View allAll Photos Tagged Peripherals
A training slide of what I believe could be bacterial meningitis. (Different from viral meningitis by the type of white cells present.)
The larger, more reddish violet and spotted circles are likely segmented neutrophils - a type of white blood cell. The much more tiny dark violet dots speckled all around them are bacteria.
It is not usual for bacteria to be in the bloodstream at all. A slide as this is uncommon for as much as that as the fact that it is not common for that many white cells to congregate so closely together.
The image, to me, is a strong representation of the way the body fights to defend itself against foreign invaders. Swarming and rising to the challenge. Fight on!
The peripheral road on Governors Island leading to the new development called The Hill. New York, New York.
30 Days of Perception - Day 15
Walking back from an appointment, I lingered purposely and caught something bright from the corner of my eye. I turned my head and looked over through a garden in the shade. Over the fence on the other side, I saw hanging vines framing a colourful scene. It was an unexpected sunny encounter. Lingering brings many gifts!
Foreground (but still dwarfed)
Savannah Sparrow SAVS* (Passerculus sandwichensis)
Background
Sky Lark SKLA (Alauda arvensis)
Martindale Flats
Central Saanich BC
same stretch of McHugh Road featured in following( but taken earlier) photos of SAVS
DSCN2776
yes was 'reading' 'redder' than SAVSs
...and in this photo with out of focus Sky Lark one can see
the "impression" of the bird (so to speak)
Taken through one of our lounge room windows. Just spotted as the sun moved around...
Pooped into my Peripheral vision one evening..
See a collection of shadow and light.. www.flickr.com/groups/1587040@N23/pool/spelio
See www.flickr.com/photos/spelio/41002178822/in/photolist-25t...
Personal project
Mamiya Universal
Sekor 100mm f3,5
Kodak Portra 160 NC
Gracias a Andres Medina por esto Seekingmagazine
Music games with awesome plastic peripherals have always appealed to me.
Dance Dance Revolution, Samba de Amigo, EyeToy: Groove, Donkey Konga, Guitar Hero, Rockband, and now... DJ Hero!
Perhaps it's my unhealthy desire to be really good at any outlet of artistic expression right away!
Video games that make you a champion dancer, a world class rockstar, or a super-scratchin DJ with minimal investment satisfy that desire.
So this weekend, I was sampling and scratching to my heart's content! Huge headphones and all!
I sniped the $200 Special Edition for $40 on eBay too! Mwahahaaa!
Moving a little plastic platter in repetitive quarter circles has never been so fun.
Wikawikawikawika!
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The Ramayana or Rāmāyaṇa (/rɑːˈmɑːjənə/; Sanskrit: रामायणम्, Rāmāyaṇam, pronounced [rɑːˈmɑːjəɳəm]), is the first of two Sanskrit itihāsas (ancient Indian epic poem) traditionally ascribed to the Hindu muni (sage) Vālmīki - the other one being the Mahābhārata attributed to Kṛṣṇa Dvaipāyana Vyāsa.
The epic narrates the life of Rāma, a legendary rāja-kumāra (prince) of Kośala, his banishment from his kingdom by his father king Daśaratha, his travels across forests in India with his wife Sītā and brother Lakṣmaṇa, the kidnap of his wife by his enemies, resulting in a war with Rāvaṇa (the king of the island of Laṅkā) and eventual return to Ayodhya to be crowned king.
The Ramayana is one of the largest ancient epics in world literature. It is comprised nearly 24,000 verses (mostly set in the śloka meter), divided into seven Kāṇḍas (books) and about 500 sargas (chapters). In Hindu tradition, it is considered to be the ādi-kāvya (first kāvya poem). It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal wife and the ideal king. The Ramayana was an important influence on later Sanskrit poetry and Hindu life and culture. Like the Mahabharata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rāma, Sītā, Lakṣmaṇa, Bharata, Hanumān and Rāvaṇa are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka, and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia.
There are many other versions of the Ramayana in Indian languages, besides Buddhist and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese, and Malaysian versions of the tale.
ETYMOLOGY
The name Ramayana is a tatpuruṣa compound of Rāma and ayana("going, advancing"), translating to Rama's Journey.
Textual history and structure
Traditionally, the Ramayana is attributed to Valmiki. The Hindu tradition is unanimous in its agreement that the poem is the work of a single poet, the sage Valmiki, a contemporary of Rama and a peripheral actor in the drama. The story's original version in Sanskrit is known as Valmiki Ramayana.
According to Hindu tradition - and according to the Ramayana itself - the Ramayana belongs to the genre of itihāsa like the Mahabharata. The definition of itihāsa is a narrative of past events (purāvṛtta) which includes teachings on the goals of human life. According to Hindu tradition, the Ramayana takes place during a period of time known as Treta Yuga.
In its extant form, Valmiki's Ramayana is an epic poem of some 24,000 verses. The text survives in several thousand partial and complete manuscripts, the oldest of which is a palm-leaf manuscript found in Nepal and dated to the 11th century CE. A Times of India report dated 18 Dec 2015 informs about discovery of a 6th-century manuscript of Ramayana at the Asiatic Society library, Kolkata. The Ramayana text has several regional renderings, recensions, and subrecensions. Textual scholar Robert P. Goldman differentiates two major regional recensions: the northern(n) and the southern(s). Scholar Romesh Chunder Dutt writes that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more distinctly the creation of one mind."
There has been discussion as to whether the first and the last chapters of Valmiki's Ramayana were composed by the original author. Most Hindus still believe they are integral parts of the book, in spite of some style differences and narrative contradictions between these two chapters and the rest of the book.
Famous retellings include Gona Budda Reddy's Ramayanam in Telugu, Kamban's Ramavataram in Tamil (c. 11th–12th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c. 14th century), Krittibas Ojha's Krittivasi Ramayan(also known as Shri Rama panchali) in Bengali (c. 15th century), Sarala Das' Vilanka Ramayana (c. 15th century) and Balaram Das' Dandi Ramayana(also known as the Jagamohan Ramayana) (c. 16th century) both in Odia, sant Eknath's Bhavarth Ramayan (c. 16th century) in Marathi, Tulsidas' Ramcharitamanas (c. 16th century) in Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan's Adhyathmaramayanam in Malayalam.
PERIOD
Some cultural evidence - such as the presence of sati in the Mahabharata but not in the main body of the Ramayana - suggests that the Ramayana predates the Mahabharata. However, the general cultural background of the Ramayana is one of the post-urbanization period of the eastern part of north India and Nepal, while the Mahabharata reflects the Kuru areas west of this, from the Rigvedic to the late Vedic period.
By tradition, the text belongs to the Treta Yuga, second of the four eons(yuga) of Hindu chronology. Rama is said to have been born in the treta yuga to king Dasaratha in the Ikshvaku dynasty.
The names of the characters(Rama, Sita, Dasaratha, Janaka, Vashista, Vishwamitra) are all known in late Vedic literature. However, nowhere in the surviving Vedic poetry is there a story similar to the Ramayana of Valmiki. According to the modern academic view, Vishnu - who, according to bala kanda, was incarnated as Rama - first came into prominence with the epics themselves and further during the puranic period of the later 1st millennium CE. Also, in the epic Mahabharata, there is a version of Ramayana known as Ramopakhyana. This version is depicted as a narration to Yudhishthira.
There is general consensus that books two to six form the oldest portion of the epic, while the first and last books(bala kanda and uttara kanda, respectively) are later additions. The author or authors of bala kanda and ayodhya kanda appear to be familiar with the eastern Gangetic basin region of northern India and with the Kosala and Magadha region during the period of the sixteen Janapadas, based on the fact that the geographical and geopolitical data accords with what is known about the region. The knowledge of the location of the island of Lanka also lacks detail. Basing his assumption on these features, archeologist Hasmukh Dhirajlal Sankalia has proposed a date of the 4th century BC for the composition of the text. Historian and indologist Arthur Llewellyn Basham is of the opinion that Rama may have been a minor chief who lived in the 8th or the 7th century BC.
CHARACTERS
Rāma is one of the protagonists of the tale. Portrayed as the seventh avatar of the god Vishnu, he is the eldest and favourite son of Dasharatha - the king of Ayodhya(current day Ayodhya, India) - and his Chief Queen, Kausalya. He is portrayed as the epitome of virtue. Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile. He kills the evil demon Ravana, who abducted his wife Sita and later returned to Ayodhya to form an ideal state.
Sīta is another of the tale's protagonists. She is daughter of Mother Earth, adopted by King Janaka and Rama's beloved wife. Rama went to Mithila (located in Janakpur, Nepal) and got a chance to marry her by breaking the Shiv Dhanush (bow) while trying to tie a knot to it in a competition organized by King Janaka of Nepal in Dhanusa. The competition was to find the most suitable husband for Sita and many princes from different states competed to win her. Sita is the avatara of the goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by the demon king Ravana. She is imprisoned on the island of Lanka, until Rama rescues her by defeating Ravana. Later, she gives birth to Lava and Kusha.
Hanumān is a vanara belonging to the kingdom of Kishkindha. He is an ideal bhakta of Rama. He is born as the son of Kesari, a Vanara king in Sumeru region and the goddess Añjanā. He plays an important part in locating Sita and in the ensuing battle. He is believed to live until our modern world.
Lakṣmaṇa, the younger brother of Rama, who chose to go into exile with him. He is the son of King Dasaratha and Queen Sumitra and twin of Shatrughna. Lakshmana is portrayed as an avatar of the Shesha, the nāga associated with the god Vishnu. He spends his time protecting Sita and Rama during which he fought the demoness Surpanakha. He is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's younger sister Urmila.
Rāvaṇa, a rakshasa, is the king of Lanka. He was son of a sage named Vishrava and daitya princess Kaikeshi. After performing severe penance for ten thousand years he received a boon from the creator-god Brahma: he could henceforth not be killed by gods, demons,or spirits. He is portrayed as a powerful demon king who disturbs the penances of rishis. Vishnu incarnates as the human Rama to defeat him, thus circumventing the boon given by Brahma.
Jaṭāyu, the son of Aruṇa and nephew of Garuda. A demi-god who has the form of an vulture that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of the direction in which Ravana had gone.
Daśaratha is the king of Ayodhya and the father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to return from his exile to assume the throne, Bharata obtains Rama's sandals and places them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as the regent of Rama for the next fourteen years staying outside the city of Ayodhya. He was married to Mandavi.
Śatrughna is the son of Dasharatha and his second wife Queen Sumitra. He is the youngest brother of Rama and also the twin brother of Lakshmana. He was married to Shrutakirti.
Sugrīva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vaali – Sugriva's brother and king of Kishkindha – would be killed by Rama in exchange for Sugriva's help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vaali and fulfills his promise by putting the Vanara forces at Rama's disposal.
Indrajit or Meghnadha, the eldest son of Ravana who twice defeated Rama and Lakshmana in battle, before succumbing to Lakshmana. An adept of the magical arts, he coupled his supreme fighting skills with various stratagems to inflict heavy losses on the Vanara army before his death.
Kumbhakarṇa, a brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size and loyalty made him an important part of Ravana's army. During the war he decimated the Vanara army before Rama cut off his limbs and head.
Sūrpanakha, Ravana's demoness sister who fell in love with Rama and had the magical power to take any form she wanted.
Vibhīṣaṇa, a younger brother of Ravana. He was against the kidnapping of Sita and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the war and he was crowned king after the fall of Ravana.
SYNOPSIS
BALA KANDA
Dasharatha was the king of Ayodhya. He had three wives: Kausalya, Kaikeyi and Sumitra. He was childless for a long time and anxious to produce an heir, he performs a fire sacrifice known as putra-kameshti yagya. As a consequence, Rama is first born to Kausalya, Bharata is born to Kaikeyi, Lakshmana and Shatrughna are born to Sumitra. These sons are endowed, to various degrees, with the essence of the Supreme Trinity Entity Vishnu; Vishnu had opted to be born into mortality to combat the demon Ravana, who was oppressing the gods, and who could only be destroyed by a mortal. The boys are reared as the princes of the realm, receiving instructions from the scriptures and in warfare. When Rama is 16 years old, the sage Vishwamitra comes to the court of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra and proceed to destroy the demons.
Janaka was the king of Mithila. One day, a female child was found in the field by the king in the deep furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a "miraculous gift of god". The child was named Sita, the Sanskrit word for furrow. Sita grew up to be a girl of unparalleled beauty and charm. The king had decided that who ever could lift and wield the heavy bow, presented to his ancestors by Shiva, could marry Sita. The sage Vishwamitra takes Rama and Lakshmana to Mithila to show the bow. Then Rama desires to lift it and goes on to wield the bow and, when he draws the string, it breaks. Marriages are arranged between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated with great festivity at Mithila and the marriage party returns to Ayodhya.
AYODHYA KANDA
After Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support. On the eve of the great event, Kaikeyi - her jealousy aroused by Manthara, a wicked maidservant - claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into the wilderness for fourteen years, while the succession passes to her son Bharata. The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm self-control which characterises him throughout the story. He is joined by Sita and Lakshmana. When he asks Sita not to follow him, she says, "the forest where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell for me." After Rama's departure, King Dasharatha, unable to bear the grief, passes away. Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's orders to the letter, refuses to return before the period of exile. However, Bharata carries Rama's sandals and keeps them on the throne, while he rules as Rama's regent.
ARNYA KANDA
Thirteen years pass and in the last year of exile Rama, Sita, and Lakshmana journey southward along the banks of river Godavari, where they build cottages and live off the land. At the Panchavati forest they are visited by a rakshasa (demon) woman, Surpanakha, the sister of Ravana. She attempts to seduce the brothers and failing in this, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her demon brother, Khara, organises an attack against the princes. Rama annihilates Khara and his demons.
When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama, aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana's guard. After some time, Sita hears Rama calling out to her; afraid for his life, she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama is invincible and that it is best if he continues to follow Rama's orders to protect her. On the verge of hysterics, Sita insists that it is not she but Rama who needs Lakshmana's help. He obeys her wish but stipulates that she is not to leave the cottage or entertain any strangers. He draws a chalk outline, the Lakshmana rekha, around the cottage and casts a spell on it that prevents anyone from entering the boundary but allows people to exit. With the coast finally clear, Ravana appears in the guise of an ascetic requesting Sita's hospitality. Unaware of the devious plan of her guest, Sita is tricked into leaving the rekha and is then forcibly carried away by the evil Ravana.
Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the heavy guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted to Rama, refuses. Rama and Lakshmana learn about Sita's abduction from Jatayu and immediately set out to save her. During their search, they meet the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.
KISHKINDHA KANDA
The kishkindha kanda is set in the ape (Vanar) citadel Kishkindha. Rama and Lakshmana meet Hanuman, the bigest devotee of Rama, the greatest of ape heroes and an adherent of Sugriva, the banished pretender to the throne of Kishkindha. Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kiskindha, in exchange for helping Rama to recover Sita. However Sugriva soon forgets his promise and spends his time in enjoying his powers. The clever former ape queen Tara (wife of Vali) calmly intervenes to prevent an enraged Lakshmana from destroying the ape citadel. She then eloquently convinces Sugriva to honour his pledge. Sugriva then sends search parties to the four corners of the earth, only to return without success from north, east and west. The southern search party under the leadership of Angad and Hanuman learns from a vulture named Sampati (elder brother of Jatayu), that Sita was taken to Lanka.
SUNDARA KANDA
The sundara kanda forms the heart of Valmiki's Ramayana and consists of a detailed, vivid account of Hanuman's adventures. After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the sea to Lanka. On the way he faces many challenges like facing a gandharva kanya who comes in the form of demon to test his abilities and he faces a mountain naming Mainakudu who offers Lord Hanuman some help to take some rest but he refuses because of the time is running out and there is a very less time remaining for searching Sita. After entering into Lanka he finds a demon lankini who protects the entire Lanka and Hanuman fights with her and kills her in order to get into Lanka. Here, Hanuman explores the demons' kingdom and spies on Ravana. He locates Sita in ashoka grove, who is wooed and threatened by Ravana and his rakshasis to marry Ravana. He reassures her, giving Rama's signet ring as a sign of good faith. He offers to carry Sita back to Rama, however she refuses and says that it is not the dharma. She says that Rama himself must come and avenge the insult of her abduction.
Hanuman then wreaks havoc in Lanka by destroying trees and buildings and killing Ravana's warriors. He allows himself to be captured and produced before Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and leaping from roof to roof, sets fire to Ravana's citadel and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news.
LANKA KANDA
Also known as Lanka kanda, this book describes the Ramayana War between the army of Rama and the army of Ravana. Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana's renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu) across the sea, using stones that floated on water because they had Rama's name written on them. The princes and their army cross over to Lanka. A lengthy war ensues. During a battle, Ravana's son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded and is nearly killed. So Hanuman assumes a gigantic form and flies from Lanka to the Himalayas. Upon reaching Mount Sumeru, Hanuman was unable to identify the herb that could cure Lakshmana, and so decided to bring the entire mountain back to Lanka. Eventually, the war ends when Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.
On meeting Sita, Rama asks her to undergo an "agni pareeksha" (test of fire) to prove her purity, as he wants to get rid of the rumours surrounding Sita's purity. When Sita plunges into the sacrificial fire, Agni the lord of fire raises Sita, unharmed, to the throne, attesting to her purity. The episode of agni pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In earlier versions this event does not occur and many scholars consider it to have been added later as society became more patriarchal. In Tulsidas's Ramacharitamanas Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is performed. This is the beginning of Ram Rajya, which implies an ideal state with good morals.
UTTARA KANDA
The uttara kanda is regarded to be a later addition to the original story by Valmiki and concerns the final years of Rama, Sita and Rama's brothers. After being crowned king, Rama passes time pleasantly with Sita. After some time, Sita gets pregnant with twin children. However, despite the agni pariksha (fire ordeal) of Sita, rumours about her purity are spreading among the populace of Ayodhya. Rama yields to public opinion and reluctantly banishes Sita to the forest, where the sage Valmiki provides shelter in his ashrama (hermitage). Here, she gives birth to twin boys, Lava and Kusha, who become pupils of Valmiki and are brought up in ignorance of their identity.
Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Later, Rama holds a ceremony during Ashwamedha yagna, which the sage Valmiki, with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava and Kusha recite about Sita's exile, Rama becomes grief-stricken and Valmiki produces Sita. Sita calls upon the earth, her mother, to receive her and as the ground opens, she vanishes into it. Rama then learns that Lava and Kusha are his children. Many years later, a messenger from the Gods appears and informs Rama that the mission of his incarnation was over. Rama returns to his celestial abode.
It was dramatised as the Uttararamacarita by the Sanskrit poet Bhavabhuti.
VARIANT VERSIONS
As in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana related in north India differs in important respects from that preserved in south India and the rest of south-east Asia. There is an extensive tradition of oral storytelling based on the Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam and Maldives. Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of Ramayana.
In India
The 7th century CE "bhatti's poem" Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini's Aṣṭādhyāyī as well as the major figures of speech and the Prakrit language.
There are diverse regional versions of the Ramayana written by various authors in India. Some of them differ significantly from each other. During the 12th century, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil. A Telugu version, Ranganatha Ramayanam, was written by Gona Budda Reddy in the 14th century. The earliest translation to a regional Indo-Aryan language is the early-14th century Saptakanda Ramayana in Assamese by Madhava Kandali. Valmiki's Ramayana inspired the Sri Ramacharit Manas by Tulsidas in 1576, an epic Awadhi(a dialect of Hindi) version with a slant more grounded in a different realm of Hindu literature, that of bhakti; it is an acknowledged masterpiece of India, popularly known as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana in the 17th century. Other versions include Krittivasi Ramayan, a Bengali version by Krittibas Ojha in the 15th century; the Vilanka Ramayana by the 15th century poet Sarala Dasa and the Dandi Ramayana (also known as Jagamohana Ramayana) by the 16th century poet Balarama Dasa both in Odia; a Torave Ramayana in Kannada by the 16th-century poet Narahari; Adhyathmaramayanam, a Malayalam version by Thunchaththu Ramanujan Ezhuthachan in the 16th century; in Marathi by Sridhara in the 18th century; in Maithili by Chanda Jha in the 19th century; and in the 20th century, Rashtrakavi Kuvempu's Sri Ramayana Darshanam in Kannada.
There is a sub-plot to Ramayana, prevalent in some parts of India, relating the adventures of Ahi Ravana and Mahi Ravana, the evil brother of Ravana, which enhances the role of Hanuman in the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-Mahi Ravana at the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed to the goddess Kali. Adbhuta Ramayana is a version that is obscure but also attributed to Valmiki - intended as a supplementary to original Valmiki Ramayana. In this variant of the narrative, Sita is accorded far more prominence such as elaboration of the events surrounding her birth — in this case to Ravana's wife, Mandodari as well as her conquest of Ravana's older brother in her Mahakali form.
Mappillapattu - a genre of song popular among the Muslims belonging to Kerala and Lakshadweep - has incorporated some episodes from the Ramayana into its songs. These songs, known as mappila ramayana, have been handed down from one generation to the next orally. In mappila ramayana, the story of the Ramayana has been changed into that of a sultan, and there are no major changes in the names of characters except for that of Rama which is `laman' in many places. The language and the imagery projected in the mappilapattu are in accordance with the social fabric of the earlier Muslim community.
BUDDHIST VERSION
In the Buddhist variant of Rāmāyaṇa(Dasarathajātaka, #467), Dasaratha was the king of Benares and not Ayodhya. Rāma [called Rāmapaṇḍita in this version] was son of Kausalya, first wife of Dasaratha, Lakṣmaṇa [Lakkhaṇa] was sibling of Rama and son of Sumitra second wife of Dasaratha, and Sita wife of Rama. To protect his children from his wife Kaikayi, who wished to promote her son Bharata, Dasaratha sent the three to a hermitage in the Himalayas for a twelve-year exile. After nine years, Dasaratha died and Lakkhaṇa and Sita returned; Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a further two years. This version does not include the abduction of Sītā.
In the explanatory commentary on the Jātaka, Rāmapaṇḍita is said to have been a previous incarnation of the Buddha and Sītā an incarnation of Yasodharā.
This version is notable for depicting Rama and Sita as siblings who marry. Such sibling marriages are a common symbolic imagery in early Buddhist literature to denote purity of a dynasty. As the Buddha is supposed to have come from the Ikshvaku dynasty (of Rama).
SIKH VERSION
In Guru Granth Sahib, there is description of two types of Ramayana. One is spiritual Ramayana which is actual subject of Guru Granth Sahib, in which Ravan is ego, Seeta is budhi (intellect), Rama is inner soul and Laxman is mann (attention, mind). Guru Granth Sahib also believes in existence of dasavtara who were kings of their times which tried their best to bring revolution in the world. King Ramchandra was one of those and it is not covered in Guru Granth Sahib. Guru Granth Sahib states:
ਹੁਕਮਿ ਉਪਾਏ ਦਸ ਅਉਤਾਰਾ॥
हुकमि उपाए दस अउतारा॥
By hukam (supreme command), he created his ten incarnations,
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth. In dasam granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God. He is equating Ramchandra with a common man.
He also said that the almighty, invisible, all prevailing God created so many of Indras, Moons and Suns, Deities, Demons and sages, so many Prophets and Brahmanas(enlightened people). But they too were caught in the noose of death (KAAL) (Transmigration of soul). This is very well same to as explained in Geeta which is part of Mahabharata.
JAIN VERSION
Jain versions of Ramayana can be found in the various Jain agamas like Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva. Rama, Lakshmana and Ravana are the eighth baladeva, vasudeva, and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half time cycle and jointly rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of the jinas) by Acharya Bhadrabahu (3–4th century BCE).
In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and not Rama as told in the Hindu version. In the end, Rama who led an upright life renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to hell. However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he became to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to Jain version, Rama had four chief-queen's: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future tirthankara of next half ascending time cycle and Sita will be his Ganadhara.
IN NEPAL
Besides being the site of discovery of the oldest surviving manuscript of Ramayana, Nepal gave rise to two regional variants in mid 19th – early 20th century. One, written by Bhanubhakta Acharya, is considered the first epic of Nepali language, while the other, written by Siddhidas Mahaju in Nepal Bhasa was a foundational influence in the renaissance of that language.
The Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The popularization of the 'Ramayana' and its tale, originally written in Sanskrit Language was greatly enhanced by the work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana, Bhanubhakta is also called 'Aadi Kavi' or 'The Pioneering Poet'.
SOUTHEAST ASIAN VERSIONS
Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma. In many Malay language versions, Lakshmana is given greater importance than Rama, whose character is considered somewhat weak.
The Cambodian version of Ramayana, the Reamker, is the most famous story of Khmer literature since the Kingdom of Funan era. It adapts the Hindu concepts to Buddhist themes and show's the balance of good and evil in the world. The Reamker has several differences from the original Ramayana, including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to the realm of literature but extends to all Cambodian art forms, such as sculpture, Khmer classical dance, theater known as lakhorn luang (the foundation of the royal ballet), poetry and the mural and bas reliefs seen at the Silver Pagoda and Angkor Wat.
Thailand's popular national epic Ramakien(thai:รามเกียรติ์.,from Sanskrit rāmakīrti, "glory of Rama") is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari(thotsakan and montho). Vibhisana(phiphek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. Ravana has her thrown into the water, but is later rescued by Janaka(chanok). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography and elements of nature, which are described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in Bangkok.
Other Southeast Asian adaptations include Kakawin Ramayana of Java, Ramakavaca of Bali(Indonesia), Maharadia Lawana and Darangen of the Moro Muslims of Mindanao (Philippines) and the Yama Zatdaw of Myanmar.
Influence on culture and art
One of the most important literary works of ancient India, the Ramayana has had a profound impact on art and culture in the Indian subcontinent and southeast Asia with the lone exception of Vietnam. The story ushered in the tradition of the next thousand years of massive-scale works in the rich diction of regal courts and Hindu temples. It has also inspired much secondary literature in various languages, notably the Kambaramayanam by the Tamil poet Kambar of the 12th century, the Telugu-language Molla Ramayanam by poet Molla and Ranganatha Ramayanam by poet Gona Budda Reddy, 14th century Kannada poet Narahari's Torave Ramayana, and 15th century Bengali poet Krittibas Ojha's Krittivasi Ramayan, as well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.
The Ramayana became popular in southeast Asia during the 8th century and was represented in literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of Ramayana, known as Ramlila, take place all across India and in many places across the globe within the Indian diaspora.
The Ramayana has also been depicted in many paintings, most notably by the Malaysian artist Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic proportions measuring 72 x 453 cm in 9 panels. The painting depicts three prolific parts of the epic, namely The Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is currently in the permanent collection of the Malaysian National Visual Arts Gallery.
RELIGIOUS SIGNIFICANCE
Rama, the hero of the Ramayana, is one of the most popular deities worshipped in the Hindu religion. Each year, many devout pilgrims trace their journey through India and Nepal, halting at each of the holy sites along the way. The poem is not seen as just a literary monument, but serves as an integral part of Hinduism, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed by Hindus to free them from sin and bless the reader or listener.
According to Hindu tradition, Rama is an incarnation (Avatar) of the god Vishnu. The main purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.
IN THE MEDIA
A number of movies and television serials have been produced based upon the Ramayana.
STAGE
Starting in 1978 and under the supervision of Baba Hari Dass, the Ramayana has been performed every year by Mount Madonna School in Watsonville, California. Currently, it is the largest yearly, Western version of the epic being performed. It takes the form of a colorful musical with custom costumes, sung and spoken dialog, jazz-rock orchestration and dance. This performance takes place in a large audience theater setting usually in June, in San Jose, CA. Baba Hari Dass has taught acting arts, costume-attire design, mask making and choreography to bring alive characters of Sri Ram, Sita, Hanuman, Lakshmana, Shiva, Parvati, Vibhishan, Jatayu, Sugriva, Surpanakha, Ravana and his rakshasa court, Meghnadha, Kumbhakarna and the army of monkeys and demons.
WIKIPEDIA
Peripheral glaciers and ice caps (isolated from the main ice sheet, which is seen in the upper right section of the image) in eastern Greenland.
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Credit: Frank Paul, University of Zurich
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This is the first computer that I owned. I make that distinction because I worked with business computers for many years prior to buying my own. Mouse over the image for notes.
I bought this computer for $400. in 1980. That was the bare bones computer, 4k of memory with a "Non-extended BASIC" operating system. "Extended BASIC" was a more extensive set of commands which was at an additional cost. This was a ROM, Read Only Memory, based operating system. A TV set was used as the monitor. This photo was taken in 1983. By that time, the system had been upgraded to at least 32K, maybe 64K of memory. It had Extended Basic and several peripherals, printer, modem etc. The system eventually grew to an OS-9 by Microware system with a 40 MB hard drive. I built an interface to connect a WD1002 disk controller to the computer.
My floppy disk drive can be seen to the far right of the computer. Radio Shack catalog page featuring that drive:
www.flickr.com/photos/jmschneid/15906212516/
To the right of the TV is an Anderson Jacobson A 242 Acoustic Coupler
www.flickr.com/photos/jmschneid/15932286552
To the left of the TV is an NCR 260 thermal printer. It was previously an I/O writer on an NCR Criterion Mainframe computer. As an I/O writer it sat into a hole in the console table, that's why there is no cabinet for the printer.
Radio Shack catalog page featuring the computer:
www.flickr.com/photos/jmschneid/15906212516/
Grey Heron - The Serpentine, Hyde Park, London. A couple of odd images detailing its peripheral range of view.
Climbing trips abroad sometimes offer the odd peripheral photo opportunities. Having climbed Jbel Toubkal in the Moroccan Atlas Mountains I took the rather long walk across Marrakech to the railway station to see what was going on. Here E-1251 is seen looking very smart at the head of 1.00 pm departure for ages and Agadir.
A little bit of research shows this locomotive as being one of twelve to have been built by Hitachi in 1984.
BODY REGENERATION IN MATRIX PERIPHERALS / THE FINAL / CHRISTELLE GEISER & AEON VON ZARK / NAKED EYE PROJECT BIENNE / ALTERED STATE SERIE / THE WEIRD DREAM / PORTRAIT. ( Photo : Christelle Geiser - Processing : Aeon Von Zark . )
The stories below are flood stories from the world's folklore. I have included stories here if they are stories; they are folklore, not historical accounts or fiction by a known author; and they involve a flood. In most borderline cases, I included the story here anyway. For example, one story (Hopi) tells of a flood which was avoided and never occurred. The stories are summarized both to save space and to avoid copyright infringements, but I have attempted to preserve all the motifs and all the names that were given in the cited account. However, where the story gives intricate account of events before and/or after the flood (such as in the Zhuang story of Bubo vs. the Thunder God), some of the details peripheral to the flood itself may have been summarized out of existence. In a few cases, two or more overlapping and non-contradictory fragments from the same culture were combined into one summary. Complete references are given at the end; consult them for more details. Within each continent or region, stories are grouped by language family. See Language Grouping for Flood Stories for elaboration of the language groups which, as best I can determine, the stories belong to.
Zeus sent a flood to destroy the men of the Bronze Age. Prometheus advised his son Deucalion to build a chest. All other men perished except for a few who escaped to high mountains. The mountains in Thessaly were parted, and all the world beyond the Isthmus and Peloponnese was overwhelmed. Deucalion and his wife Pyrrha (daughter of Epimetheus and Pandora), after floating in the chest for nine days and nights, landed on Parnassus. When the rains ceased, he sacrificed to Zeus, the God of Escape. At the bidding of Zeus, he threw stones over his head; they became men, and the stones which Pyrrha threw became women. That is why people are called laoi, from laas, "a stone." [Apollodorus, 1.7.2]
The first race of people was completely destroyed because they were exceedingly wicked. The fountains of the deep opened, the rain fell in torrents, and the rivers and seas rose to cover the earth, killing all of them. Deucalion survived due to his prudence and piety and linked the first and second race of men. Onto a great ark he loaded his wives and children and all animals. The animals came to him, and by God's help, remained friendly for the duration of the flood. The flood waters escaped down a chasm opened in Hierapolis. [Frazer, pp. 153-154] An older version of the story told by Hellanicus has Deucalion's ark landing on Mount Othrys in Thessaly. Another account has him landing on a peak, probably Phouka, in Argolis, later called Nemea. [Gaster, p. 85] The Megarians told that Megarus, son of Zeus, escaped Deucalion's flood by swimming to the top of Mount Gerania, guided by the cries of cranes. [Gaster, p. 85-86] An earlier flood was reported to have occurred in the time of Ogyges, founder and king of Thebes. The flood covered the whole world and was so devastating that the country remained without kings until the reign of Cecrops. [Gaster, p. 87] Nannacus, king of Phrygia, lived before the time of Deucalion and foresaw that he and all people would perish in a coming flood. He and the Phrygians lamented bitterly, hence the old proverb about "weeping like (or for) Nannacus." After the deluge had destroyed all humanity, Zeus commanded Prometheus and Athena to fashion mud images, and Zeus summoned winds to breathe life into them. The place where they were made is called Iconium after these images. [Frazer, p. 155] "Many great deluges have taken place during the nine thousand years" since Athens and Atlantis were preeminent. Destruction by fire and other catastrophes was also common. In these floods, water rose from below, destroying city dwellers but not mountain people. The floods, especially the third great flood before Deucalion, washed away most of Athens' fertile soil. [Plato, "Timaeus" 22, "Critias"
The gods had decided to destroy mankind. The god Enlil warned the priest-king Ziusudra ("Long of Life") of the coming flood by speaking to a wall while Ziusudra listened at the side. He was instructed to build a great ship and carry beasts and birds upon it. Violent winds came, and a flood of rain covered the earth for seven days and nights. Then Ziusudra opened a window in the large boat, allowing sunlight to enter, and he prostrated himself before the sun-god Utu. After landing, he sacrificed a sheep and an ox and bowed before Anu and Enlil. For protecting the animals and the seed of mankind, he was granted eternal life and taken to the country of Dilmun, where the sun rises. [Hammerly-Dupuy, p. 56; Heidel, pp. 102-106]
Three times (every 1200 years), the gods were distressed by the disturbance from human overpopulation. The gods dealt with the problem first by plague, then by famine. Both times, the god Enki advised men to bribe the god causing the problem. The third time, Enlil advised the gods to destroy all humans with a flood, but Enki had Atrahasis build an ark and so escape. Also on the boat were cattle, wild animals and birds, and Atrahasis' family. When the storm came, Atrahasis sealed the door with bitumen and cut the boat's rope. The storm god Adad raged, turning the day black. After the seven-day flood, the gods regretted their action. Atrahasis made an offering to them, at which the gods gathered like flies, and Enki established barren women and stillbirth to avoid the problem in the future. [Dalley, pp. 23-35]
The gods, led by Enlil, agreed to cleanse the earth of an overpopulated humanity, but Utnapishtim was warned by the god Ea in a dream. He and some craftsmen built a large boat (one acre in area, seven decks) in a week. He then loaded it with his family, the craftsmen, and "the seed of all living creatures." The waters of the abyss rose up, and it stormed for six days. Even the gods were frightened by the flood's fury. Upon seeing all the people killed, the gods repented and wept. The waters covered everything but the top of the mountain Nisur, where the boat landed. Seven days later, Utnapishtim released a dove, but it returned finding nowhere else to land. He next returned a sparrow, which also returned, and then a raven, which did not return. Thus he knew the waters had receded enough for the people to emerge. Utnapishtim made a sacrifice to the gods. He and his wife were given immortality and lived at the end of the earth. [Sandars, chpt. 5] Sharur destroyed Asag, demon of sickness and disease, by flooding his abode. In the process, "The primeval waters of Kur rose to the surface, and as a result of their violence no fresh waters could reach the fields and gardens." [Kramer, p. 105]
The god Chronos in a vision warned Xisuthrus, the tenth king of Babylon, of a flood coming on the fifteenth day of the month of Daesius. The god ordered him to write a history and bury it in Sippara, and told him to build and provision a vessel (5 stadia by 2 stadia) for himself, his friends and relations, and all kinds of animals. Xisuthrus asked where he should sail, and Chronos answered, "to the gods, but first pray for all good things to men." Xisuthrus built a ship five furlongs by two furlongs and loaded it as ordered. After the flood had come and abated somewhat, he sent out some birds, which returned. Later, he tried again, and the birds returned with mud on their feet. On the third trial, the birds didn't return. He saw that land had appeared above the waters, so he parted some seams of his ship, saw the shore, and drove his ship aground in the Corcyraean mountains in Armenia. He disembarked with his wife, daughter, and pilot, and offered sacrifices to the gods. Those four were translated to live with the gods. The others at first were grieved when they could not find the four, but they heard Xisuthrus' voice in the air telling them to be pious and to seek his writings at Sippara. Part of the ship remains to this day, and some people make charms from its bitumen. [Frazer, pp. 108-110; G. Smith, pp. 42-43] According to accounts attributed to Berosus, the antediluvians were giants who became impious and depraved, except one among them that reverenced the gods and was wise and prudent. His name was Noa, and he dwelt in Syria with his three sons Sem, Japet, Chem, and their wives Tidea, Pandora, Noela, and Noegla. From the stars, he foresaw destruction, and he began building an ark. 78 years after he began building, the oceans, inland seas, and rivers burst forth from beneath, attended by many days of violent rain. The waters overflowed all the mountains, and the human race was drowned except Noa and his family who survived on his ship. The ship came to rest at last on the top of the Gendyae or Mountain. Parts of it still remain, which men take bitumen from to make charms against evil. [H. Miller, pp. 291-292]
God, upset at mankind's wickedness, resolved to destroy it, but Noah was righteous and found favor with Him. God told Noah to build an ark, 450 x 75 x 45 feet, with three decks. Noah did so, and took aboard his family (8 people in all) and pairs of all kinds of animals (7 of the clean ones). For 40 days and nights, floodwaters came from the heavens and from the deeps, until the highest mountains were covered. The waters flooded the earth for 150 days; then God sent a wind and the waters receded, and the ark came to rest in Ararat. After 40 days, Noah sent out a raven, which kept flying until the waters had dried up. He next sent out a dove, which returned without finding a perch. A week later he set out the dove again, and it returned with an olive leaf. The next week, the dove didn't return. After a year and 10 days from the start of the flood, everyone and everything emerged from the ark. Noah sacrificed some clean animals and birds to God, and God, pleased with this, promised never again to destroy all living creatures with a flood, giving the rainbow as a sign of this covenant. Animals became wild and became suitable food, and Noah and his family were told to repopulate the earth. Noah planted a vineyard and one day got drunk. His son Ham saw him lying naked in his tent and told his brothers Shem and Japheth, who came and covered Noah with their faces turned. When Noah awoke, he cursed Ham and his descendants and blessed his other sons. [Genesis 6-9]
Men lived at ease before the flood; a single harvest provided for forty years, children were born after only a few days instead of nine months and could walk and talk immediately, and people could command the sun and moon. This indolence led men astray, especially to the sins of wantonness and rapacity. God determined to destroy the sinners, but in mercy he instructed Noah to warn them of the threat of a flood and to preach to them to mend their ways. Noah did this for 120 years. God gave mankind a final week of grace during which the sun reversed course, but the wicked men did not repent; they only mocked Noah for building the ark. Noah learned how to make the ark from a book, given to Adam by the angel Raziel, which contained all knowledge. This book was made of sapphires, and Noah put it in a golden casket and, during the flood, used it to tell day from night, for the sun and moon did not shine at that time. The flood was caused by male waters from the sky meeting the female waters from the ground. God made holes in the sky for the waters to issue from by removing two stars from the Pleiades. He later closed the hole by borrowing two stars from the Bear. That is why the Bear always runs after the Pleiades. The animals came to the ark in such numbers that Noah could not take them all; he had them sit by the door of the ark, and he took in the animals which lay down at the door. 365 species of reptiles and 32 species of bird were taken. Since seven pairs of each kind of clean animal were taken, the clean animals outnumbered the unclean after the flood. One creatures, the reem was so big it had to be tethered outside the ark and follow behind. The giant Og, king of Bashan, was also too big and escaped the flood sitting atop the ark. In addition to Noah, his wife Naamah, and their sons and sons' wives, Falsehood and Misfortune also took refuge on the ark. Falsehood was initially turned away when he presented himself without a mate, so he induced Misfortune to join him and returned. When the flood began, the sinners gathered around it and rushed the door, but the wild beasts aboard the ark guarded the door and set upon them. Those which escaped the beasts drowned in the flood. The ark, and the animals in it, were tossed around on the waters for a year, but Noah's greatest difficulty was feeding all the animals, for he had to work day and night to feed both the diurnal and nocturnal animals. When Noah once tarried in feeding the lion, the lion gave him a blow which made him lame for the rest of his life and prevented him from serving as a priest. On the tenth day of the month of Tammuz, Noah sent forth a raven, but the raven found a corpse to devour and did not return. A week later Noah sent out a dove, and on its third flight it returned with an olive leaf plucked from the Mount of Olives in Jerusalem, for the Holy Land had not suffered from the flood. Noah wept at the devastation when he left the ark, and Shem offered a thank-offering; Noah could not officiate due to his encounter with the lion. [Ginzberg, pp. 319-335; see also Frazer, pp. 143-145] Aprocryphal scripture tells that Adam directed that his body, together with gold, incense, and myrrh, should be taken aboard the Ark and, after the flood, should be laid in the middle of the earth. God would come from thence and save mankind. [Platt, p. 66, 80 (2 Adam 8:9-18, 21:7-11)] A woman "clothed with the sun" gave birth to a man child who was taken up by God. The woman then lived in the wilderness, where the Devil-dragon, cast down to earth, persecuted her. At one time he cast a flood of water from his mouth trying to wash her away, but the earth helped the woman and swallowed the flood. [Revelation 12]
Yima, under divine superintendence, reigned over the world for 900 years. As there was no disease or death, the population increased so that it was necessary to enlarge the earth after 300 years; Yima accomplished this with the help of a gold ring and gold-inlaid dagger he had received from Ahura Mazda, the Creator. Enlargement of the earth was necessary again after 600 years. When the population became too great after 900 years, Ahura Mazda warned Yima that destruction was coming in the form of winter, frost, and subsequent melting of the snow. He instructed Yima to build a vara, a large square enclosure, in which to keep specimens of small and large cattle, human beings, dogs, birds, red flaming fires, plants and foodstuffs, two of every kind. The men and cattle he brought in were to be the finest on earth. Within the enclosure, men passed the happiest of lives, with each year seeming like a day. [Frazer, pp. 180-182; Dresden, p. 344]
In early times, the earth was full of malign creatures fashioned by the evil Ahriman. The angel Tistar (the star Sirius) descended three times, in the form of man, horse, and bull respectively, causing ten days and nights of rain each time. Each rain drop became as big as a bowl, and the water rose the height of a man over the whole earth. The first flood drowned the creatures, but the dead noxious creatures went into holes in the earth. Before returning to cause the second flood, Tistar, in the form of a white horse, battled the demon Apaosha, who took the form of a black horse. Ormuzd blasted the demon with lightning, making the demon give a cry which can still be heard in thunderstorms, and Tistar prevailed and caused rivers to flow. The poison washed from the land by the second flood made the seas salty. The waters were driven to the ends of the earth by a great wind and became the sea Vourukasha ("Wide-Gulfed"). [Carnoy, p. 270; Vitaliano, pp. 161-162; H. Miller, p. 288]
Allah sent Noah to warn the people to serve none but Allah, but most of them would not listen. They challenged Noah to make good his threats and mocked him when, under Allah's inspiration, he built a ship. Allah told Noah not to speak to Him on behalf of wrongdoers; they would be drowned. In time, water gushed from underground and fell from the sky. Noah loaded onto his ship pairs of all kinds, his household, and those few who believed. One of Noah's sons didn't believe and said he would seek safety in the mountains. He was among the drowned. The ship sailed amid great waves. Allah commanded the earth to swallow the water and the sky to clear, and the ship came to rest on Al-Judi. Noah complained to Allah for taking his son. Allah admonished that the son was an evildoer and not of Noah's household, and Noah prayed for forgiveness. Allah told Noah to go with blessings on him and on some nations that will arise from those with him. [Koran 11:25-48]
Manu, the first human, found a small fish in his washwater. The fish begged protection from the larger fishes, in return for which it would save Manu. Manu kept the fish safe, transferring it to larger and larger reservoirs as it grew, eventually taking it to the ocean. The fish warned Manu of a coming deluge and told him to build a ship. When the flood rose, the fish came, and Manu tied the craft to its horn. The fish led him to a northern mountain and told Manu to tie the ship's rope to a tree to prevent it from drifting. Manu, alone of all creatures, survived. He made offerings of clarified butter, sour milk, whey, and curds. From these, a woman arose, calling herself Manu's daughter. Whatever blessings he invoked through her were granted him. Through her, he generated this race. [Gaster, pp. 94-95; Kelsen, p. 128; Brinton, pp. 227-228]
The great sage Manu, son of Vivasvat, practiced austere fervor. He stood on one leg with upraised arm, looking down unblinkingly, for 10,000 years. While so engaged on the banks of the Chirini, a fish came to him and asked to be saved from larger fish. Manu took the fish to a jar and, as the fish grew, from thence to a large pond, then to the river Ganga, then to the ocean. Though large, the fish was pleasant and easy to carry. Upon being released into the ocean, the fish told Manu that soon all terrestrial objects would be dissolved in the time of the purification. It told him to build a strong ship with a cable attached and to embark with the seven sages (rishis) and certain seeds, and to then watch for the fish, since the waters could not be crossed without it. Manu embarked as enjoined and thought on the fish. The fish, knowing his desire, came, and Manu fastened the ship's cable to its horn. The fish dragged the ship through roiling waters for many years, at last bringing it to the highest peak of Himavat, which is still known as Naubandhana ("the Binding of the Ship"). The fish then revealed itself as Parjapati Brahma and said Manu shall create all living things and all things moving and fixed. Manu performed a great act of austere fervor to clear his uncertainty and then began calling things into existence. [Frazer, pp. 185-187]
The heroic king Manu, son of the Sun, practiced austere fervor in Malaya and attained transcendent union with the Deity. After a million years, Brahma bestowed on Manu a boon and asked him to choose it. Manu asked for the power to preserve all existing things upon the dissolution of the universe. Later, while offering oblations in his hermitage, a carp fell in his hands, which Manu preserved. The fish grew and cried to Manu to preserve it, and Manu moved it to progressively larger vessels, eventually moving it to the river Ganga and then to the ocean. When it filled the ocean, Manu recognized it as the god Janardana, or Brahma. It told Manu that the end of the yuga was approaching, and soon all would be covered with water. He was to preserve all creatures and plants aboard a ship which had been prepared. It said that a hundred years of drought and famine would begin this day, which would be followed by fires from the sun and from underground that would consume the earth and the ether, destroying this world, the gods, and the planets. Seven clouds from the steam of the fire will inundate the earth, and the three worlds will be reduced to one ocean. Manu's ship alone will remain, fastened by a rope to the great fish's horn. Having announced all this, the great being vanished. The deluge occurred as stated; Janardana appeared in the form of a horned fish, and the serpent Ananta came in the form of a rope. Manu, by contemplation, drew all creatures towards him and stowed them in the ship and, after making obeisance to Janardana, attached the ship to the fish's horn with the serpent-rope. [Frazer, pp. 188-190] At the end of the past kalpa, the demon Hayagriva stole the sacred books from Brahma, and the whole human race became corrupt except the seven Nishis, and especially Satyavrata, the prince of a maritime region. One day when he was bathing in a river, he was visited by a fish which craved protection and which he transferred to successively larger vessels as it grew. At last Satyavrata recognized it as the god Vishnu, "The Lord of the Universe." Vishnu told him that in seven days all the corrupt creatures will be destroyed by a deluge, but Satyavrata would be saved in a large vessel. He was told to take aboard the miraculous vessel all kinds of medicinal herbs, food esculant grains, the seven Nishis and their wives, and pairs of brute animals. After seven days, the oceans began to overflow the coasts and constant rain began flooding the earth. A large vessel floated in on the rising waters, and Satyavrata and the Nishis entered with their wives and cargo. During the deluge, Vishnu preserved the ark by again taking the form of a giant fish and tying the ark to himself with a huge sea serpent. When the waters subsided, he slew the demon who had stolen the holy books and communicated their contents to Satyavrata. [H. Miller, pp. 289-290; Howey, pp. 389-390; Frazer, pp. 191-193] One windy day, the sea flooded the port city of Dwaravati. All its occupants perished except Krishna, an avatar of Vishnu, and his brother Balarama, who were walking in the forests of Raivataka Hill. Krishna left his brother alone. Sesha, the serpent who supports the world, withdrew his energy from Balarama; in a jet of light, Balarama's spirit entered the sea, and his body fell over. Krishna decided that tomorrow he would destroy the world for all its evils, and he went to sleep. Jara the hunter passed by, mistook Krishna's foot for the face of a stag, and shot it. The wound to Krishna's foot was slight, but Jara found Krishna dead. He had saffron robes, four arms, and a jewel on his breast. The waters still rose and soon lapped at Jara's feet. Jara felt ashamed but helpless; he left deciding never to speak of the incident. [Buck, pp. 408-409]
The Supreme Sovereign ordered the water god Gong Gong to create a flood as punishment and warning for human misbehavior. Gong Gong extended the flood for 22 years, and people had to live in high mountain caves and in trees, fighting with wild animals for scarce resources. Unable to persuade the Supreme Sovereign to stop the flood, and told by an owl and a turkey about _Xirang_ or Growing Soil, the supernatural hero Gun stole Growing Soil from heaven to dam the waters. Before Gun was finished, however, the Supreme Sovereign sent the fire god Zhu Rong to execute him for his theft. The Growing Soil was taken back to heaven, and the floods continued. However, Gun's body didn't decay, and when it was cut apart three years later, his son Yu emerged in the form of a horned dragon. Gun's body also transformed into a dragon at that time and thenceforth lived quietly in the deeps. The Supreme Sovereign was fearful of Yu's power, so he cooperated and gave Yu the Growing Soil and the use of the dragon Ying. Yu led other gods to drive away Gong Gong, distributed the Growing Soil to remove most of the flood, and led the people to fashion rivers from Ying's tracks and thus channel the remaining floodwaters to the sea. [Walls, pp. 94-100] The goddess Nu Kua fought and defeated the chief of a neighboring tribe, driving him up a mountain. The chief, chagrined at being defeated by a woman, beat his head against the Heavenly Bamboo with the aim of wreaking vengeance on his enemies and killing himself. He knocked it down, tearing a hole in the sky. Floods poured out, inundating the world and killing everyone but Nu Kua and her army; her divinity made her and her followers safe from it. Nu Kua patched the hole with a plaster made from stones of five different colors, and the floods ceased. [Werner, p. 225; Vitaliano, p. 163]
The Ramayana or Rāmāyaṇa (/rɑːˈmɑːjənə/; Sanskrit: रामायणम्, Rāmāyaṇam, pronounced [rɑːˈmɑːjəɳəm]), is the first of two Sanskrit itihāsas (ancient Indian epic poem) traditionally ascribed to the Hindu muni (sage) Vālmīki - the other one being the Mahābhārata attributed to Kṛṣṇa Dvaipāyana Vyāsa.
The epic narrates the life of Rāma, a legendary rāja-kumāra (prince) of Kośala, his banishment from his kingdom by his father king Daśaratha, his travels across forests in India with his wife Sītā and brother Lakṣmaṇa, the kidnap of his wife by his enemies, resulting in a war with Rāvaṇa (the king of the island of Laṅkā) and eventual return to Ayodhya to be crowned king.
The Ramayana is one of the largest ancient epics in world literature. It is comprised nearly 24,000 verses (mostly set in the śloka meter), divided into seven Kāṇḍas (books) and about 500 sargas (chapters). In Hindu tradition, it is considered to be the ādi-kāvya (first kāvya poem). It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal wife and the ideal king. The Ramayana was an important influence on later Sanskrit poetry and Hindu life and culture. Like the Mahabharata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rāma, Sītā, Lakṣmaṇa, Bharata, Hanumān and Rāvaṇa are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka, and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia.
There are many other versions of the Ramayana in Indian languages, besides Buddhist and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese, and Malaysian versions of the tale.
ETYMOLOGY
The name Ramayana is a tatpuruṣa compound of Rāma and ayana("going, advancing"), translating to Rama's Journey.
Textual history and structure
Traditionally, the Ramayana is attributed to Valmiki. The Hindu tradition is unanimous in its agreement that the poem is the work of a single poet, the sage Valmiki, a contemporary of Rama and a peripheral actor in the drama. The story's original version in Sanskrit is known as Valmiki Ramayana.
According to Hindu tradition - and according to the Ramayana itself - the Ramayana belongs to the genre of itihāsa like the Mahabharata. The definition of itihāsa is a narrative of past events (purāvṛtta) which includes teachings on the goals of human life. According to Hindu tradition, the Ramayana takes place during a period of time known as Treta Yuga.
In its extant form, Valmiki's Ramayana is an epic poem of some 24,000 verses. The text survives in several thousand partial and complete manuscripts, the oldest of which is a palm-leaf manuscript found in Nepal and dated to the 11th century CE. A Times of India report dated 18 Dec 2015 informs about discovery of a 6th-century manuscript of Ramayana at the Asiatic Society library, Kolkata. The Ramayana text has several regional renderings, recensions, and subrecensions. Textual scholar Robert P. Goldman differentiates two major regional recensions: the northern(n) and the southern(s). Scholar Romesh Chunder Dutt writes that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more distinctly the creation of one mind."
There has been discussion as to whether the first and the last chapters of Valmiki's Ramayana were composed by the original author. Most Hindus still believe they are integral parts of the book, in spite of some style differences and narrative contradictions between these two chapters and the rest of the book.
Famous retellings include Gona Budda Reddy's Ramayanam in Telugu, Kamban's Ramavataram in Tamil (c. 11th–12th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c. 14th century), Krittibas Ojha's Krittivasi Ramayan(also known as Shri Rama panchali) in Bengali (c. 15th century), Sarala Das' Vilanka Ramayana (c. 15th century) and Balaram Das' Dandi Ramayana(also known as the Jagamohan Ramayana) (c. 16th century) both in Odia, sant Eknath's Bhavarth Ramayan (c. 16th century) in Marathi, Tulsidas' Ramcharitamanas (c. 16th century) in Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan's Adhyathmaramayanam in Malayalam.
PERIOD
Some cultural evidence - such as the presence of sati in the Mahabharata but not in the main body of the Ramayana - suggests that the Ramayana predates the Mahabharata. However, the general cultural background of the Ramayana is one of the post-urbanization period of the eastern part of north India and Nepal, while the Mahabharata reflects the Kuru areas west of this, from the Rigvedic to the late Vedic period.
By tradition, the text belongs to the Treta Yuga, second of the four eons(yuga) of Hindu chronology. Rama is said to have been born in the treta yuga to king Dasaratha in the Ikshvaku dynasty.
The names of the characters(Rama, Sita, Dasaratha, Janaka, Vashista, Vishwamitra) are all known in late Vedic literature. However, nowhere in the surviving Vedic poetry is there a story similar to the Ramayana of Valmiki. According to the modern academic view, Vishnu - who, according to bala kanda, was incarnated as Rama - first came into prominence with the epics themselves and further during the puranic period of the later 1st millennium CE. Also, in the epic Mahabharata, there is a version of Ramayana known as Ramopakhyana. This version is depicted as a narration to Yudhishthira.
There is general consensus that books two to six form the oldest portion of the epic, while the first and last books(bala kanda and uttara kanda, respectively) are later additions. The author or authors of bala kanda and ayodhya kanda appear to be familiar with the eastern Gangetic basin region of northern India and with the Kosala and Magadha region during the period of the sixteen Janapadas, based on the fact that the geographical and geopolitical data accords with what is known about the region. The knowledge of the location of the island of Lanka also lacks detail. Basing his assumption on these features, archeologist Hasmukh Dhirajlal Sankalia has proposed a date of the 4th century BC for the composition of the text. Historian and indologist Arthur Llewellyn Basham is of the opinion that Rama may have been a minor chief who lived in the 8th or the 7th century BC.
CHARACTERS
Rāma is one of the protagonists of the tale. Portrayed as the seventh avatar of the god Vishnu, he is the eldest and favourite son of Dasharatha - the king of Ayodhya(current day Ayodhya, India) - and his Chief Queen, Kausalya. He is portrayed as the epitome of virtue. Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile. He kills the evil demon Ravana, who abducted his wife Sita and later returned to Ayodhya to form an ideal state.
Sīta is another of the tale's protagonists. She is daughter of Mother Earth, adopted by King Janaka and Rama's beloved wife. Rama went to Mithila (located in Janakpur, Nepal) and got a chance to marry her by breaking the Shiv Dhanush (bow) while trying to tie a knot to it in a competition organized by King Janaka of Nepal in Dhanusa. The competition was to find the most suitable husband for Sita and many princes from different states competed to win her. Sita is the avatara of the goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by the demon king Ravana. She is imprisoned on the island of Lanka, until Rama rescues her by defeating Ravana. Later, she gives birth to Lava and Kusha.
Hanumān is a vanara belonging to the kingdom of Kishkindha. He is an ideal bhakta of Rama. He is born as the son of Kesari, a Vanara king in Sumeru region and the goddess Añjanā. He plays an important part in locating Sita and in the ensuing battle. He is believed to live until our modern world.
Lakṣmaṇa, the younger brother of Rama, who chose to go into exile with him. He is the son of King Dasaratha and Queen Sumitra and twin of Shatrughna. Lakshmana is portrayed as an avatar of the Shesha, the nāga associated with the god Vishnu. He spends his time protecting Sita and Rama during which he fought the demoness Surpanakha. He is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's younger sister Urmila.
Rāvaṇa, a rakshasa, is the king of Lanka. He was son of a sage named Vishrava and daitya princess Kaikeshi. After performing severe penance for ten thousand years he received a boon from the creator-god Brahma: he could henceforth not be killed by gods, demons,or spirits. He is portrayed as a powerful demon king who disturbs the penances of rishis. Vishnu incarnates as the human Rama to defeat him, thus circumventing the boon given by Brahma.
Jaṭāyu, the son of Aruṇa and nephew of Garuda. A demi-god who has the form of an vulture that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of the direction in which Ravana had gone.
Daśaratha is the king of Ayodhya and the father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to return from his exile to assume the throne, Bharata obtains Rama's sandals and places them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as the regent of Rama for the next fourteen years staying outside the city of Ayodhya. He was married to Mandavi.
Śatrughna is the son of Dasharatha and his second wife Queen Sumitra. He is the youngest brother of Rama and also the twin brother of Lakshmana. He was married to Shrutakirti.
Sugrīva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vaali – Sugriva's brother and king of Kishkindha – would be killed by Rama in exchange for Sugriva's help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vaali and fulfills his promise by putting the Vanara forces at Rama's disposal.
Indrajit or Meghnadha, the eldest son of Ravana who twice defeated Rama and Lakshmana in battle, before succumbing to Lakshmana. An adept of the magical arts, he coupled his supreme fighting skills with various stratagems to inflict heavy losses on the Vanara army before his death.
Kumbhakarṇa, a brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size and loyalty made him an important part of Ravana's army. During the war he decimated the Vanara army before Rama cut off his limbs and head.
Sūrpanakha, Ravana's demoness sister who fell in love with Rama and had the magical power to take any form she wanted.
Vibhīṣaṇa, a younger brother of Ravana. He was against the kidnapping of Sita and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the war and he was crowned king after the fall of Ravana.
SYNOPSIS
BALA KANDA
Dasharatha was the king of Ayodhya. He had three wives: Kausalya, Kaikeyi and Sumitra. He was childless for a long time and anxious to produce an heir, he performs a fire sacrifice known as putra-kameshti yagya. As a consequence, Rama is first born to Kausalya, Bharata is born to Kaikeyi, Lakshmana and Shatrughna are born to Sumitra. These sons are endowed, to various degrees, with the essence of the Supreme Trinity Entity Vishnu; Vishnu had opted to be born into mortality to combat the demon Ravana, who was oppressing the gods, and who could only be destroyed by a mortal. The boys are reared as the princes of the realm, receiving instructions from the scriptures and in warfare. When Rama is 16 years old, the sage Vishwamitra comes to the court of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra and proceed to destroy the demons.
Janaka was the king of Mithila. One day, a female child was found in the field by the king in the deep furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a "miraculous gift of god". The child was named Sita, the Sanskrit word for furrow. Sita grew up to be a girl of unparalleled beauty and charm. The king had decided that who ever could lift and wield the heavy bow, presented to his ancestors by Shiva, could marry Sita. The sage Vishwamitra takes Rama and Lakshmana to Mithila to show the bow. Then Rama desires to lift it and goes on to wield the bow and, when he draws the string, it breaks. Marriages are arranged between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated with great festivity at Mithila and the marriage party returns to Ayodhya.
AYODHYA KANDA
After Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support. On the eve of the great event, Kaikeyi - her jealousy aroused by Manthara, a wicked maidservant - claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into the wilderness for fourteen years, while the succession passes to her son Bharata. The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm self-control which characterises him throughout the story. He is joined by Sita and Lakshmana. When he asks Sita not to follow him, she says, "the forest where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell for me." After Rama's departure, King Dasharatha, unable to bear the grief, passes away. Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's orders to the letter, refuses to return before the period of exile. However, Bharata carries Rama's sandals and keeps them on the throne, while he rules as Rama's regent.
ARNYA KANDA
Thirteen years pass and in the last year of exile Rama, Sita, and Lakshmana journey southward along the banks of river Godavari, where they build cottages and live off the land. At the Panchavati forest they are visited by a rakshasa (demon) woman, Surpanakha, the sister of Ravana. She attempts to seduce the brothers and failing in this, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her demon brother, Khara, organises an attack against the princes. Rama annihilates Khara and his demons.
When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama, aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana's guard. After some time, Sita hears Rama calling out to her; afraid for his life, she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama is invincible and that it is best if he continues to follow Rama's orders to protect her. On the verge of hysterics, Sita insists that it is not she but Rama who needs Lakshmana's help. He obeys her wish but stipulates that she is not to leave the cottage or entertain any strangers. He draws a chalk outline, the Lakshmana rekha, around the cottage and casts a spell on it that prevents anyone from entering the boundary but allows people to exit. With the coast finally clear, Ravana appears in the guise of an ascetic requesting Sita's hospitality. Unaware of the devious plan of her guest, Sita is tricked into leaving the rekha and is then forcibly carried away by the evil Ravana.
Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the heavy guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted to Rama, refuses. Rama and Lakshmana learn about Sita's abduction from Jatayu and immediately set out to save her. During their search, they meet the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.
KISHKINDHA KANDA
The kishkindha kanda is set in the ape (Vanar) citadel Kishkindha. Rama and Lakshmana meet Hanuman, the bigest devotee of Rama, the greatest of ape heroes and an adherent of Sugriva, the banished pretender to the throne of Kishkindha. Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kiskindha, in exchange for helping Rama to recover Sita. However Sugriva soon forgets his promise and spends his time in enjoying his powers. The clever former ape queen Tara (wife of Vali) calmly intervenes to prevent an enraged Lakshmana from destroying the ape citadel. She then eloquently convinces Sugriva to honour his pledge. Sugriva then sends search parties to the four corners of the earth, only to return without success from north, east and west. The southern search party under the leadership of Angad and Hanuman learns from a vulture named Sampati (elder brother of Jatayu), that Sita was taken to Lanka.
SUNDARA KANDA
The sundara kanda forms the heart of Valmiki's Ramayana and consists of a detailed, vivid account of Hanuman's adventures. After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the sea to Lanka. On the way he faces many challenges like facing a gandharva kanya who comes in the form of demon to test his abilities and he faces a mountain naming Mainakudu who offers Lord Hanuman some help to take some rest but he refuses because of the time is running out and there is a very less time remaining for searching Sita. After entering into Lanka he finds a demon lankini who protects the entire Lanka and Hanuman fights with her and kills her in order to get into Lanka. Here, Hanuman explores the demons' kingdom and spies on Ravana. He locates Sita in ashoka grove, who is wooed and threatened by Ravana and his rakshasis to marry Ravana. He reassures her, giving Rama's signet ring as a sign of good faith. He offers to carry Sita back to Rama, however she refuses and says that it is not the dharma. She says that Rama himself must come and avenge the insult of her abduction.
Hanuman then wreaks havoc in Lanka by destroying trees and buildings and killing Ravana's warriors. He allows himself to be captured and produced before Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and leaping from roof to roof, sets fire to Ravana's citadel and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news.
LANKA KANDA
Also known as Lanka kanda, this book describes the Ramayana War between the army of Rama and the army of Ravana. Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana's renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu) across the sea, using stones that floated on water because they had Rama's name written on them. The princes and their army cross over to Lanka. A lengthy war ensues. During a battle, Ravana's son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded and is nearly killed. So Hanuman assumes a gigantic form and flies from Lanka to the Himalayas. Upon reaching Mount Sumeru, Hanuman was unable to identify the herb that could cure Lakshmana, and so decided to bring the entire mountain back to Lanka. Eventually, the war ends when Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.
On meeting Sita, Rama asks her to undergo an "agni pareeksha" (test of fire) to prove her purity, as he wants to get rid of the rumours surrounding Sita's purity. When Sita plunges into the sacrificial fire, Agni the lord of fire raises Sita, unharmed, to the throne, attesting to her purity. The episode of agni pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In earlier versions this event does not occur and many scholars consider it to have been added later as society became more patriarchal. In Tulsidas's Ramacharitamanas Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is performed. This is the beginning of Ram Rajya, which implies an ideal state with good morals.
UTTARA KANDA
The uttara kanda is regarded to be a later addition to the original story by Valmiki and concerns the final years of Rama, Sita and Rama's brothers. After being crowned king, Rama passes time pleasantly with Sita. After some time, Sita gets pregnant with twin children. However, despite the agni pariksha (fire ordeal) of Sita, rumours about her purity are spreading among the populace of Ayodhya. Rama yields to public opinion and reluctantly banishes Sita to the forest, where the sage Valmiki provides shelter in his ashrama (hermitage). Here, she gives birth to twin boys, Lava and Kusha, who become pupils of Valmiki and are brought up in ignorance of their identity.
Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Later, Rama holds a ceremony during Ashwamedha yagna, which the sage Valmiki, with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava and Kusha recite about Sita's exile, Rama becomes grief-stricken and Valmiki produces Sita. Sita calls upon the earth, her mother, to receive her and as the ground opens, she vanishes into it. Rama then learns that Lava and Kusha are his children. Many years later, a messenger from the Gods appears and informs Rama that the mission of his incarnation was over. Rama returns to his celestial abode.
It was dramatised as the Uttararamacarita by the Sanskrit poet Bhavabhuti.
VARIANT VERSIONS
As in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana related in north India differs in important respects from that preserved in south India and the rest of south-east Asia. There is an extensive tradition of oral storytelling based on the Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam and Maldives. Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of Ramayana.
In India
The 7th century CE "bhatti's poem" Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini's Aṣṭādhyāyī as well as the major figures of speech and the Prakrit language.
There are diverse regional versions of the Ramayana written by various authors in India. Some of them differ significantly from each other. During the 12th century, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil. A Telugu version, Ranganatha Ramayanam, was written by Gona Budda Reddy in the 14th century. The earliest translation to a regional Indo-Aryan language is the early-14th century Saptakanda Ramayana in Assamese by Madhava Kandali. Valmiki's Ramayana inspired the Sri Ramacharit Manas by Tulsidas in 1576, an epic Awadhi(a dialect of Hindi) version with a slant more grounded in a different realm of Hindu literature, that of bhakti; it is an acknowledged masterpiece of India, popularly known as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana in the 17th century. Other versions include Krittivasi Ramayan, a Bengali version by Krittibas Ojha in the 15th century; the Vilanka Ramayana by the 15th century poet Sarala Dasa and the Dandi Ramayana (also known as Jagamohana Ramayana) by the 16th century poet Balarama Dasa both in Odia; a Torave Ramayana in Kannada by the 16th-century poet Narahari; Adhyathmaramayanam, a Malayalam version by Thunchaththu Ramanujan Ezhuthachan in the 16th century; in Marathi by Sridhara in the 18th century; in Maithili by Chanda Jha in the 19th century; and in the 20th century, Rashtrakavi Kuvempu's Sri Ramayana Darshanam in Kannada.
There is a sub-plot to Ramayana, prevalent in some parts of India, relating the adventures of Ahi Ravana and Mahi Ravana, the evil brother of Ravana, which enhances the role of Hanuman in the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-Mahi Ravana at the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed to the goddess Kali. Adbhuta Ramayana is a version that is obscure but also attributed to Valmiki - intended as a supplementary to original Valmiki Ramayana. In this variant of the narrative, Sita is accorded far more prominence such as elaboration of the events surrounding her birth — in this case to Ravana's wife, Mandodari as well as her conquest of Ravana's older brother in her Mahakali form.
Mappillapattu - a genre of song popular among the Muslims belonging to Kerala and Lakshadweep - has incorporated some episodes from the Ramayana into its songs. These songs, known as mappila ramayana, have been handed down from one generation to the next orally. In mappila ramayana, the story of the Ramayana has been changed into that of a sultan, and there are no major changes in the names of characters except for that of Rama which is `laman' in many places. The language and the imagery projected in the mappilapattu are in accordance with the social fabric of the earlier Muslim community.
BUDDHIST VERSION
In the Buddhist variant of Rāmāyaṇa(Dasarathajātaka, #467), Dasaratha was the king of Benares and not Ayodhya. Rāma [called Rāmapaṇḍita in this version] was son of Kausalya, first wife of Dasaratha, Lakṣmaṇa [Lakkhaṇa] was sibling of Rama and son of Sumitra second wife of Dasaratha, and Sita wife of Rama. To protect his children from his wife Kaikayi, who wished to promote her son Bharata, Dasaratha sent the three to a hermitage in the Himalayas for a twelve-year exile. After nine years, Dasaratha died and Lakkhaṇa and Sita returned; Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a further two years. This version does not include the abduction of Sītā.
In the explanatory commentary on the Jātaka, Rāmapaṇḍita is said to have been a previous incarnation of the Buddha and Sītā an incarnation of Yasodharā.
This version is notable for depicting Rama and Sita as siblings who marry. Such sibling marriages are a common symbolic imagery in early Buddhist literature to denote purity of a dynasty. As the Buddha is supposed to have come from the Ikshvaku dynasty (of Rama).
SIKH VERSION
In Guru Granth Sahib, there is description of two types of Ramayana. One is spiritual Ramayana which is actual subject of Guru Granth Sahib, in which Ravan is ego, Seeta is budhi (intellect), Rama is inner soul and Laxman is mann (attention, mind). Guru Granth Sahib also believes in existence of dasavtara who were kings of their times which tried their best to bring revolution in the world. King Ramchandra was one of those and it is not covered in Guru Granth Sahib. Guru Granth Sahib states:
ਹੁਕਮਿ ਉਪਾਏ ਦਸ ਅਉਤਾਰਾ॥
हुकमि उपाए दस अउतारा॥
By hukam (supreme command), he created his ten incarnations,
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth. In dasam granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God. He is equating Ramchandra with a common man.
He also said that the almighty, invisible, all prevailing God created so many of Indras, Moons and Suns, Deities, Demons and sages, so many Prophets and Brahmanas(enlightened people). But they too were caught in the noose of death (KAAL) (Transmigration of soul). This is very well same to as explained in Geeta which is part of Mahabharata.
JAIN VERSION
Jain versions of Ramayana can be found in the various Jain agamas like Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva. Rama, Lakshmana and Ravana are the eighth baladeva, vasudeva, and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half time cycle and jointly rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of the jinas) by Acharya Bhadrabahu (3–4th century BCE).
In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and not Rama as told in the Hindu version. In the end, Rama who led an upright life renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to hell. However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he became to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to Jain version, Rama had four chief-queen's: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future tirthankara of next half ascending time cycle and Sita will be his Ganadhara.
IN NEPAL
Besides being the site of discovery of the oldest surviving manuscript of Ramayana, Nepal gave rise to two regional variants in mid 19th – early 20th century. One, written by Bhanubhakta Acharya, is considered the first epic of Nepali language, while the other, written by Siddhidas Mahaju in Nepal Bhasa was a foundational influence in the renaissance of that language.
The Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The popularization of the 'Ramayana' and its tale, originally written in Sanskrit Language was greatly enhanced by the work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana, Bhanubhakta is also called 'Aadi Kavi' or 'The Pioneering Poet'.
SOUTHEAST ASIAN VERSIONS
Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma. In many Malay language versions, Lakshmana is given greater importance than Rama, whose character is considered somewhat weak.
The Cambodian version of Ramayana, the Reamker, is the most famous story of Khmer literature since the Kingdom of Funan era. It adapts the Hindu concepts to Buddhist themes and show's the balance of good and evil in the world. The Reamker has several differences from the original Ramayana, including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to the realm of literature but extends to all Cambodian art forms, such as sculpture, Khmer classical dance, theater known as lakhorn luang (the foundation of the royal ballet), poetry and the mural and bas reliefs seen at the Silver Pagoda and Angkor Wat.
Thailand's popular national epic Ramakien(thai:รามเกียรติ์.,from Sanskrit rāmakīrti, "glory of Rama") is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari(thotsakan and montho). Vibhisana(phiphek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. Ravana has her thrown into the water, but is later rescued by Janaka(chanok). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography and elements of nature, which are described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in Bangkok.
Other Southeast Asian adaptations include Kakawin Ramayana of Java, Ramakavaca of Bali(Indonesia), Maharadia Lawana and Darangen of the Moro Muslims of Mindanao (Philippines) and the Yama Zatdaw of Myanmar.
Influence on culture and art
One of the most important literary works of ancient India, the Ramayana has had a profound impact on art and culture in the Indian subcontinent and southeast Asia with the lone exception of Vietnam. The story ushered in the tradition of the next thousand years of massive-scale works in the rich diction of regal courts and Hindu temples. It has also inspired much secondary literature in various languages, notably the Kambaramayanam by the Tamil poet Kambar of the 12th century, the Telugu-language Molla Ramayanam by poet Molla and Ranganatha Ramayanam by poet Gona Budda Reddy, 14th century Kannada poet Narahari's Torave Ramayana, and 15th century Bengali poet Krittibas Ojha's Krittivasi Ramayan, as well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.
The Ramayana became popular in southeast Asia during the 8th century and was represented in literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of Ramayana, known as Ramlila, take place all across India and in many places across the globe within the Indian diaspora.
The Ramayana has also been depicted in many paintings, most notably by the Malaysian artist Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic proportions measuring 72 x 453 cm in 9 panels. The painting depicts three prolific parts of the epic, namely The Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is currently in the permanent collection of the Malaysian National Visual Arts Gallery.
RELIGIOUS SIGNIFICANCE
Rama, the hero of the Ramayana, is one of the most popular deities worshipped in the Hindu religion. Each year, many devout pilgrims trace their journey through India and Nepal, halting at each of the holy sites along the way. The poem is not seen as just a literary monument, but serves as an integral part of Hinduism, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed by Hindus to free them from sin and bless the reader or listener.
According to Hindu tradition, Rama is an incarnation (Avatar) of the god Vishnu. The main purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.
IN THE MEDIA
A number of movies and television serials have been produced based upon the Ramayana.
STAGE
Starting in 1978 and under the supervision of Baba Hari Dass, the Ramayana has been performed every year by Mount Madonna School in Watsonville, California. Currently, it is the largest yearly, Western version of the epic being performed. It takes the form of a colorful musical with custom costumes, sung and spoken dialog, jazz-rock orchestration and dance. This performance takes place in a large audience theater setting usually in June, in San Jose, CA. Baba Hari Dass has taught acting arts, costume-attire design, mask making and choreography to bring alive characters of Sri Ram, Sita, Hanuman, Lakshmana, Shiva, Parvati, Vibhishan, Jatayu, Sugriva, Surpanakha, Ravana and his rakshasa court, Meghnadha, Kumbhakarna and the army of monkeys and demons.
WIKIPEDIA
PLEASE NOTE: this image is best viewed large enough to stimulate your peripheral vision.
When you view interior shots on a large screen; It also seems to create a feeling that the you are really on the scene. When the viewer moves their eyes from place to place on an interior 360° fisheye shot, the perspective changes in a way that is correct for real world circumstances. Normal stereo 3D images do not work in this fashion. *** Although the effect is subtle, these 360° spherical images do not require goggles...
This 4 fisheye shot panorama will be replaced after I can re-shoot it with some minor but important refinements to the perspective and aiming the camera.
This cropped version of the image covers approximately 312° x 176° while the uncropped original image covers a full 360° sphere.
••• This is a wonderful discovery •••
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You can see 1st such shot (outdoor landscape image in the fourth comment below).
I may have stumbled onto something very special*.
September 9, 2020
I just realized that I bought this lens two years & two days ago.
As expected (for a fisheye lens) it hasn't gotten a great deal of use. However; if I can perfect this process; that may change.
Dealing with
• NIKON's Blasted Blue Border
• the precise camera alignment required
• the ultra-extreme brightness range if the sun is in the sky along with the opposite shadows (very few photographers have ever had to deal with this before)
are difficult problems to solve.
*Doing a fisheye panorama for a fully spherical image and then cropping it to a 16x9 format.
St Helen, Bishopsgate Street, London
Photogravure by Donald Macleish from Wonderful London by St John Adcock, 1927.
Here we are amidst the Dubai-ification of Bishopsgate, and yet the west frontage of St Helen is rather pleasing in its little courtyard beneath the Aviva building. It is a different story to south and east, however, for although the Gherkin has created a focus for St Mary Axe, the peripherals of the space are messy and ill-considered, and beside St Helen the car park entrance has all the charm of the neglected bit of a provincial shopping centre. However, all this will go for the construction of the City's tallest tower, the Undershaft building, and the two lower storeys being left open will give St Helen and its near neighbour St Andrew Undershaft the chance to talk to each other for the first time in centuries.
Uniquely in the City, St Helen has a double nave, and this is because it was the church of a Benedictine nunnery, established here in the early 13th Century. There was already a parish church on the site, and a new nave for the sisters was built to the north of the parish nave. There was a major restoration in the early 17th Century which gave the exterior much of its current character, and the church was far enough north to survive the Great Fire. The Blitz also did little damage here, and St Helen might have continued being a pleasant if rather sleepy medieval survival among the office towers were it not for two significant events.
The first was the Baltic Exchange bombing on the night of 10th April 1992. A one tonne semtex and fertiliser bomb was exploded by the IRA immediately to the south-east of the church, its intention to cause as much damage to property as possible. In this it succeeded, for the £800 million repair bill to the City was almost twice as much as the entire repair bill for all the other damage caused by IRA bombs in the British Isles since the current spate of Troubles began in 1969. The south wall of the church was demolished, the interior blown out by blast damage. Repairs were already underway when the second event to shape the current church occured. On the morning of 24th April 1993, a Saturday, the IRA exploded another one tonne bomb, this time of ammonium nitrate and fuel oil, on Bishopsgate, to the north-west of the church. Thus, the little church found itself exactly between the two largest terrorist bombs ever exploded on the British mainland. This time the west front was demolished, and blast damage took out all the windows and furnishings again.
The building's rebirth was very much a reflection of the character of its congregation. Unusually for the City, St Helen is very much in the staunch evangelical protestant tradition. The pre-1992 church had been full of the clutter of those resacramentalising Victorians, but controversially the architect Quinlan Terry was commissioned to design an interior more fitting for the style of worship at St Helen. Anti-modernist, anti-gothicist, anti-conservationist, Terry is an architect so far out of kilter with the mainstream of British design that it sometimes seems as if he is working in an entirely different discipline, running in parallel with the rest of the architectural world. Previously, his most significant church design was for Brentwood Catholic Cathedral, which has been described as having all the style, grace and charm of a shopping centre food court. It was never going to end happily, either for the conservation bodies or the City traditionalists.
Terry's reinvented St Helen is a preaching box for protestant worship. Memorials have been relegated to the south transept, and the rood screen moved across it to separate it from the body of the church. The two naves have been united in a cool, square, white space, the focus of the church turned to face the north wall. It is as if the Oxford Movement had never happened. And yet it is all done well, with that infuriating veneer of seemliness that so much of Terry's work conveys.
Well, you wouldn't want all medieval churches to be like this, but churches are constantly changing to suit the style of worship of the day, and so it seems fitting that St Helen should have been reinvented this way. Much of the outcry at the time must have been because the Bishopsgate bomb vaporised St Ethelburga, St Helen's near neighbour, a small surviving medieval church, and it was felt rather willful that another medieval church was being gutted by those who might have been thought responsible for saving it. Me, I'm not so sure. Church communities should have their head to design their churches to suit their current worship, otherwise we would not have the extraordinary accretion of historical artefacts that the great majority of England's 16,000-odd medieval churches now contain. St Helen is a good example of what can be done by people with passion and enthusiasm in the face of apocalyptic destruction. This was true after 1945, and it was true after 1993. Mind you, I'm not sure we'd have the confidence to do the same thing now.
(c) Simon Knott, December 2015
Interesting background and peripheral info, especially regarding the artist - Rick Guidice - at:
www.sciencefriday.com/articles/this-70s-artist-painted-ou...
www.numulosgatos.org/exhibitions-2/2015/9/17/rick-guidice...
Also, interesting:
space.nss.org/settlement/MikeCombs/SCTHF.html
Credit: National Space Society website
Vancouver, BC. Hill's Native Art, North America's largest native art gallery, features more than 1200 artists from every known Tribe and Nation of the Northwest Coast. This detail of a totem pole abstracts the intricacies of firgurative carving into pure shapes.
Getting some answers.
Random Fact: Peripheral neuropathy, a result of nerve damage, often causes numbness and pain in your hands and feet. People typically describe the pain of peripheral neuropathy as tingling or burning, while they may compare the loss of sensation to the feeling of wearing a thin stocking or glove.
Peripheral neuropathy can result from problems such as traumatic injuries, infections, metabolic problems and exposure to toxins. One of the most common causes is diabetes.
In many cases, peripheral neuropathy symptoms improve with time — especially if the condition is caused by an underlying condition that can be treated. A number of medications often are used to reduce the painful symptoms of peripheral neuropathy.
Dr. R. Kim (right), Chief Medical Officer, Aravind Eye Hospital, Madurai, India, performs a peripheral retinal examination on M. Kaliappan's, 75, left eye using an indirect ophthalmoscope (not pictured) and a 20 diopter viewing lens in the eye examination room, Friday, Nov. 16, 2018. Mr. Kaliappan who had undergone retinal detachment surgery in his left eye 10 years back had come for a routine follow-up. Apart from his regular clinical work, Dr. Kim is involved in driving innovation in the organisation. "People ask me, 'How can you let a machine screen a patient?' I tell them, 'Why not when they can trust a driverless vehicle while traveling?'"