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Got the old bike out - finally! Need to get it back into condition for the road, so I don't have to walk to everywhere! Ended up with a photo too. Troubled Tuesday? :-)
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SHOT DETAILS:
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Camera & lens: Nikon D90 with nikkor 35mm
Exposure:1/160
Aperture: f/1.8 at 35mm (= 52mm)
ISO:100
Flash:No
Filters:None
Tripod: No
RAW processor: Adobe Lightroom 3
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© Wan Mekwi 2011 ~ Do no use without explicit permission
Thanks for stopping by my stream! Your comments, favourites and views are greatly appreciated. :)~
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ford station wagon - custom parts and wear openhouse 2011 - nikon f2 photomic 1971 - 35mm weitwinkel wide nikkor f1:2 - fuji fujicolor superia x-tra 400
New series about my feelings of seasons changes. And first one with gold topic «Lost summer».
Acrylic and spray at canvas. 40x50 cm. Varnished. 2020
ENGLISH :
I dedicate this series to Moroccan women. I want them to know all the good that I think of them! I do not comment, I just want you to read between the "images"
All you need to make this DIY spot cooler is a bucket, some PVC pipe, a fan, and ice, reusable ice packs, and a frozen gallon jug of water—the homemade air conditioner was able to lower the temperature of a small room by only 2° to 3° F, and within 30 minutes the room temperature began to rise again.
The frozen jug of water was the best for cooling, apparently because it allows enough air to circulate around the jug to sufficiently cool it. And while the ice cubes initially produced the lowest air temperature, once they started melting the temperature measured outside the duct (pipe or cup) wasn’t much different than the room temperature. Again, the room temperature began to rise in 30 minutes.
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Condition: Fair; faded, some losses around edges; mount showing marked discolouration and damage.; Title devised by cataloguer based on caption and accompanying information.; Caption: "The Gap, Cootamundra"--Handwritten in pencil lower centre.; "Cootamundra and District Historical Society"--Stamped on verso. "From Mrs. M.E. Sedgwick, Trey St., Stockinbingal"--Handwritten on verso.; "Nicholas"--Lower right. (Probably William A. Nicholas or George H. Nicholas, photographers at Cootamundra, Cowra, Bundanoon in late 19th century.); Also available in an electronic version via the Internet at: nla.gov.au/nla.pic-an24601599. Image shows a crowd of people at the accident site of the Melbourne-Sydney passenger train hauled by engine 79 class 4-4-0, no. 81 and derailed in the flooded Salt Clay Creek near Cootamundra, 1885.--Reference: Australian railway disasters / Kenn Pearce. Smithfield, N.S.W. : IPL Books, 1994. p. 17-19.
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The Mahabharata or Mahābhārata (US /məhɑːˈbɑrətə/; UK /ˌmɑːhəˈbɑːrətə/; Sanskrit: महाभारतम्, Mahābhāratam, pronounced [məɦaːˈbʱaːrət̪əm]) is one of the two major Sanskrit epics of ancient India, the other being the Ramayana.
Besides its epic narrative of the Kurukshetra War and the fates of the Kaurava and the Pandava princes, the Mahabharata contains philosophical and devotional material, such as a discussion of the four "goals of life" or purusharthas (12.161). Among the principal works and stories in the Mahabharata are the Bhagavad Gita, the story of Damayanti, an abbreviated version of the Ramayana, and the Rishyasringa, often considered as works in their own right.
Traditionally, the authorship of the Mahabharata is attributed to Vyasa. There have been many attempts to unravel its historical growth and compositional layers. The oldest preserved parts of the text are thought to be not much older than around 400 BCE, though the origins of the epic probably fall between the 8th and 9th centuries BCE. The text probably reached its final form by the early Gupta period (c. 4th century CE). The title may be translated as "the great tale of the Bhārata dynasty". According to the Mahabharata itself, the tale is extended from a shorter version of 24,000 verses called simply Bhārata.
The Mahabharata is the longest known epic poem and has been described as "the longest poem ever written". Its longest version consists of over 100,000 shloka or over 200,000 individual verse lines (each shloka is a couplet), and long prose passages. About 1.8 million words in total, the Mahabharata is roughly ten times the length of the Iliad and the Odyssey combined, or about four times the length of the Ramayana. W. J. Johnson has compared the importance of the Mahabharata to world civilization to that of the Bible, the works of Shakespeare, the works of Homer, Greek drama, or the Qur'an.
TEXTURAL HISTORY AND STRUCTURE
The epic is traditionally ascribed to the sage Vyasa, who is also a major character in the epic. Vyasa described it as being itihāsa (history). He also describes the Guru-shishya parampara, which traces all great teachers and their students of the Vedic times.
The first section of the Mahabharata states that it was Ganesha who wrote down the text to Vyasa's dictation. Ganesha is said to have agreed to write it only if Vyasa never paused in his recitation. Vyasa agrees on condition that Ganesha takes the time to understand what was said before writing it down.
The epic employs the story within a story structure, otherwise known as frametales, popular in many Indian religious and non-religious works. It is recited by the sage Vaisampayana, a disciple of Vyasa, to the King Janamejaya who is the great-grandson of the Pandava prince Arjuna. The story is then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year sacrifice for the king Saunaka Kulapati in the Naimisha Forest.
The text has been described by some early 20th-century western Indologists as unstructured and chaotic. Hermann Oldenberg supposed that the original poem must once have carried an immense "tragic force" but dismissed the full text as a "horrible chaos." Moritz Winternitz (Geschichte der indischen Literatur 1909) considered that "only unpoetical theologists and clumsy scribes" could have lumped the parts of disparate origin into an unordered whole.
ACCRETION AND REDACTION
Research on the Mahabharata has put an enormous effort into recognizing and dating layers within the text. Some elements of the present Mahabharata can be traced back to Vedic times. The background to the Mahabharata suggests the origin of the epic occurs "after the very early Vedic period" and before "the first Indian 'empire' was to rise in the third century B.C." That this is "a date not too far removed from the 8th or 9th century B.C." is likely. It is generally agreed that "Unlike the Vedas, which have to be preserved letter-perfect, the epic was a popular work whose reciters would inevitably conform to changes in language and style," so the earliest 'surviving' components of this dynamic text are believed to be no older than the earliest 'external' references we have to the epic, which may include an allusion in Panini's 4th century BCE grammar Ashtādhyāyī 4:2:56. It is estimated that the Sanskrit text probably reached something of a "final form" by the early Gupta period (about the 4th century CE). Vishnu Sukthankar, editor of the first great critical edition of the Mahabharata, commented: "It is useless to think of reconstructing a fluid text in a literally original shape, on the basis of an archetype and a stemma codicum. What then is possible? Our objective can only be to reconstruct the oldest form of the text which it is possible to reach on the basis of the manuscript material available." That manuscript evidence is somewhat late, given its material composition and the climate of India, but it is very extensive.
The Mahabharata itself (1.1.61) distinguishes a core portion of 24,000 verses: the Bharata proper, as opposed to additional secondary material, while the Ashvalayana Grhyasutra (3.4.4) makes a similar distinction. At least three redactions of the text are commonly recognized: Jaya (Victory) with 8,800 verses attributed to Vyasa, Bharata with 24,000 verses as recited by Vaisampayana, and finally the Mahabharata as recited by Ugrasrava Sauti with over 100,000 verses. However, some scholars such as John Brockington, argue that Jaya and Bharata refer to the same text, and ascribe the theory of Jaya with 8,800 verses to a misreading of a verse in Adiparvan (1.1.81). The redaction of this large body of text was carried out after formal principles, emphasizing the numbers 18 and 12. The addition of the latest parts may be dated by the absence of the Anushasana-parva and the Virata parva from the "Spitzer manuscript". The oldest surviving Sanskrit text dates to the Kushan Period (200 CE).
According to what one character says at Mbh. 1.1.50, there were three versions of the epic, beginning with Manu (1.1.27), Astika (1.3, sub-parva 5) or Vasu (1.57), respectively. These versions would correspond to the addition of one and then another 'frame' settings of dialogues. The Vasu version would omit the frame settings and begin with the account of the birth of Vyasa. The astika version would add the sarpasattra and ashvamedha material from Brahmanical literature, introduce the name Mahabharata, and identify Vyasa as the work's author. The redactors of these additions were probably Pancharatrin scholars who according to Oberlies (1998) likely retained control over the text until its final redaction. Mention of the Huna in the Bhishma-parva however appears to imply that this parva may have been edited around the 4th century.
The Adi-parva includes the snake sacrifice (sarpasattra) of Janamejaya, explaining its motivation, detailing why all snakes in existence were intended to be destroyed, and why in spite of this, there are still snakes in existence. This sarpasattra material was often considered an independent tale added to a version of the Mahabharata by "thematic attraction" (Minkowski 1991), and considered to have a particularly close connection to Vedic (Brahmana) literature. The Panchavimsha Brahmana (at 25.15.3) enumerates the officiant priests of a sarpasattra among whom the names Dhrtarashtra and Janamejaya, two main characters of the Mahabharata's sarpasattra, as well as Takshaka, the name of a snake in the Mahabharata, occur.
HISTORICAL REFERENCES
The earliest known references to the Mahabharata and its core Bharata date to the Ashtadhyayi (sutra 6.2.38) of Pāṇini (fl. 4th century BCE) and in the Ashvalayana Grhyasutra (3.4.4). This may suggest that the core 24,000 verses, known as the Bharata, as well as an early version of the extended Mahabharata, were composed by the 4th century BCE.
A report by the Greek writer Dio Chrysostom (c. 40 - c. 120 CE) about Homer's poetry being sung even in India seems to imply that the Iliad had been translated into Sanskrit. However, scholars have, in general, taken this as evidence for the existence of a Mahabharata at this date, whose episodes Dio or his sources identify with the story of the Iliad.
Several stories within the Mahabharata took on separate identities of their own in Classical Sanskrit literature. For instance, Abhijñānashākuntala by the renowned Sanskrit poet Kālidāsa (c. 400 CE), believed to have lived in the era of the Gupta dynasty, is based on a story that is the precursor to the Mahabharata. Urubhanga, a Sanskrit play written by Bhāsa who is believed to have lived before Kālidāsa, is based on the slaying of Duryodhana by the splitting of his thighs by Bhima.
The copper-plate inscription of the Maharaja Sharvanatha (533–534 CE) from Khoh (Satna District, Madhya Pradesh) describes the Mahabharata as a "collection of 100,000 verses" (shatasahasri samhita).
HISTORICAL CONTEXT
The historicity of the Kurukshetra War is unclear. Many historians estimate the date of the Kurukshetra war to Iron Age India of the 10th century BCE. The setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.
Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit (Arjuna's grandson) and the accession of Mahapadma Nanda (400-329 BCE), which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies. Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna (Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and, assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna, and thus approximately 950 BCE for the Bharata battle.
B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE, and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.
Attempts to date the events using methods of archaeoastronomy have produced, depending on which passages are chosen and how they are interpreted, estimates ranging from the late 4th to the mid-2nd millennium BCE. The late 4th millennium date has a precedent in the calculation of the Kaliyuga epoch, based on planetary conjunctions, by Aryabhata (6th century). Aryabhatta's date of February 18 3102 BCE for Mahabharata war has become widespread in Indian tradition. Coincidentally, this marks the disppearance of Krishna from earth from many source.[36] The Aihole inscription of Pulikeshi II, dated to Saka 556 = 634 CE, claims that 3735 years have elapsed since the Bharata battle, putting the date of Mahabharata war at 3137 BCE. Another traditional school of astronomers and historians, represented by Vriddha-Garga, Varahamihira (author of the Brhatsamhita) and Kalhana (author of the Rajatarangini), place the Bharata war 653 years after the Kaliyuga epoch, corresponding to 2449 BCE.
SYNOPSIS
The core story of the work is that of a dynastic struggle for the throne of Hastinapura, the kingdom ruled by the Kuru clan. The two collateral branches of the family that participate in the struggle are the Kaurava and the Pandava. Although the Kaurava is the senior branch of the family, Duryodhana, the eldest Kaurava, is younger than Yudhisthira, the eldest Pandava. Both Duryodhana and Yudhisthira claim to be first in line to inherit the throne.
The struggle culminates in the great battle of Kurukshetra, in which the Pandavas are ultimately victorious. The battle produces complex conflicts of kinship and friendship, instances of family loyalty and duty taking precedence over what is right, as well as the converse.
The Mahabharata itself ends with the death of Krishna, and the subsequent end of his dynasty and ascent of the Pandava brothers to heaven. It also marks the beginning of the Hindu age of Kali Yuga, the fourth and final age of mankind, in which great values and noble ideas have crumbled, and man is heading towards the complete dissolution of right action, morality and virtue.
THE OLDER GENERATIONS
King Janamejaya's ancestor Shantanu, the king of Hastinapura, has a short-lived marriage with the goddess Ganga and has a son, Devavrata (later to be called Bhishma, a great warrior), who becomes the heir apparent. Many years later, when King Shantanu goes hunting, he sees Satyavati, the daughter of the chief of fisherman, and asks her father for her hand. Her father refuses to consent to the marriage unless Shantanu promises to make any future son of Satyavati the king upon his death. To resolve his father's dilemma, Devavrata agrees to relinquish his right to the throne. As the fisherman is not sure about the prince's children honouring the promise, Devavrata also takes a vow of lifelong celibacy to guarantee his father's promise.
Shantanu has two sons by Satyavati, Chitrāngada and Vichitravirya. Upon Shantanu's death, Chitrangada becomes king. He lives a very short uneventful life and dies. Vichitravirya, the younger son, rules Hastinapura. Meanwhile, the King of Kāśī arranges a swayamvara for his three daughters, neglecting to invite the royal family of Hastinapur. In order to arrange the marriage of young Vichitravirya, Bhishma attends the swayamvara of the three princesses Amba, Ambika and Ambalika, uninvited, and proceeds to abduct them. Ambika and Ambalika consent to be married to Vichitravirya.
The oldest princess Amba, however, informs Bhishma that she wishes to marry king of Shalva whom Bhishma defeated at their swayamvara. Bhishma lets her leave to marry king of Shalva, but Shalva refuses to marry her, still smarting at his humiliation at the hands of Bhishma. Amba then returns to marry Bhishma but he refuses due to his vow of celibacy. Amba becomes enraged and becomes Bhishma's bitter enemy, holding him responsible for her plight. Later she is reborn to King Drupada as Shikhandi (or Shikhandini) and causes Bhishma's fall, with the help of Arjuna, in the battle of Kurukshetra.
THE PANDAVA AND KAURAVA PRINCES
When Vichitravirya dies young without any heirs, Satyavati asks her first son Vyasa to father children with the widows. The eldest, Ambika, shuts her eyes when she sees him, and so her son Dhritarashtra is born blind. Ambalika turns pale and bloodless upon seeing him, and thus her son Pandu is born pale and unhealthy (the term Pandu may also mean 'jaundiced'). Due to the physical challenges of the first two children, Satyavati asks Vyasa to try once again. However, Ambika and Ambalika send their maid instead, to Vyasa's room. Vyasa fathers a third son, Vidura, by the maid. He is born healthy and grows up to be one of the wisest characters in the Mahabharata. He serves as Prime Minister (Mahamantri or Mahatma) to King Pandu and King Dhritarashtra.
When the princes grow up, Dhritarashtra is about to be crowned king by Bhishma when Vidura intervenes and uses his knowledge of politics to assert that a blind person cannot be king. This is because a blind man cannot control and protect his subjects. The throne is then given to Pandu because of Dhritarashtra's blindness. Pandu marries twice, to Kunti and Madri. Dhritarashtra marries Gandhari, a princess from Gandhara, who blindfolds herself so that she may feel the pain that her husband feels. Her brother Shakuni is enraged by this and vows to take revenge on the Kuru family. One day, when Pandu is relaxing in the forest, he hears the sound of a wild animal. He shoots an arrow in the direction of the sound. However the arrow hits the sage Kindama, who curses him that if he engages in a sexual act, he will die. Pandu then retires to the forest along with his two wives, and his brother Dhritarashtra rules thereafter, despite his blindness.
Pandu's older queen Kunti, however, had been given a boon by Sage Durvasa that she could invoke any god using a special mantra. Kunti uses this boon to ask Dharma the god of justice, Vayu the god of the wind, and Indra the lord of the heavens for sons. She gives birth to three sons, Yudhisthira, Bhima, and Arjuna, through these gods. Kunti shares her mantra with the younger queen Madri, who bears the twins Nakula and Sahadeva through the Ashwini twins. However, Pandu and Madri indulge in sex, and Pandu dies. Madri dies on his funeral pyre out of remorse. Kunti raises the five brothers, who are from then on usually referred to as the Pandava brothers.
Dhritarashtra has a hundred sons through Gandhari, all born after the birth of Yudhishtira. These are the Kaurava brothers, the eldest being Duryodhana, and the second Dushasana. Other Kaurava brothers were Vikarna and Sukarna. The rivalry and enmity between them and the Pandava brothers, from their youth and into manhood, leads to the Kurukshetra war.
LAKSHAGRAHA (THE HOUSE OF LAC)
After the deaths of their mother (Madri) and father (Pandu), the Pandavas and their mother Kunti return to the palace of Hastinapur. Yudhisthira is made Crown Prince by Dhritarashtra, under considerable pressure from his kingdom. Dhritarashtra wanted his own son Duryodhana to become king and lets his ambition get in the way of preserving justice.
Shakuni, Duryodhana and Dusasana plot to get rid of the Pandavas. Shakuni calls the architect Purochana to build a palace out of flammable materials like lac and ghee. He then arranges for the Pandavas and the Queen Mother Kunti to stay there, with the intention of setting it alight. However, the Pandavas are warned by their wise uncle, Vidura, who sends them a miner to dig a tunnel. They are able to escape to safety and go into hiding. Back at Hastinapur, the Pandavas and Kunti are presumed dead.
MARRIAGE TO DRAUPADI
Whilst they were in hiding the Pandavas learn of a swayamvara which is taking place for the hand of the Pāñcāla princess Draupadī. The Pandavas enter the competition in disguise as Brahmins. The task is to string a mighty steel bow and shoot a target on the ceiling, which is the eye of a moving artificial fish, while looking at its reflection in oil below. Most of the princes fail, many being unable to lift the bow. Arjuna succeeds however. The Pandavas return home and inform their mother that Arjuna has won a competition and to look at what they have brought back. Without looking, Kunti asks them to share whatever it is Arjuna has won among themselves. On explaining the previous life of Draupadi, she ends up being the wife of all five brothers.
INDRAPRASTHA
After the wedding, the Pandava brothers are invited back to Hastinapura. The Kuru family elders and relatives negotiate and broker a split of the kingdom, with the Pandavas obtaining a new territory. Yudhishtira has a new capital built for this territory at Indraprastha. Neither the Pandava nor Kaurava sides are happy with the arrangement however.
Shortly after this, Arjuna elopes with and then marries Krishna's sister, Subhadra. Yudhishtira wishes to establish his position as king; he seeks Krishna's advice. Krishna advises him, and after due preparation and the elimination of some opposition, Yudhishthira carries out the rājasūya yagna ceremony; he is thus recognised as pre-eminent among kings.
The Pandavas have a new palace built for them, by Maya the Danava. They invite their Kaurava cousins to Indraprastha. Duryodhana walks round the palace, and mistakes a glossy floor for water, and will not step in. After being told of his error, he then sees a pond, and assumes it is not water and falls in. Draupadi laughs at him and ridicules him by saying that this is because of his blind father Dhritrashtra. He then decides to avenge his humiliation.
THE DICE GAME
Shakuni, Duryodhana's uncle, now arranges a dice game, playing against Yudhishtira with loaded dice. Yudhishtira loses all his wealth, then his kingdom. He then even gambles his brothers, himself, and finally his wife into servitude. The jubilant Kauravas insult the Pandavas in their helpless state and even try to disrobe Draupadi in front of the entire court, but her honour is saved by Krishna who miraculously creates lengths of cloth to replace the ones being removed.
Dhritarashtra, Bhishma, and the other elders are aghast at the situation, but Duryodhana is adamant that there is no place for two crown princes in Hastinapura. Against his wishes Dhritarashtra orders for another dice game. The Pandavas are required to go into exile for 12 years, and in the 13th year must remain hidden. If discovered by the Kauravas, they will be forced into exile for another 12 years.
EXILE AND RETURN
The Pandavas spend thirteen years in exile; many adventures occur during this time. They also prepare alliances for a possible future conflict. They spend their final year in disguise in the court of Virata, and are discovered just after the end of the year.
At the end of their exile, they try to negotiate a return to Indraprastha. However, this fails, as Duryodhana objects that they were discovered while in hiding, and that no return of their kingdom was agreed. War becomes inevitable.
THE BATTLE AT KURUKSHETRA
The two sides summon vast armies to their help and line up at Kurukshetra for a war. The kingdoms of Panchala, Dwaraka, Kasi, Kekaya, Magadha, Matsya, Chedi, Pandyas, Telinga, and the Yadus of Mathura and some other clans like the Parama Kambojas were allied with the Pandavas. The allies of the Kauravas included the kings of Pragjyotisha, Anga, Kekaya, Sindhudesa (including Sindhus, Sauviras and Sivis), Mahishmati, Avanti in Madhyadesa, Madra, Gandhara, Bahlika people, Kambojas and many others. Before war being declared, Balarama had expressed his unhappiness at the developing conflict and left to go on pilgrimage; thus he does not take part in the battle itself. Krishna takes part in a non-combatant role, as charioteer for Arjuna.
Before the battle, Arjuna, seeing the opposing army includes many relatives and loved ones, including his great grandfather Bhishma and his teacher Drona, has doubts about the battle and he fails to lift his Gāndeeva bow. Krishna wakes him up to his call of duty in the famous Bhagavad Gita section of the epic.
Though initially sticking to chivalrous notions of warfare, both sides soon adopt dishonourable tactics. At the end of the 18-day battle, only the Pandavas, Satyaki, Kripa, Ashwatthama, Kritavarma, Yuyutsu and Krishna survive.
THE END OF THE PANDAVAS
After "seeing" the carnage, Gandhari, who had lost all her sons, curses Krishna to be a witness to a similar annihilation of his family, for though divine and capable of stopping the war, he had not done so. Krishna accepts the curse, which bears fruit 36 years later.
The Pandavas, who had ruled their kingdom meanwhile, decide to renounce everything. Clad in skins and rags they retire to the Himalaya and climb towards heaven in their bodily form. A stray dog travels with them. One by one the brothers and Draupadi fall on their way. As each one stumbles, Yudhisthira gives the rest the reason for their fall (Draupadi was partial to Arjuna, Nakula and Sahadeva were vain and proud of their looks, and Bhima and Arjuna were proud of their strength and archery skills, respectively). Only the virtuous Yudhisthira, who had tried everything to prevent the carnage, and the dog remain. The dog reveals himself to be the god Yama (also known as Yama Dharmaraja), and then takes him to the underworld where he sees his siblings and wife. After explaining the nature of the test, Yama takes Yudhishthira back to heaven and explains that it was necessary to expose him to the underworld because (Rajyante narakam dhruvam) any ruler has to visit the underworld at least once. Yama then assures him that his siblings and wife would join him in heaven after they had been exposed to the underworld for measures of time according to their vices.
Arjuna's grandson Parikshit rules after them and dies bitten by a snake. His furious son, Janamejaya, decides to perform a snake sacrifice (sarpasattra) in order to destroy the snakes. It is at this sacrifice that the tale of his ancestors is narrated to him.
THE REUNION
The Mahabharata mentions that Karna, the Pandavas, and Dhritarashtra's sons eventually ascended to svarga and "attained the state of the gods" and banded together — "serene and free from anger."
THEMES
JUST WAR
The Mahabharata offers one of the first instances of theorizing about "just war", illustrating many of the standards that would be debated later across the world. In the story, one of five brothers asks if the suffering caused by war can ever be justified. A long discussion ensues between the siblings, establishing criteria like proportionality (chariots cannot attack cavalry, only other chariots; no attacking people in distress), just means (no poisoned or barbed arrows), just cause (no attacking out of rage), and fair treatment of captives and the wounded.
Versions, translations, and derivative works.
CRITICAL EDITION
Between 1919 and 1966, scholars at the Bhandarkar Oriental Research Institute, Pune, compared the various manuscripts of the epic from India and abroad and produced the Critical Edition of the Mahabharata, on 13,000 pages in 19 volumes, followed by the Harivamsha in another two volumes and six index volumes. This is the text that is usually used in current Mahabharata studies for reference. This work is sometimes called the "Pune" or "Poona" edition of the Mahabharata.
REGIONAL VERSIONS
Many regional versions of the work developed over time, mostly differing only in minor details, or with verses or subsidiary stories being added. These include the Tamil street theatre, terukkuttu and kattaikkuttu, the plays of which use themes from the Tamil language versions of Mahabharata, focusing on Draupadi.
Outside the Indian subcontinent, in Indonesia, a version was developed in ancient Java as Kakawin Bhāratayuddha in the 11th century under the patronage of King Dharmawangsa (990–1016), and later it spread to neighboring island of Bali where today remains a Hindu majority island, despite today Indonesia is the most populous Muslim majority nation. It has become the fertile source for Javanese literature, dance drama (wayang wong), and wayang shadow puppet performances. This Javanese version differ slightly from the original Indian version. For example Draupadi is only be wed to Yudhisthira, not to the entire Pandavas brothers, this might demonstrate ancient Javanese opposition of polyandry practice. The author later added some female characters to be wed to the Pandavas. Arjuna for example is described as having many wives and consorts next to Subhadra. Another difference is Shikhandi did not undergone sex change and remains as a woman, to be wed to Arjuna, and took the role as a warrior princess during the war. Another twist is Gandhari was described as antagonist character that hates Pandava so much. Her hate was out of jealousy, because during svayambara for the hand of Gandhari, she was actually in love with Pandu, but later being wed to his blind elder brother instead, whom she does not love, as a protest she then blindfold herself. Another notable difference is the inclusion of Punakawans, the clown servants of the main characters in the storyline, which is not found in Indian version. This characters includes Semar, Petruk, Gareng and Bagong, they are much-loved by Indonesian audiences. There are some spin-off episode developed in ancient Java, such as Arjunawiwaha composed in 11th century.
A Kawi version of the Mahabharata, of which eight of the eighteen parvas survive, is found on the Indonesian island of Bali. It has been translated into English by Dr. I. Gusti Putu Phalgunadi.
TRANSLATIONS
A Persian translation of Mahabharta, titled Razmnameh, was produced at Akbar's orders, by Faizi and `Abd al-Qadir Bada'uni in the 18th century.
The first complete English translation was the Victorian prose version by Kisari Mohan Ganguli, published between 1883 and 1896 (Munshiram Manoharlal Publishers) and by M. N. Dutt (Motilal Banarsidass Publishers). Most critics consider the translation by Ganguli to be faithful to the original text. The complete text of Ganguli's translation is in the public domain and is available online.
Another English prose translation of the full epic, based on the Critical Edition, is in progress, published by University Of Chicago Press. It was initiated by Indologist J. A. B. van Buitenen (books 1–5) and, following a 20-year hiatus caused by the death of van Buitenen, is being continued by D. Gitomer of DePaul University (book 6), J. L. Fitzgerald of Brown University (books 11–13) and Wendy Doniger of the University of Chicago (books 14–18).
An early poetry translation by Romesh Chunder Dutt and published in 1898 condenses the main themes of the Mahabharata into English verse. A later poetic "transcreation" (author's own description) of the full epic into English, done by the poet P. Lal is complete, and in 2005 began being published by Writers Workshop, Calcutta. The P. Lal translation is a non-rhyming verse-by-verse rendering, and is the only edition in any language to include all slokas in all recensions of the work (not just those in the Critical Edition). The completion of the publishing project is scheduled for 2010. Sixteen of the eighteen volumes are now available.
A project to translate the full epic into English prose, translated by various hands, began to appear in 2005 from the Clay Sanskrit Library, published by New York University Press. The translation is based not on the Critical Edition but on the version known to the commentator Nīlakaṇṭha. Currently available are 15 volumes of the projected 32-volume edition.
Indian economist Bibek Debroy has also begun an unabridged English translation in ten volumes. Volume 1: Adi Parva was published in March 2010.
Many condensed versions, abridgements and novelistic prose retellings of the complete epic have been published in English, including works by Ramesh Menon, William Buck, R. K. Narayan, C. Rajagopalachari, K. M. Munshi, Krishna Dharma, Romesh C. Dutt, Bharadvaja Sarma, John D. Smith and Sharon Maas.
DERIVATIVE LITERATURE
Bhasa, the 2nd- or 3rd-century CE Sanskrit playwright, wrote two plays on episodes in the Marabharata, Urubhanga (Broken Thigh), about the fight between Duryodhana and Bhima, while Madhyamavyayoga (The Middle One) set around Bhima and his son, Ghatotkacha. The first important play of 20th century was Andha Yug (The Blind Epoch), by Dharamvir Bharati, which came in 1955, found in Mahabharat, both an ideal source and expression of modern predicaments and discontent. Starting with Ebrahim Alkazi it was staged by numerous directors. V. S. Khandekar's Marathi novel, Yayati (1960) and Girish Karnad's debut play Yayati (1961) are based on the story of King Yayati found in the Mahabharat. Bengali writer and playwright, Buddhadeva Bose wrote three plays set in Mahabharat, Anamni Angana, Pratham Partha and Kalsandhya. Chitra Banerjee Divakaruni wrote a version from the perspective of Draupadi entitled The Palace of Illusions: A Novel, which was published in 2008.
Amar Chitra Katha published a 1,260 page comic book version of the Mahabharata.
IN FILM AND TELEVISION
In Indian cinema, several film versions of the epic have been made, dating back to 1920. In Telugu film Daana Veera Soora Karna (1977) directed by and starring N. T. Rama Rao depicts Karna as the lead character. The Mahabharata was also reinterpreted by Shyam Benegal in Kalyug. Prakash Jha directed 2010 film Raajneeti was partially inspired by the Mahabharata. A 2013 animated adaptation holds the record for India's most expensive animated film.
In the late 1980s, the Mahabharat TV series, directed by Ravi Chopra, was televised on India's national television (Doordarshan). In the Western world, a well-known presentation of the epic is Peter Brook's nine-hour play, which premiered in Avignon in 1985, and its five-hour movie version The Mahabharata (1989).
Uncompleted projects on the Mahabharata include a ones by Rajkumar Santoshi, and a theaterical adaptation planned by Satyajit Ray
JAIN VERSION
ain version of Mahabharata can be found in the various Jain texts like Harivamsapurana (the story of Harivamsa) Trisastisalakapurusa Caritra (Hagiography of 63 Illustrious persons), Pandavacaritra (lives of Pandavas) and Pandavapurana (stories of Pandavas). From the earlier canonical literature, Antakrddaaśāh (8th cannon) and Vrisnidasa (upangagama or secondary canon) contain the stories of Neminatha (22nd Tirthankara), Krishna and Balarama. Prof. Padmanabh Jaini notes that, unlike in the Hindu Puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half of time cycles of the Jain cosmology and rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the Jinacharitra by Bhadrabahu swami (4th–3rd century BCE). According to Jain cosmology Balarama, Krishna and Jarasandha are the ninth and the last set of Baladeva, Vasudeva, and Partivasudeva. The main battle is not the Mahabharata, but the fight between Krishna and Jarasandha (who is killed by Krishna). Ultimately, the Pandavas and Balarama take renunciation as Jain monks and are reborn in heavens, while on the other hand Krishna and Jarasandha are reborn in hell. In keeping with the law of karma, Krishna is reborn in hell for his exploits (sexual and violent) while Jarasandha for his evil ways. Prof. Jaini admits a possibility that perhaps because of his popularity, the Jain authors were keen to rehabilitate Krishna. The Jain texts predict that after his karmic term in hell is over sometime during the next half time-cycle, Krishna will be reborn as a Jain Tirthankara and attain liberation. Krishna and Balrama are shown as contemporaries and cousins of 22nd Tirthankara, Neminatha. According to this story, Krishna arranged young Neminath’s marriage with Rajamati, the daughter of Ugrasena, but Neminatha, empathizing with the animals which were to be slaughtered for the marriage feast, left the procession suddenly and renounced the world.
CULTURAL INFLUENCE
In the Bhagavad Gita, Krishna explains to Arjuna his duties as a warrior and prince and elaborates on different Yogic and Vedantic philosophies, with examples and analogies. This has led to the Gita often being described as a concise guide to Hindu philosophy and a practical, self-contained guide to life. In more modern times, Swami Vivekananda, Bal Gangadhar Tilak, Mahatma Gandhi and many others used the text to help inspire the Indian independence movement.
WIKIPEDIA
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That's right hand held in scorching heat and high humidity.
We are in the monsoon season but the heat is hovering around 40C with the humidity near 100% !!!
There is one ceiling fan above us and 30 little body's generating enough energy to power Bangkok for a week=Heat..;-0
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Smart little girl thinking ahead brings her own fan to help fight the sweltering heat.
Shooting with a D300 Nikon, 17-55 2.8 Nikkor .
Jon&Crew.
Please help with your temple dog donations here.
www.gofundme.com/f/help-for-abandoned-thai-temple-dogs
Please,
No Political Statements, Awards,
Invites Large Logos or Copy/Pastes.
© All rights reserved.
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Model: me
Make -up: by me
Jewelery: ear rings only
Assistant: my camera
Lights: natural light ( which I love so much )
Conditioned, soft, skin. Try our exfoliation Wrap
This particular Figaro was in good condition when it was spotted on the 22nd of July 2014 at its home in Allestree, Derbyshire. This particular BMW was made back in 1991 and it was first registered in the UK, on the 10th of November 2005 so it has presumably been imported into the UK, like most of these Figaro’s have been. This one does have its original engine according to the DVLA, a 1.0 Litre (0980cc) Straight-Four Nissan MA engine which runs on petrol. This particular Figaro had a few small rust patches but was a very clean car other than those small areas.
Two sizes of Epoch Ava puhi moni Shampoo and Light Conditioner on a purple background with a pretty yellow flower.
Location: Diversion Road Brgy. Banaba South Batangas City
Operator: Ceres Transport
Bus No: 11122
Classification: Air Conditioned
Area of Operation: Provincial Operation
Model: Nissan Diesel King Long XMQ6119T
Body: Xiamen King Long United Automotive Industry Co. Ltd.
Seating Configuration: 2x2
Transmission: Manual (6 gears forward & 1 reverse)
Built in 1963, this fanatic elevator kept in amazing condition by the museum, was great to see and photograph.
The Prairie Elevator Museum is a former Alberta Wheat Pool grain elevator that has been restored and converted into a community gift shop and tea house. The elevator stands within the Hamlet of Acadia Valley, Alberta, next to the defunct Canadian National Railway track bed.
The last of three, the former Alberta Wheat Pool, was saved from demolition when local residents in and around the community of Acadia Valley rallied together to save the last elevator. The elevator has since been completely restored to working condition but is not operable. Within the site are a tea house, a gift shop and a museum. The museum was created to explain how earlier examples of the wood-cribbed grain elevators used work and handle millions of bushels of grain and the importance they once held in many smaller communities, a prairie landmark that continues to disappear across the horizon of the North American prairies.
A restored Canadian National Railway (CNR) caboose has also been placed on the former track bed of the defunct Canadian National Railway. The caboose was placed to remember that there was a railroad that once came through the hamlet of Acadia Valley.
Alcazar Air purifier and air conditioner combination with all hook up and clean filter $125,000 (originally $250,000) (USD $236)
Since the condition of my shoulder and arm is deteriorating, I had to find me some stabilized lenses. My best friend sold me his 18-55 USM IS kit lens and his wonderful 55-250 mm, again USM IS.
Besides that, he had a good external flash for me.
This is a test shot with the 18-55 IS kit lens and the external flash in order not to over lit the white parts of the kitten's fur. I had to act quickly as the kitten is all over the house :-)
By the way: there are two more, but for some reason this one seems to love the camera.
Straight out of the camera, no enhancements whatsoever except for some cropping at the right side.
After all, you can't tell a playing kitten how to pose :-)
UPDATE JAN.1st 2010: 2nd place winner in the contest Pet Super Star 2009 from the (Pet Portraits) Group. Thank you very much for voting and appreciating this picture, it is a great honour!
Laurent Giles Dorus Mohr ketch, another superb powerful yacht from this famous yacht designer. The first of 4 to be built, the original construction of this yacht was no expense spared, all teak hull, decks and superstructure. 4 cylinder Gardner engine. 4 berths in 2 luxurious double cabins, plus settee berth in the saloon. Good 2010 survey report. This is a very comprehensively equipped yacht in extremely smart condition and ready to go. A better example you will not find.
£ 98,000
Specs
Builder: Port Hamble Ltd
Designer: J. Laurent Giles
Flag of Registry: United Kingdom
Keel: Full
Hull Shape: Displacement
Dimensions
Beam: 12 ft 2 in
LWL: 38 ft 0 in
Length on Deck: 49 ft 3 in
Minimum Draft: 6 ft 0 in
Maximum Draft: 6 ft 0 in
Engines
Total Power: 56 HP
Engine 1:
Engine Brand: Gardner
Engine Model: 4LW
Engine/Fuel Type: Diesel
Propeller: 3 blade propeller
Drive Type: Direct Drive
Engine Power: 56 HP
Tanks
Fresh Water Tanks: (280)
Fuel Tanks: (134)
Accommodations
Number of single berths: 1
Number of twin berths: 2
Number of cabins: 3
Number of heads: 2
Number of bathrooms: 2
Electronics
Autopilot - Autohelm 7000
Compass
Radar
VHF - Navico. XM DSC.
Radar Detector
Depthsounder - Autohelm
Plotter - Garmin
Wind speed and direction
Log-speedometer
Sails
Battened mainsail
Genoa
Rigging
Steering wheel
Inside Equipment
Oven
Refrigerator
Marine head
Electric bilge pump
Manual bilge pump
Battery charger - Numar
Hot water - Valiant gas heaters
Heating - Eberspacher warm air and Shipmate solid fuel.
Electrical Equipment
Shore power inlet
Outside Equipment/Extras
Liferaft - 6 man
Tender - Plastimo 240 + Tohatsu outboard
Total Liferaft Capacity: 6
Electric windlass
Covers
Mainsail cover
Lazyjacks
Full specification
A classic Jack Laurent Giles design, the first of 4 that were been built to this design.
Built by Port Hamble Ltd, in 1961. This is a top quality and very expensive original construction in all teak hull, deck and superstructure.
She has had a recent refit, autumn 2010 and is looking very smart indeed.
The hull is planked in teak, all copper and bronze fastened to heavy oak frames with twin steamed intermediates
Oak floors on the heavy frames, galvanised straps on the steamed timbers.
Lead keel, bronze keel bolts.
Extra thick sheer strake in classic Laurent Giles style with gold cove line.
Exceptionally fair hull.
Solid yacht-laid teak deck, caulked and payed with varnished king plank and cover-boards and deep varnished teak toe rail.
Stainless steel stanchions, pulpit and push-pit.
Delta plough anchor self-stows in a stemhead fitting.
Danforth bower anchor self stows in a hawse in the stbd bow with stainless steel protection plate.
Superstructure in 4 parts:
a shallow coach-roof over the fore cabin, galley and fwd heads:
the next step up over the sunken deck saloon
step up to the wheel shelter over the midships cock-pit
after coach-roof over the aft cabin.
The coamings are in varnished teak with chromed port holes and window frames.
Varnished grab rails on the coach-roof decks
Fine chromed vents on Dorade boxes.
Modern Lewmar style flush deck hatch on the fore deck.
Perspex roof in the wheel shelter allows the helmsman to see the sails above.
Bermudian ketch rig on varnished spruce masts and spars.
The main mast is stepped on the forward coach-roof with a steel tube compression post
below. Single spreaders with jumper struts above.
Stainless steel rigging with swaged terminals and bronze rigging screws to internal
stainless steel chain plates.
Twin lowers and cap shrouds, twin fore stays to the stemhead, twin standing back-stays.
Twin topping lifts to the main boom which stows in a crutch on the wheel-house roof.
Main boom 3-point attachment sheet on the after coach-roof.
The mizzen mast is stepped through the aft deck.
Cap shrouds round twin forward swept spreaders, twin well-spaced lowers, twin standing back-stays to the push-pit.
Mizzen boom sheets to the push-pit.
3 x Barlow 26 top action sheet winches on the after coach-roof under the wheel shelter.
Pair of captive wire and brake halyard winches on the main mast take the headsail and main sail halyards.
Single top-action Lewmar winch on the main mast.
Mizzen mast halyard winch.
Sails
Mainsail with lazy jacks and sail cover
Mizzen with lazy jacks and sail cover
Genoa.
Gardner 4LW 56hp 4-cyl diesel engine with Gardner gear-box to centre-line 3-blade prop.
Fresh water cooled with remote header tank.
Remote heat exchanger.
Borg Warner Velvet Drive gear box allows very smooth gear change.
Separate gear and throttle controls.
Tanks:
Fuel 603 litres
Water 1278 litres.
Batteries
Engine start 2 x 12v
Service 4 x 12v
Numar battery charger
Accommodation:
4 berths + saloon settee.
V-berths in for cabin.
Centre bulkhead door to passageway with stbd heads and port galley.
The heads compartment has a Blake sea toilet with varnished teak seat, porcelain hand
Basin and shower. Teak grating shower tray. Paloma gas bulkhead mounted water heater.
Galley with Plastimo Neptune 2500 2 burner grill and oven gas cooker, new 2010, sink,fridge and Valiant gas water heater on the bulkhead.
Steps up to the saloon with U-shaped dinette to port upholstered in blue fabric around the double drop leaf teak table.
Chart desk/side-board down to stbd side with drawers and cupboards under and stowage under the side deck.
Shipmate stainless steel sold fuel cabin heater on the fwd bulkhead with flue to deck,
tiles on the bulkhead behind.
Beautiful varnished teak joinery, glinting brass of lamps, clock and barometer.
Centre-line step up to the cock-pit with port helm and helmsman’s seat. Seat lockers each side.
From the saloon, steps down in the after stbd corner to a passageway through to the aft cabin.
Lockers to stbd under the side deck. Engine room to port.
Aft cabin with port and stbd berths, dressing table between.
Hanging locker in the fwd stbd corner by the door, heads compartment in the forward port corner with Blake sea toilet, porcelain hand basin, shower with hot water from
Valiant gas waster heater on the bulkhead.
All original varnished mahogany joinery with drawers under the generous berths.
Compass,
Radar
XM DSC VHF
Navico VHF
Garmin 65 GPS
Garmin Map 185 chart plotter
Autohelm 7000 auto-pilot
Autohelm speed indicator
Autohelm depth sounder
Autohelm wind indicator
Autohelm electronic compass
Clock and barometer
Rudder indicator
Eberspacher warm air cabin heater.
Kent Clearview screen
Boarding ladder
Vetus 24v windlass
Ample chain
Danforrth bower anchor
Delta kedge anchor
Plastimo 240 RIB with Tohatsu o/b engine
S/s davits over the stern
6-man life raft
2 x life buoys with lights
Radar reflector
Manual and 12v bilge pumps
Plastimo MOB rescue sling.
Warps and fenders
An exceptionally fine and practical classic yacht.
Inspected spring 2011.
2010 survey report.
Air conditioned Volvo B7RLE Wright Eclipse Urban YJ08 XYT is seen in seldom surroundings for a First bus at Crichton Avenue shops - usually First buses only come this way on diversion since they stopped running the 14 service several years ago.... on this occasion due to very heavy traffic at Wigginton Road and around Clifton Moor this was just starting as a duplicate on the 6 to commence from Burton Green for Osbaldwick and the university
The Hotel Granwood in Detroit, located on Woodward Avenue. it appears the man would rather sleep against the lampost than go in there...I don't blame him.
The four-story, 80-unit residential hotel caught fire on St. Patrick’s Day 2000, ousting all 100 residents and leaving them homeless, taking 1 life.
Here is a very old Philco unit. i have no idea what the inside of this unit looks like, although i am very curious to know. if you know anything about this style unit, please let us all know.
Air-Conditioned – Steam Heat – Telephones & T.V.
Tubs and Large Showers
2 Restaurants Near By
Approved National AA
On U. S. Hwys. 60-62 & 68. Phone 36246
Bridge Street, Paducah
John Nelson, Owner
Thank You Stop Again
Nearest To Downtown Paducah 1½ Miles.
Candid "very low-light" shot in the local village hall. Bacon sandwiches on Saturday morning.
Happiness is a mental or emotional state of well-being characterized by positive or pleasant emotions ranging from contentment to intense joy.[1] A variety of biological, psychological, religious, and philosophical approaches have striven to define happiness and identify its sources. Various research groups, including positive psychology, endeavor to apply the scientific method to answer questions about what "happiness" is, and how it might be attained. It is of such fundamental importance to the human condition that "life, liberty and the pursuit of happiness" were deemed to be unalienable rights by the United States Declaration of Independence.
Philosophers and religious thinkers often define happiness in terms of living a good life, or flourishing, rather than simply as an emotion. Happiness in this sense was used to translate the Greek Eudaimonia, and is still used in virtue ethics.
ISO 6400 not a normal sort of portrait setting ! but I liked the expression on this guys face as the delights of a "bacon sandwich" started to sink in.