put aside any thoughts of escaping justice and that he should accept his guilt and the sentence handed to him by the court. He should repent, as without evidence of true sorrow and repentance for his crimes, his soul was heading to a ‘burning lake of fire and brimstone’.

 

On 5 December 1720 Nicol appeared at court in Edinburgh, where he acknowledged that he had murdered his wife and was then found guilty of her murder. He appeared again at court on 8 December 1720 for sentencing and was sentenced to death. The Judge ordered that he be taken to the Grassmarket on 6 January 1721 and there, between the hours of two and four in the afternoon, be hanged until dead. Given the heinous nature of his crime and the innocence of the victim, his body was then to be hung in chains on the Gallow Lee, between Edinburgh and Leith.

 

While in prison awaiting execution, Nicol wrote an account of his life and the events leading up to the murder of Margaret. He tried to excuse many of his actions and stated he had been led astray by Bankie, James Muschet and Grissel Bell. He also denied rumours that he was a drunk, had attempted suicide on various occasions and had been having an affair with his landlady, Mrs Macadam. Rumours that we can imagine were all probably true. The day before he was to be executed Nicol received a letter from Alexander Pennecuik. In this letter Pennecuik asked that his name be cleared, and that Nicol should admit to the lies he had told about his, Pennecuik’s, involvement in the plot against Margaret. Nicol replied that everything he had said to the authorities about Pennecuik was true and that he knew this.

 

On the afternoon of 6 January 1721 Nicol was taken from his cell at the Tolbooth by the City Guard and travelled the short distance down to the Grassmarket, where he no doubt drank a few ales and brandies before being led to the gallows. There, in front of the crowd gathered to see the monster who had so cruelly and brutally murdered his young wife, he was hanged. His body was then cut down and wrapped in chains and taken to the Gallow Lee. There it was hung up for all to see, to be pecked by birds and to decay and crumble. And that was the fate of Nicol Muschet, a drunk, a fool and a cruel, violent man who married in haste and then, regretting the marriage, brutally murdered his wife.

 

The local populace of the Abbeyhill area of Edinburgh, where the murder of Margaret had taken place, were so shocked by what had happened that they built a cairn to mark their horror and to remember her. The original Muschet’s Cairn stood a short distance to the west of where the present cairn now stands. It was moved in 1823 when a footpath was constructed through the park.

 

kevinnosferatu.blogspot.com/2021/08/skulferatu-40-muschet...

A Dutch guest at a friends daughters wedding.

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The Dutch connection made me think about the phrase "going Dutch" and the fact that I had no idea were the saying came from; so here is a little information.

 

"Going Dutch" is a term that indicates that each person participating in a group activity pays for themselves, rather than any person paying for anyone else, particularly in a restaurant bill. It is also called Dutch date, Dutch treat and "doing Dutch".

 

In Austria, Czech Republic, Denmark, Finland, Germany, Iceland, Republic of Ireland, Norway, Sweden, and Switzerland, the practice of splitting the bill in restaurants is common. In a courtship situation where both parties have a similar financial standing, the traditional custom of the man always paying in restaurants has largely fallen out of use and is by many, including etiquette authorities,[2] considered old fashioned; nevertheless it can be made more acceptable to the other party if explained beforehand. Generally a romantic couple will take turns paying the bill or split it. Generally it is assumed that everyone pays for himself or herself in restaurants unless the invitation stated otherwise.

 

In most of northern Europe, central Europe and Australia the practice of splitting the bill is common. However, on a dinner date, the man may pay the bill.

 

In several south European countries such as Italy, Spain, Portugal, Greece or Cyprus it is rather uncommon for most locals to have separate bills and is sometimes even regarded as rude, especially when in larger groups. But in urban areas or places frequented by tourists this has changed over the last decades. In Greece the practice is colloquially called "refené".

 

Remarkably in Catalonia "going Dutch" is the rule among Catalans. This Catalan usage is so shocking for other Spaniards that it is referred in Spanish language as pagar a la catalana (that can be translated as "to pay the way Catalans do"). Instead pagar a escote means to split the bill equally among all the commensals.

 

In some parts of Italy (especially the south), the expression pagare alla romana can be translated as: "To pay like people of Rome" or "to pay like they do in Rome". It has a double and opposite meaning, depending by the tradition followed: the modern and more common meaning of pagare alla romana is to divide equally the total cost between all the commensals; the other meaning is the same as "going Dutch". This can lead to misunderstanding.

 

In France, it is close to "faire moitié-moitié" or "faire moite-moite", which means "each one pays half of the bill". This does not apply to romantic date where the man usually pay according to traditional French "étiquette". In a business meeting, the receiving party usually pays for all - it is considered rude not to do so.

 

In Middle Eastern cultures, "going Dutch" is seen as being extremely rude. Traditions of hospitality play a great part in determining who pays, therefore an invitation will be given only when the host feels that he is able to afford the expenses of all. Similarly, gender roles and age play a more important role than they would in Western societies. Similar rules apply in Turkey as well, although splitting the bill is becoming increasingly common among the younger generation, especially when all parties have similar income levels.

 

In Egypt, it is called Englizy, which translates into "English style".

 

In Iraq, the expression is "Maslawiya", "مصلاوية", referring to the people of Mosul who are supposedly stingy.

 

In Levant (Syria, Palestine, Lebanon, Jordan) and some Arab countries, the expression is "Halabia" "حلبية", referring to the people of Halab in Syria, who are known to be stingy with tight money expenditure.

 

The corresponding phrase in Turkish is hesabı Alman usulü ödemek, which can be translated into English as "to pay the bill the German way" ("Alman usûlü": German style).

 

No date or location came with this image of GER No8. We think this was a Wisbech and Upwell Bogie Tramcar and we think this may be Stratford in c1956.

The coach was new in 1884 to the GER and worked on the Wisbech and Upwell Tramway until 1951. It appeared in the film the Titfield Thunderbolt but was scrapped due to a misunderstanding on March 9th 1957. A similar car, No 7, survives on the North Norfolk Railway but that was a rebuilt underframe as the Body only was used as an Onion store for some time.

Image from a negative in my collection taken by an unknown photographer.

18 Plastiktüten, mit versöhnenden Gesten zusammengenäht (Ausschnitt)

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.

What is it about sitcom reruns that makes them so comforting? You know you've seen the episode a hundred times, yet there it is on your screen like a huge slice of slightly warmed cheesecake dripping with laugh track sauce inviting you in and giving you a non sexual hug and pat on the back that says "welcome, friend - why don't you just not think for a while?"

It's like a weird drug that leads you to the couch, prone, eyes half open, glazed over, sucked

in for half an hour or more. You know the dialogues, you know when the biggest laughs

are about to hit, and you say the line a few seconds before it's actually said, and if someone

asked you to describe what the episode is about just based on the first lines of spoken

dialogue, you could. You know the nuances, the details. You know that Denise doesn't know how to sew a designer shirt, you know there's no such flower as a Chrissy-anthemum, you know

Sammy Davis is gonna kiss Archie right when the camera flashes, you know that Six is named Six because that's how many beers her parents drank on the night she was conceived, you know Becky makes a mean "tornado", you know all the words to the "Miami is Nice" song and you have no problem saying it thrice, you know exactly who doesn't want to wear the ribbon, you know that Arthur thinks "It's a Wonderful Life" is a swing and a miss, you know there is no such place as Wantai, and you know you wear it well, and so on and so on, yadda yadda yadda.

But occasionally there's that one stupid episode that makes you cringe - the one where you can tell someone else wrote it, perhaps someone not so familiar with the characters and all they've been through, someone who hasn't worn all the coats so to speak and everything seems a little off, and the plot line is a little thin, or too fat, or it's the one where Rose solves the Euler Brick dilemma ...in mandarin...while eating a pb&j, or the one where a pack of feral cats rip Alf limb from limb, or the one where Urkel shoots his entire high water pant collection to the moon, or the one where DJ Tanner sells Michelle on the black market in exchange for start up money for a meth lab, or the one where Screech is caught pants down in the library with a book of Rubens, or the one where Theo finds out that not only is he an adopted, but also a dyslexic android and therefore not even muhan, or the one where everybody hates that one guy they're supposed to love, or that one where where there is absolutely no sexual misunderstanding, or the one where everyone on Friends dies in a horrible latte accident. (Well...not everyone. Gunther was mysteriously absent from work that day.)

 

Despite all that, despite realizing you hate that particular episode you plop down on the sofa

and you watch, and mindlessly at that, knowing just how much you need to

 

turn your brain off for just a little while.

  

And so it goes.

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 Eighth Blade for "Pongtopia!" Has Arrived!

 

Courtesy of ChrisRWK.

Title: Slight Misunderstanding

Media: Mixed Media on Wood

Super Size Me Here!

 

Pongtopia!

 

A dynamic mix of the sport & art of table tennis

in the spirit of charity & education.

 

World-class players battle it out as one-of-a-kind painted

table-tennis tables & paddles go on sale to benefit Operation Design.

 

Presented by Brookfield Office Properties,

in partnership with SPiN Galactic.

Curated by Billi Kid.

Supported by Public Works Department.