Stained glass Masonic Square and Compasses hang at the foot of my bed.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

Star Trek, First Contact (Paramount, 1996).

youtu.be/wxyZQR2d6yw Trailer

 

youtu.be/GTQzusrfCxc?t=3s

Star Trek - 'Beyond First Contact' The Borg - Making The Movie.

 

Starring Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Alfre Woodard, James Cromwell, Alice Krige, Neal McDonough, Robert Picardo, and Dwight Schultz. Directed by Jonathan Frakes.

 

Captain Jean-Luc Picard awakens from a nightmare about his Borg assimilation experience to an incoming message from Admiral Hayes. Hayes informs Picard that Deep Space Five reported that a colony has been destroyed. Completing the Admiral's sentence, Picard realizes who destroyed the colony — the Borg.

 

Picard calls a meeting and informs his senior officers that their ship has been instructed to patrol the Neutral Zone. Their orders are to protect the area from any possible Romulan uprising during a Borg attack. Despite protests from his officers, Picard remains faithful to his orders and the U.S.S. Enterprise NCC 1701-E begins to patrol the area. Later, Picard regretfully tells Riker that it is his own fault they are stuck in the Neutral Zone. Starfleet believes Picard to be too emotionally involved with the Borg because of his previous assimilation to tactically complete a mission against them.

 

The men return to the bridge to learn that Starfleet has engaged in combat with the Borg. Intercepting messages between the starships, the crew learns that the Federation is losing. Picard, with his Borg experience, knows he can help the fleet. He informs his staff that he will make a decision directly in opposition to Starfleet commands. With no objections from his crew, Captain Picard gives the order and the starship Enterprise sets a course for Earth and the attacking Borg cube.

 

A massive battle ensues and it appears that the Federation will lose the fight. Despite serious structural damage to the Borg cube, their strength does not weaken. Even the U.S.S. Defiant, commanded by Worf, does not appear to be able to turn the tides of the battle. As the starship Defiant is about to ram the Borg ship on a suicide run, the U.S.S. Enterprise beams aboard its crew, including Worf. Picard, having an inside perspective of the Borg and their vessel, focuses the firepower of the fleet on coordinates he knows to be critical. Just as the main ship is destroyed, a spherical escape pod flies out. The sphere creates a temporal vortex, catching the starship Enterprise in its wake. Immune to the paradoxes created by the time travel, the starship's crew learns that Earth at the present time appears to be inhabited entirely by the Borg. The commanding officers realize that the Borg have gone into the past and assimilated Earth, so they follow them back in time to repair the damage the Borg have done.

 

On Earth, over three centuries earlier, a somber Lily Sloane accompanies a stumbling, drunk Zefram Cochrane out of a bar after a night of revelry. Then, Lily notices a fast moving light. She hardly has time to ask what the object is, when the Borg vessel attacks. Back aboard the Enterprise, Picard demands that Data tell him the exact date and location the Borg ship is attacking. The location: central Montana. The date: April 4, 2063 — the day before First Contact. Realizing that the Borg have come to prevent first contact between alien life forms and humans, the crew knows they must stop the Borg and facilitate this exchange. They destroy the Borg sphere, and Dr. Crusher, Captain Picard, Commander Data, Commander Riker, Counselor Troi and other U.S.S. Enterprise crew transport down to Earth to survey the damage.

 

At the Borg attack site in Montana, the crew finds destruction and chaos. They split into groups to search for Cochrane. Data and Picard hunt for Cochrane's warp ship, the Phoenix. There they encounter a very angry and confused Lily, who believes Data and Picard to be members of a coalition that broke the cease-fire after World War III. She shoots at them in a rage, but impervious to bullets, Data approaches Lily. Overcome by fear and radiation, she falls to the ground. Dr. Crusher diagnoses Lily with radiation sickness caused by the damaged Phoenix, and inoculates the entire crew. Against Picard's better judgment, Crusher takes Lily to sickbay. Geordi is called to help repair the warp vessel and Picard becomes intrigued by its historical significance. In this vessel began the future as the world would know it, and the past as Picard remembers it. He reaches out to touch the ship. Data, curious about the human need for tactile reinforcement, attempts to create the same feelings he observes in Picard, but is unsuccessful in duplicating this aspect of humanity.

 

Aboard the ship, two crewmembers are sent to examine unexplained maintenance problems, and both disappear. Picard is called to the ship and discovers that the survivors from the Borg sphere have transported onto the ship and are taking over Deck 16. While Picard arranges teams to fight them, the Borg manipulate the climate of the deck to suit their needs and begin to spread throughout the ship. When the Borg attack sickbay, Crusher, her staff, and Lily escape through a Jeffries tube, thanks to a distraction by the ship's Emergency Medical Hologram. While Crusher leads the group down the passageway, Lily steals away in a different direction.

 

On Earth, Riker finds Troi and Cochrane drunk in a bar. Troi justifies that the only way she could get Cochrane to talk to her was by shooting Tequila with him. Denying her drunken state, Troi offers her professional opinion on Cochrane. She explains, "He's nuts."

 

Picard and his team are tracking the Borg through the starship. As Crusher and her staff find Worf's team, Picard's team encounters the Borg, who have begun to assimilate U.S.S. Enterprise crewmembers. Worf's team engages the Borg in combat, but the enemies adapt to the crew's weapons too quickly to make any difference. The teams are ordered to regroup on Deck 15, but Data is captured. Picard cannot save him, so he quickly crawls into a Jeffries tube to escape. Face to face with Picard, Lily steals his phaser and demands an explanation and escape route. Picard agrees.

 

Geordi shows Cochrane the starship Enterprise through a large telescope on Earth and tries to convince him to launch his vessel the next morning. Geordi glorifies Cochrane by explaining that his ship will make first contact with alien life forms. Humanity will be saved if Cochrane launches his ship. Still drunk, Cochrane agrees.

 

Aboard the ship, the Borg Queen introduces herself to a bound Data, claiming that she is the Collective. Reactivating Data's emotion chip, the Borg begin to graph organic, human skin onto the android's arm. As Data is overcome by this new human sensation of touch, something he never thought possible, the Borg continue their work.

 

Lily and Picard wander through the service deck as the captain attempts to explain what has happened between Lily's time and his own. She begins to calm down until they suddenly run into a Borg-infested area. Quickly escaping in the Holodeck, Picard activates a Dixon Hill program. At a dance, he and Lily try to blend in without being noticed by the Borg. Following the Holodeck's story, Picard searches for Nicky the Nose and takes his machine gun. Killing the Borg with the gun, Picard retrieves the memory chip that contains all of the information the Borg has received. Lily then notices that the two dead Borg were once crewmembers of the U.S.S. Enterprise.

 

Back on Earth, Cochrane keeps hearing what an amazing historical figure he is and begins to question whether or not he wants to go through with the launch. He doubts his own nobility and flees the launch site. Geordi and Riker attempt to catch up with Cochrane in the woods and are forced to stun him with a phaser to return him to the Phoenix.

 

Lily and Picard join the rest of the surviving crew and discover that the Borg are outside of the ship. The retrieved memory chip reveals that they are reconfiguring the main deflector in order to contact the Borg of this century, calling them to Earth to assimilate the planet. Picard, Worf and Lieutenant Hawk put on space suits and venture onto the surface of the starship to stop the Borg.

 

Aware of Data's desire to become human, the Borg Queen offers him the chance to be entirely covered in human flesh and join the Borg, in an attempt to get the encryption codes from Data so she can obtain total control over the U.S.S. Enterprise. Outside the Enterprise, Hawk, Worf and Picard attempt to unlock the deflector dish. Attacked by a Borg, Worf's suit begins to depressurize. Two Borg are killed and Hawk is attacked. As the dish is released, a now-assimilated Hawk attempts to kill Picard. Worf saves the captain, but Hawk is killed. Picard and Worf then destroy the free-floating deflector dish.

 

On Earth, Cochrane explains to Riker that his only motivation for inventing warp travel was money. He never expected to save mankind, become a hero, or be instrumental in the founding of a new civilization. He simply wanted to retire in peace.

 

An argument ensues aboard the Enterprise as the majority of the senior officers believe that they should evacuate the ship, destroying it and the Borg. Picard won't give up, and insists they stay. Challenged by Worf, Picard orders him off the Bridge. Lily follows Picard into his ready room and demands that he explain his obsession with fighting the Borg. Picard declares he won't sacrifice the starship, and swears to finally make the Borg pay for all they've done. Lily quietly and calmly compares Picard to Captain Ahab, forever fighting his white whale — the Borg. Realizing that this fight could only destroy himself and his crew, Picard decides to evacuate the ship. Worf, Picard and Crusher activate the ship's self-destruct sequence. The countdown begins, and the crew leaves in escape pods. Picard surveys his ship and prepares to leave when he hears Data calling him.

 

Meanwhile , the earth-bound crew and Cochrane begin takeoff. Cochrane, Geordi and Riker take off in the Phoenix, and with music blaring, the three men launch successfully into orbit.

 

On the ship, Lily and Picard say good-bye and the captain goes to save Data. Entering Engineering, Picard confronts the Borg Queen, whom he knows from his experience with the Borg. The queen reminds Picard that it was not enough that he was assimilated, but that he needed to give himself freely to the Borg — she wished him to stand by her side as an equal to further the power of the Collective. Picard offers himself in exchange for Data, but the android does not comply. He refuses to leave, and at the queen's command, disarms the self-destruct sequence. He quickly enters the encryption codes, offering full control of the Enterprise to the Borg.

 

As Cochrane's ship nears warp, Data arms the U.S.S Enterprise's weapons and aims them at the defenseless Phoenix. At the Borg Queen's order, Data fires, but the missiles fail to hit the Phoenix. His deception of the Borg complete, Data smashes a conduit, releasing a gas that floods engineering, killing all organic material. As the Borg are destroyed, Picard climbs to safety and the Borg Queen falls into the deadly gas. With the Borg threat gone, Cochrane safely completes humanity's first warp flight.

 

Celebrating the flight back on Earth that night, Cochrane and the Enterprise crew see an alien ship land nearby. The doors open, and Zefram Cochrane makes Earth's first contact with an alien race — the Vulcans. Picard and his crew beam out, having witnessed this historic event, and the U.S.S Enterprise NCC 1701-E returns to the 24th century.

 

Hendrickson Intl photo

Taken at The Sound Academy in Toronto,

July 22nd, 2012

Edited Chandra Space Telescope image of the supernova remnant Cassiopeia A. (I had many more variants, but Flickr refused to load them for no rational reason.)

 

Image source: chandra.harvard.edu/photo/2019/firstlight/

 

Original caption: NASA's Chandra X-ray Observatory has captured many spectacular images of cosmic phenomena over its two decades of operations, but perhaps its most iconic is the supernova remnant Cassiopeia A.

 

Located about 11,000 light-years from Earth, Cas A (as it's nicknamed) is the glowing debris field left behind after a massive star exploded. When the star ran out of fuel, it collapsed onto itself and blew up as a supernova, possibly briefly becoming one of the brightest objects in the sky. (Although astronomers think that this happened around the year 1680, there are no verifiable historical records to confirm this.)

 

The shock waves generated by this blast supercharged the stellar wreckage and its environment, making the debris glow brightly in many types of light, particularly X-rays. Shortly after Chandra was launched aboard the Space Shuttle Columbia on July 23, 1999, astronomers directed the observatory to point toward Cas A. It was featured in Chandra's official “First Light” image, released Aug. 26, 1999, and marked a seminal moment not just for the observatory, but for the field of X-ray astronomy. Near the center of the intricate pattern of the expanding debris from the shattered star, the image revealed, for the first time, a dense object called a neutron star that the supernova left behind.

 

Since then, Chandra has repeatedly returned to Cas A to learn more about this important object. A new video shows the evolution of Cas A over time, enabling viewers to watch as incredibly hot gas — about 20 million degrees Fahrenheit — in the remnant expands outward. These X-ray data have been combined with data from another of NASA's "Great Observatories," the Hubble Space Telescope, showing delicate filamentary structures of cooler gases with temperatures of about 20,000 degrees Fahrenheit. Hubble data from a single time period are shown to emphasize the changes in the Chandra data.

 

The video shows Chandra observations of Cas A from 2000 to 2013. In that time, a child could enter kindergarten and graduate from high school. While the transformation might not be as apparent as that of a student over the same period, it is remarkable to watch a cosmic object change on human time scales.

 

The blue, outer region of Cas A shows the expanding blast wave of the explosion. The blast wave is composed of shock waves, similar to the sonic booms generated by a supersonic aircraft. These expanding shock waves produce X-ray emission and are sites where particles are being accelerated to energies that reach about two times higher than the most powerful accelerator on Earth, the Large Hadron Collider. As the blast wave travels outwards at speeds of about 11 million miles per hour, it encounters surrounding material and slows down, generating a second shock wave - called a "reverse shock" - that travels backwards, similar to how a traffic jam travels backwards from the scene of an accident on a highway.

 

These reverse shocks are usually observed to be faint and much slower moving than the blast wave. However, a team of astronomers led by Toshiki Sato from RIKEN in Saitama, Japan, and NASA’s Goddard Space Flight Center, have reported reverse shocks in Cas A that appear bright and fast moving, with speeds between about 5 and 9 million miles per hour. These unusual reverse shocks are likely caused by the blast wave encountering clumps of material surrounding the remnant, as Sato and team discuss in their 2018 study. This causes the blast wave to slow down more quickly, which re-energizes the reverse shock, making it brighter and faster. Particles are also accelerated to colossal energies by these inward moving shocks, reaching about 30 times the energies of the LHC.

 

This recent study of Cas A adds to a long collection of Chandra discoveries over the course of the telescope's 20 years. In addition to finding the central neutron star, Chandra data have revealed the distribution of elements essential for life ejected by the explosion (shown above), have constructed a remarkable three dimensional model of the supernova remnant, and much more.

 

Scientists also created a historical record in optical light of Cas A using photographic plates from the Palomar Observatory in California from 1951 and 1989 that had been digitized by the Digitized Access to a Sky Century @ Harvard (DASCH) program, located at the Center for Astrophysics | Harvard & Smithsonian (CfA). These were combined with images taken by the Hubble Space Telescope between 2000 and 2011. This long-term look at Cas A allowed astronomers Dan Patnaude of CfA and Robert Fesen of Dartmouth College to learn more about the physics of the explosion and the resulting remnant from both the X-ray and optical data.

 

This recent study of Cas A adds to a long collection of Chandra discoveries over the course of the telescope’s 20 years. In addition to finding the central neutron star, Chandra data have revealed the distribution of elements essential for life ejected by the explosion, clues about the details of how the star exploded, and much more.

 

NASA's Marshall Space Flight Center manages the Chandra program. The Smithsonian Astrophysical Observatory’s Chandra X-ray Center controls science and flight operations from Cambridge, Massachusetts.

This is a dumpster from Treasure Coast Refuse (a division of Republic Services, Inc.)

« I'm going to make him an offer he can't refuse. » (IT)

« Gli farò un'offerta che non potrà rifiutare. »

 

(Vito Corleone)

 

The Godfather is a 1972 American gangster-drama film based on the novel of the same name by Mario Puzo and directed by Francis Ford Coppola from a screenplay by Puzo, Coppola, and Robert Towne It stars Marlon Brando, Al Pacino, James Caan, Richard S. Castellano, Robert Duvall, Sterling Hayden, John Marley, Richard Conte and Diane Keaton, and features John Cazale, Talia Shire, Al Martino, and Abe Vigoda. The story spans ten years from 1945 to 1955 and chronicles the fictional Italian American Corleone crime family. Two sequels followed: The Godfather Part II in 1974, and The Godfather Part III in 1990.

 

Savoca is a comune (municipality) in the Province of Messina in the Italian region Sicily, located about 170 km east of Palermo and about 30 km southwest of Messina.

Savoca borders the following municipalities: Casalvecchio Siculo, Forza d'Agrò, Furci Siculo, Sant'Alessio Siculo, Santa Teresa di Riva.The town, together with Forza d'Agrò, was the location for the scenes set in Corleone of Francis Ford Coppola's The Godfather. Bar Vitelli in Savoca, which is still a functioning establishment, was featured in the motion picture as the place where Michael Corleone asked Apollonia's father to meet his daughter.

 

Il padrino (The Godfather) è un film del 1972 diretto da Francis Ford Coppola, prima pellicola della trilogia omonima firmata dal regista, ispirata al romanzo omonimo di Mario Puzo.La pellicola fu premiata con tre premi Oscar e, insieme al suo seguito, è considerata una pietra miliare della storia del cinema.Il padrino è stata infatti considerata la seconda miglior pellicola statunitense della storia dall'American Film Institute[, inoltre è al secondo posto della classifica dell'Internet Movie Database.Le scene siciliane del film furono girate a Savoca e particolarmente nel vecchio "Bar Vitelli" nella foto tuttora meta di visite di molti turisti americani.

 

Savoca è un comune italiano di 1.786 abitanti della provincia di Messina in Sicilia.Città d'Arte e paese dalle sette facce, dal 2008 è inserita tra i Borghi più belli d'Italia. Ha un'economia prevalentemente agricola che però si sta votando al turismo culturale. Sussistono coltivazioni di agrumeti, vigneti, uliveti, frutteti, mandorli, ortaggi e, allevamenti rurali di bovini, pecore, capre e suini. Conserva, nel suo territorio, antiche vestigia di origine medioevale, rinascimentale e barocca. È famoso perché possiede una cripta in cui sono custodite ed esposte le salme imbalsamate dei notabili del paese risalenti ai secc. XVIII e XIX e, per essere stato scelto come set di numerosi film di grande successo, come "il Padrino" di Francis Ford Coppola del 1972 e La vita rubata del 2007. Savoca fa parte del comprensorio turistico della Valle d'Agrò ed è altresì comune aderente all'Unione dei Comuni delle Valli joniche dei Peloritani e del P.I.T.13.Il comune di Savoca ha un'estensione di circa 8 km². L'abitato è costituito da un centro storico e da tante frazioni più o meno piccole immerse nella campagna. La vegetazione presente è quella tipicamente mediterranea: nelle zone pianeggianti ci sono dei rigogliosi agrumeti, mentre nelle zone collinari sono presenti vasti vigneti ed uliveti. Il capoluogo comunale si trova a 303 metri s.l.m., conta 106 abitanti ed è costituito da un borgo medioevale La maggior parte della popolazione abita le frazioni di Rina (498 abitanti), San Francesco di Paola (407 abitanti) e Contura, che si trovano nei pressi della Fiumara d'Agrò nell'omonima valle. Le altre frazioni sono: Cucco, Màllina, Romissa, Mancusa, Mortilla, Botte, Rogani e Cantidati Superiore.L'antico e caratteristico centro storico, ricco di antichi monumenti di origine medioevale, si caratterizza per la presenza di stretti e tortuosi vicoli ed è suddiviso in sette quartieri : Sant'Antonio,Cappuccini, Borgo,San Michele,San Rocco,Pentefur,e San Giovanni .

 

www.youtube.com/watch?v=KxVA6u0ODwY

Seddon Atkinson 6 wheel refuse collection vehicle seen at Marfa Ridge Malta (Photo By Steve Powell)

A cheapo diecast which is wrong on so many levels I don't even know where to begin! Half plastic and half metal this box on wheels if you study it is actually a crude copy of a generic casting made for the Toys R Us Fast Lane range! Why you'd want to copy it i've no idea but that's what several Chinese toy companies have done.

Whoever made this clearly takes recycling and rubbish collecting very seriously, failure to do so risks instant death and destruction by its roof mounted weapons! ;-p

Sold in European Tedi stores under their Speed Stars brand.

Mint and boxed.

When Perla came down with a tummy bug last month, I bought a package of disposal diapers since I was changing A LOT of nasty diapers. I bought the pull-up sort that emulate regular underpants since Perla had recently begun to refuse to take diaper changes lying down.

 

Since then, Perla will not wear cloth diapers -- she snatches them away and throws them across the room.

 

She knows how to undo the velcro closure on her gDiaper wraps AND she knows how to undo the tape on the Seventh Generation disposable diapers we used at night: she would escape from them and laugh.

 

After doing cloth diapers for nearly a year, I am relieved. I feel a little guilty for contributing to the landfill, but I am so relieved. (Although I'm curious to see how much less my water bill is next month; I was doing a heck of a lot of laundry.) (And I'm curious to see if switching to disposables affects toilet training; part of the reason I did cloth was that the Ick Factor hastens toilet training.)

 

I just wish Seventh Generation made pull-up style diapers in Perla's size. If anyone from Seventh Generation is looking at this, make a smaller pull-up: my 18 pound kid wants to wear Big Girl Panties!

I love the fountain statue outside of the Muppets. Reminds me of the pre-show and how that is as good as the attraction, if not better! thanks for looking and have a good weekend!

Chassis: Lodal EVO

Body: Lodal MAG-20

Hauler: Recology CleanScapes

Location: Seattle, WA

Date: October 2018

 

See More Trashy Photos & Videos At: The Thrash 'N' Trash Website

 

©Bryn Erdman. All Rights Reserved.

Facebook | YouTube | Website

City of Lyndhurst, Oh Service Department Mack LE refuse packer truck with Labrie automated packer body.

Location : Quebec City (QC - CA)

From Look at Life Down In the Dumps

Freightliner Class 66, 66511 heads north through Acton Bridge with the 6F35 19:07 Northenden Refuse Transfer Station Freightliner Heavy Haul to Runcorn Folly Lane 'binliner'.

Mainline blue-liveried 58046 'Asfordby Mine' sits at Westerleigh Refuse Transfer Station, while being loaded with containers of refuse bound for Calvert landfill site.

 

© Robert Tarling.

Chassis: Peterbilt Model 320

Body: Heil DuraPack 7000

Hauler: Basin Disposal

Location: Walla Walla, WA

Date: January 2025

 

See More Trashy Photos & Videos At: The Thrash 'N' Trash Website

 

©Bryn Erdman. All Rights Reserved.

Facebook | YouTube | Website

Location : Quebec City (QC - Canada)

© Openair St. Gallen / Daniel Gasser

Ex DSNY Mack MR Leach Leach 2RII with a Leach Recycling Collector

Refused (SE) ©Jean-Marc Ayer

www.flickr.com/photos/jeanmarcayer/

I refuse to read during a recess break!

arte.tv/hellfest

© Gwendal Le Flem

Don't argue with me! lol I know what I'm talking about...front loaders are my specialty yo!

A close view of Volvo refuse truck HTT 056 at Deryneia Cyprus. The registration plate says it was new back in February 2002.

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Skoda Refuse truck (still with two of its original three bins!) Permot plastic model 1:87 scale made in DDR (East Germany)

 

Dennis Lyxzen / Refused 1998 - taken in Berlin after Refused's last show ever in Germany. en.wikipedia.org/wiki/Refused

Halifax, NS

Location : Quebec City (QC - CA)

The Continuity of St. Patrick's Parades in Montreal

 

St. Patrick's Day has been celebrated in Montreal as far back as 1759, after the Conquest, by Irish soldiers of the Montreal Garrison. In 1817, the beginning of the Irish community here, the observance of St. Patrick's day was marked by special dinners and the celebration of religious services.

 

The actual celebration of a St. Patrick's parade commenced on March 17, 1824. Michael O'Sullivan, lawyer and member of the Parliament of Lower Canada, was the main organizer of this public display. In 1836 he was appointed Chief Justice of Lower Canada but unfortunately he died in 1839.

 

The St. Patrick's Society of Montreal was founded by prominent Montrealers of Irish heritage on March 17th, 1834. They became the organizers of this parade until 1892.

 

The parades of that era were a manifestation of of the Irish success in the community and parades were held in Old Montreal on the day proper. Church services would precede the parade and a banquet was held after the parade with numerous toasts in celebration.

 

In 1847, St. Patrick's Church (Basilica) was completed and officially opened on March 17th. On that date, the parade started at 7am from the Old Recollet Church off Notre Dame and Ste. Hélène Streets, and proceeded on Notre Dame to the Notre Dame Cathedral. It then turned onto St. James Street to Commissioners (McGill St.) north past Commissioners Square (Victoria Square) and up the hill into St. Patrick's Church for the service and blessing. After the service, the parade regrouped and marched back to the St. Patrick's Society headquarters on Commissioners Square to take the salute. A successful parade was followed by a splendid banquet.

 

In the late 1860s, Father dowd of St. Patrick's appealed to the Irish people of Montreal to maintain the parade against a strong wave of opposition. Much of the opposition was related to the Fenian problems which resulted in the assassination of D'Arcy McGee on April 7th, 1868. It was conceded that as long as Father Dowd lived there would be a parade. Father Dowd died on December 19th, 1891 and it was suggested that the parade not be held the following March in respect of his memory. In respect of his memory, the parade was held as usual in 1892 and thereafter.

 

The Ancient Order of Hibernians organized the St. Patrick's Parade commencing in 1893 until 1917. In 1918 the parade was suspended to avoid clashes with military conscription agents who were active in the city. The agents would not enter Griffintown, the Irish stronghold in the city of Montreal. Because of this, the Ste. Anne's Parish supported by the A.O.H. and the St. Anne's Young Men's Society held the parade through the streets of Griffintown in the spirit of continuity.

 

In 1928, the United Irish Societies of Montreal was founded with the mandate to continue the organizing of the parades. The U.I.S. held their first parade in 1929. The U.I.S. is still organizing the St. Patrick's Parade today.

 

During the Depression years of the 1930s the St. Patrick's Parades of Montreal became marching units as floats were discontinued to defray expenses.

 

In 1942, Montreal's 300th anniversary, fifteen parish priests petitioned the United Irish Societies to cancel the parades for the duration of the war. Many parishes and their parishioners did not participate, but the parades went on with the inclusion of the Canadian military. John Loye, President of the U.I.S., refused to cancel the parades.

 

In 1949, on March 21st. John Loye, President of the U.I.S., cancelled the parade because of inclement weather. The military command, participating, stated that they had made a commitment and would march independently. Parish units began to organize to march irrespective of the decision. When it became inevitable the parade would carry on, the President, executive and honoured guests marches as well.

 

The choice of a Grand Marshal (formerly Marshal in Chief) goes back to the origins of the St. Patrick's parades in Montreal. In 1952 the position of Chief Reviewing Officer was created. The officer of the day who took the salute from the reviewing stand on Sherbrooke Street in front of the Ritz Carlton Hotel was William J. Bryant, past president of the Irish Protestant Benevolent Society replacing J.J. Russell, the president who was unable to attend.

 

In 1956 something new was added to the celebration of St. Patrick's parades with the choice of a Queen and princesses in the parade.

 

In 1963 the Green Line was first painted down the centre of Ste. Catherine Street noting the route of the St. Patrick's parade.

 

On March 13th 1993, the eve of the St. Patrick's parade, a major snow storm hit Montreal. The media speculated that the parade would be cancelled as approximately 1.5 feet of drifting snow had fallen. On parade day, the 14th, the storm stopped in the morning and the city plows pushed the snow to the sides of Ste. Catherine Street. The parade was held with no thought of cancellation.

 

In 2002, Mabel Ann Fitzgerald, a past president of the United Irish Societies was honoured as the Chief Reviewing Officer of the Parade. The first lady to hold this position. In 2005, the first lady to be appointed to the position of Grand Marshal was Margaret Healy. In 1943, Margaret's father Thomas P. Healy M.P. was the Grand Marshal.

 

In my research, thanks in great part to two outstanding historians, John Loye and John Kenny, I am convinced that Montreal's St. Patrick's parades have been held in continuity since 1824. May it continue in the memory of those who went before us to maintain a tradition of our Irish Heritage.

 

Don Pidgeon

Historian, U.I.S.

Location : Packington (QC - CA)

Continuous cost cutting of the Matchbox line up predictably saw their Garbage King casting become plastic bodied and with no opening rear hatch. Lots of dull unpainted grey plastic too though as a concept I still appreciate its modern Eurocentric style cab which looks particularly Scania-esque. Part of the latest Case F which is literally just about to be released. Mint and boxed.

Location : Quebec City (Ste-Foy) (QC - CA)

Veolia Freightliner pulling cart

Refuse workers pay tribute to colleague Lee Percival as his funeral cortege passes through Countesthorpe in Leicester on the way to his funeral service. Lee, a man who went above and beyond for his community died aged 53 after losing his battle with cancer.

Refused (SE) ©Jean-Marc Ayer

www.flickr.com/photos/jeanmarcayer/

A Kubota refuse and recycling collection scooter operated by the City of Pepper Pike, Oh Service Dept. for "backdoor" residential collection.