Saddleworth is a civil parish of the Metropolitan Borough of Oldham in Greater Manchester, England. It comprises several villages and hamlets as well as suburbs of Oldham on the west side of the Pennine hills.

Areas include Austerlands, Delph, Denshaw, Diggle, Dobcross, Friezland, Grasscroft, Greenfield, Grotton, Lydgate, Scouthead, Springhead and Uppermill.

Saddleworth lies east of Oldham and  northeast of Manchester. It is broadly rural and had a population of 25,460 at the 2011 Census, making it one of the larger civil parishes in the United Kingdom.

Historically in the West Riding of Yorkshire and following the Industrial Revolution, in the 18th and 19th centuries, Saddleworth became a centre for cotton spinning and weaving. By the end of Queen Victoria's reign, mechanised textile production had become a vital part of the local economy. The Royal George Mill, owned by the Whitehead family, manufactured felt used for pianofortes, billiard tables and flags.

Following the Great Depression Saddleworth's textile sector declined. Much of Saddleworth's architecture and infrastructure dates from its textile processing days however, notably the Saddleworth Viaduct and several cottages and terraces, many built by the local mill owners.

For centuries Saddleworth was linked, ecclesiastically, with the parish of Rochdale and was long talked of as the part of Yorkshire where Lancastrians lived. The former Saddleworth Urban District was the only part of the West Riding to have been amalgamated into Greater Manchester in 1974. However, strong cultural links with Yorkshire remain amongst its communities. There are several brass bands in the parish.

History

Early history
The first documentary evidence of Saddleworth appears in the Domesday Book of 1086, in which it is referred to as "Quick", spelt "Thoac"; where it is described as "Land of the King in Eurvicsire (Yorkshire), Agbrigg Wapentake."

The history of the region clearly dates further back than the Domesday Book however. Place names derived from Celtic and Anglian dialects, along with the discovery of flint arrowheads and gold Viking rings all point to a much earlier Saddleworth, possibly as old as the Stone Age.  A Roman road from Chester to York passed through the area. Castleshaw Roman fort was built to defend and patrol the local section of the road. The first fort on the site was an Agricolan-period fort, built in turf and timber c. AD 79. This was refurbished soon after construction and then abandoned c. AD 95. Within the south eastern half of the fort, a fortlet was constructed, also in turf and timber, c. AD 105. This was redeveloped during its brief occupation and then abandoned again c. AD 125. In the Saddleworth area is a bowl barrow, which may be Bronze Age, located at  . Despite excavations, no grave goods or human remains have been found in the barrow.

Industrial history

The steep slopes of the Saddleworth area and the acidic soils of the region have never been particularly conducive to intensive farming; meaning that long before the Victorian era, Saddleworth already had a long established, albeit domestic, textile tradition. Small, basic mills had been existent in Saddleworth before the industrial revolution, but these were increasingly replaced by larger more intensive establishments. By the end of Queen Victoria's reign, mechanised textile production had become a vital part of the local economy.

The boom in industry that had occurred in Saddleworth during the Industrial Revolution called for greater transport links. Construction of the Huddersfield Narrow Canal was begun in 1794, at the height of Canal Mania, connecting Huddersfield to Stalybridge via Saddleworth and completed seventeen years later in 1811; when the Standedge Canal Tunnel at Diggle was finally opened. The decline of canals and the rise of steam powered locomotives left the canal falling behind the competition, and so it was decided that a railway tunnel would be built parallel to the canal, which was completed in 1848. The rise in traffic demanded a second tunnel be built, completed in 1871. Both of these were single line tunnels and eventually superseded by the 1894 tunnel, a double line tunnel, which is the only one of the three still regularly carrying passengers.

The three brothers, Ralph Radcliffe Whitehead, James Heywood Whitehead and Francis Frederick Whitehead, were extremely philanthropic and amongst other bequests in the 1850s built Christ Church in Friezland along with the Parsonage, School and Headmaster's house. The land on which these were built was purchased in 1849 from L. & N.W. Railway Company. The Church School has been rebuilt and the Parsonage and grounds, built in the Gothic Revival style and referred to in Pevsner's Guide, has become a Grade II listed building, now in private hands. The boom in industry called for greater transport links, including the Huddersfield Narrow Canal and several railways.

Unlike the majority of the Oldham Metropolitan Borough, where the industrial architecture was generally constructed from Accrington redbrick, Saddleworth's textiles mills and supporting infrastructure was made from the local millstone grit. This is in keeping with other settlements amongst the  southwest Pennines, such as Milnrow near Rochdale.

Governance
Although on the western side of the Pennine watershed, Saddleworth, or 'Quick' as it was once known, has lain within the historic county boundaries of Yorkshire since the middle ages. From a very ancient time, the area formed part of the Agbrigg Wapentake, in the "Land of the King in Eurvicsire" (Yorkshire).

For a time, during the 17th century, Saddleworth constituted a chapelry within the ancient parish of Rochdale in Salfordshire, the other parts of which were entirely in the ancient county of Lancashire.

In 1866 it became a civil parish in its own right and in 1889 became part of the administrative county of the West Riding of Yorkshire. In 1894 the parish's boundaries were altered with the parts in Quickmere Middle Division (Springhead), Mossley and Uppermill becoming Urban Districts. The residue became a single-parish rural district.

In 1872, Saddleworth was recorded to be "a hamlet, a chapelry, a township, and a district, in Rochdale parish and West Riding of Yorkshire". At this time, a post office for the area was found under the name of Uppermill which was under Manchester.

In 1900 the boundaries were changed again with the inclusion of Uppermill, and the single-parish rural district being instead replaced by the "Saddleworth Urban District". In 1937 it incorporated Springhead Urban District.

Under the Local Government Act 1972, the West Riding County Council was abolished and Saddleworth was incorporated, for administrative purposes, into the Metropolitan Borough of Oldham in the metropolitan county of Greater Manchester.

Unlike neighbouring Shaw and Crompton, Saddleworth is a successor parish, and thus was automatically granted civil parish status in 1974, when its urban district status was abolished. Up until 1996, Saddleworth's official postal county was Lancashire, due to it forming part of the Oldham post town. Postal counties were abolished in 1996.

Parliamentary representation
Saddleworth forms part of the Oldham East and Saddleworth parliamentary constituency, of which the Member of Parliament is Debbie Abrahams. It is split into three electoral wards; Saddleworth North, Saddleworth South and Saddleworth West and Lees

Geography
Saddleworth makes up around 52%  of the Metropolitan Borough of Oldham in terms of area, and remains largely rural. Saddleworth Moor in the Dark Peak area of the Peak District National Park is a moorland plateau that straddles the boundary with West Yorkshire.

Bounded directly to the west by Oldham and the Metropolitan Borough of Rochdale in the north, Tameside in the south and Kirklees in the east. Saddleworth is  southwest of Huddersfield.

Settlements

Saddleworth contains a collection of villages and hamlets, including:

Demography
At the 2001 UK census, Saddleworth had a total population of 24,351. For every 100 females, there were 94.7 males. The average household size was 2.39. Of those aged 16–74 in Saddleworth, 45.3% had no academic qualifications or one GCSE, lower than the figures for all of the Metropolitan Borough of Oldham (55.2%) and about the same for England (45.5%). According to the census, 1.9% were unemployed and 28.2% were economically inactive. 18.5% of the population were under the age of 16 and 7.3% were aged 75 and over; the mean age of the people of Saddleworth was 40.92. 71.5% of residents described their health as 'good'.

Population change

Culture

Identity
Since the local government reforms of 1974, some of the people of Saddleworth have been uneasy about their primary geographic reference frame, with parts of the local community feeling aggrieved at Saddleworth forming part of Greater Manchester. Saddleworth, where the local architecture of stone cottages is of the Yorkshire type, is the only part of the Metropolitan Borough of Oldham to come from the historic county boundaries of Yorkshire, the rest being from Lancashire. It is also the only part of the metropolitan county of Greater Manchester which lay within those borders.

The Saddleworth White Rose Society organises events every Yorkshire Day (1 August) to promote its contention that Saddleworth remains part of the West Riding of Yorkshire. The Prince of Wales referred to Saddleworth's continuing Yorkshire status when he visited the area in 2001 saying "The fact that Saddleworth is still part of the historic West Riding is extremely important".

In 2004, public meetings were held to discuss the feasibility of splitting Saddleworth from the Borough of Oldham. Some residents at the time said they would prefer to become part of the metropolitan county of West Yorkshire or a new South Pennine authority, connecting rural towns and villages on both sides of the border. Even though such a move could involve merging with the neighbouring Metropolitan Borough of Kirklees, Oldham councillors maintained the split was not feasible as Saddleworth does not have sufficient hospital provision, civic buildings, transport, schooling nor other infrastructure in its own right. Councillor Ken Hulme arranged a meeting for the matter to be discussed. One councillor remarked "They [Saddleworth] want a bigger slice of the pie than the rest of the borough. The people of the rest of Oldham are not going to subsidise Saddleworth, and Saddleworth can't go it alone. It couldn't afford to provide the services it needs."

In 2010, Oldham Metropolitan Borough Council erected new signs along its boundaries. Those marking the boundary of Saddleworth say 'in the historic County of York' at the top, alongside a white rose. Later in the year, signs were unveiled by local dignitaries at Grains Bar marking the historic border between Lancashire and Yorkshire.

Whit Friday
Saddleworth has a large number of annual customs and traditions, many of which are held during Whitsuntide. On Whit Friday morning, congregations from the churches of all of the Saddleworth villages hold their Walk of Witness and congregate in Uppermill to take part in a religious service. Later in the evening, the Whit Friday brass band contests take place. The band contests originated in Saddleworth and the nearby towns of Mossley and Stalybridge in 1884 and are still centred on the local area. The first band to win in Uppermill was the Wyke Temperance Band. Bands from around the country, and indeed the world, travel to the area annually to compete. Due to the huge popularity of the event, Whit Friday band contests are now held in others of Saddleworth's surrounding villages. In the village of Dobcross a Henry Livings memorial prize is open to bands who play on any of the morning's walks on Whit Friday.

Sadd Fest
The Festival spotlights musical talent from local bands and artists to raise money for charity.
This event was started in 2013 by the Saddleworth branch of the Round Table as an alternative to the prior 'Beer Walk' event which was cancelled in 2011. The beer walk started in 1973. Participants walked around Saddleworth in fancy dress, stopping at pubs. Spectators were encouraged to donate money for charity. It was organised for 39 years, however due to 4,000 (approx) unofficial walkers taking part in the event, in addition to the 2,500 official walkers, the police estimated it would cost £58,000 to stage the walk in 2012. However, some people continue to do the walk unofficially.

Rushcart

The origin of the event is unclear, however it is unlikely to be before 1800. By the early 20th century the tradition had died out due to the railways, as the local population travelled further for their annual break during the Saddleworth Wakes week. However The Rushcart was revived in 1975 by the newly formed Saddleworth Morris Men following research by Fred Broadbent and Peter Ashworth, who were able to still hear the stories of the Rushcart from the older members of the community. The audience at the time was small, which is in stark contrast to the numbers that gather now.

Yanks Weekend
The event started in 2001 to celebrate the local filming of the Hollywood film Yanks in 1979 starring Richard Gere. Many locations in Uppermill and neighbouring Dobcross were used in the film.

Yorkshire Day
The event has been held on 1 August every year, since 1975. Initially it was a protest movement against the Local Government re-organisation of 1972, and the date alludes to the Battle of Minden; and the anniversary of the 1834 emancipation of slaves in the British Empire, for which Yorkshire MP William Wilberforce had campaigned.

Sport
Saddleworth Cricket Club play home matches at their Well-i-Hole ground in Friezland. They are members of the Greater Manchester Cricket League.
Saddleworth Rangers are an amateur rugby league club who play home matches at Greenfield.
Saddleworth Clarion is the area's cycling club, catering for on and off-road club cycling
Tame Valley Tennis and Squash Club (TVTSC) is located in Greenfield providing four tennis courts and three squash courts.

See also

Listed buildings in Saddleworth

References

External links

Saddleworth Parish Council
Saddleworth News
Saddleworth New Venture
Dobcross Diary
Saddleworth Online
Saddleworth Historical Society
Saddleworth Museum

Civil parishes in Greater Manchester
Geography of the Metropolitan Borough of Oldham

Saddleworth


Angtha es una localidad de la India en el distrito de Thoubal, estado de Manipur.

Geografía
Se encuentra a una altitud de 790  a 32 km de la capital estatal, Imfal, en la zona horaria UTC +5:30.

Demografía
Según estimación 2010 contaba con una población de 3 034 habitantes.

Referencias

Enlaces externos

Localidades de Manipur

Angtha


Tulsidas (; born Rambola Dubey also known as Goswami Tulsidas; 11 August 1511–30 July 1623) was a Vaishnava Hindu saint and poet, renowned for his devotion to the deity Rama. He wrote several popular works in Sanskrit, Awadhi, and Braj, but is best known as the author of the Hanuman Chalisa and of the epic Ramcharitmanas, a retelling of the Sanskrit Ramayana based on Rama's life in the vernacular Awadhi.

Tulsidas spent most of his life in the city of Varanasi and Ayodhya. The Tulsi Ghat on the Ganges River in Varanasi is named after him. He founded the Sankatmochan Temple dedicated to Hanuman in Varanasi, believed to stand at the place where he had the sight of the deity. Tulsidas started the Ramlila plays, a folk-theatre adaptation of the Ramayana.

He has been acclaimed as one of the greatest poets in Hindi, Indian, and world literature. The impact of Tulsidas and his works on the art, culture and society in India is widespread and is seen to date in vernacular language, Ramlila plays, Hindustani classical music, popular music, and television series.

Transliteration and etymology

The Sanskrit name of Tulsidas can be transliterated in two ways. Using the original Sanskrit, the name is written as Tulasīdāsa. Using the Hunterian transliteration system, it is written as Tulsidas or Tulsīdās reflecting the vernacular pronunciation (since the written Indian languages maintain the vestigial letters that are no longer pronounced). The lost vowels are an aspect of the Schwa deletion in Indo-Aryan languages and can vary between regions. The name is a compound of two Sanskrit words: Tulasī, which is an Indian variety of the basil plant considered auspicious by Vaishnavas (devotees of god Vishnu and his avatars like Rama), and Dāsa, which means slave or servant and by extension, devotee.

Sources

Tulsidas himself has given only a few facts and hints about events of his life in various works. Till late nineteenth century, the two widely known ancient sources on Tulsidas' life were the Bhaktamal composed by Nabhadas between 1583 and 1639, and a commentary on Bhaktamal titled Bhaktirasbodhini composed by Priyadas in 1712. Nabhadas was a contemporary of Tulsidas and wrote a six-line stanza on Tulsidas describing him as an incarnation of Valmiki. Priyadas' work was composed around a hundred years after the death of Tulsidas and had eleven additional stanzas, describing seven miracles or spiritual experiences from the life of Tulsidas. During the 1920s, two more ancient biographies of Tulsidas were published based on old manuscripts – the Mula Gosain Charit composed by Veni Madhav Das in 1630 and the Gosain Charit composed by Dasanidas (also known as Bhavanidas) around 1770. Veni Madhav Das was a disciple and contemporary of Tulsidas and his work gave a new date for Tulsidas' birth. The work by Bhavanidas presented more narratives in greater detail as compared to the work by Priyadas. In the 1950s a fifth ancient account was published based on an old manuscript, the Gautam Chandrika composed by Krishnadatta Misra of Varanasi in 1624. Krishnadatta Misra's father was a close companion of Tulsidas. The accounts published later are not considered authentic by some modern scholars, whereas some other scholars have been unwilling to dismiss them. Together, these five works form a set of traditional biographies on which modern biographies of Tulsidas are based.

Incarnation of Valmiki

He is believed by many to be a rebirth of Valmiki. In the Hindu scripture Bhavishyottar Purana, the god Shiva tells his wife Parvati how Valmiki, who got a boon from Hanuman to sing the glory of Rama in vernacular language, will incarnate in future in the Kali Yuga (the present and last Yuga or epoch within a cycle of four Yugas).

Nabhadas writes in his Bhaktamal (literally, the Garland of bhakt or devotee) that Tulsidas was the re-incarnation of Valmiki in the Kali Yuga. The Ramanandi sect believes that it was Valmiki himself who incarnated as Tulsidas in the Kali Yuga.

According to a traditional account, Hanuman went to Valmiki numerous times to hear him sing the Ramayana, but Valmiki turned down the request saying that Hanuman being a monkey was unworthy of hearing the epic. After the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of Rama. There he scripted a play version of the Ramayana called Mahanataka or Hanuman Nataka engraved on the Himalayan rocks using his nails. When Valmiki saw the play written by Hanuman, he anticipated that the beauty of the Mahanataka would eclipse his own Ramayana. Hanuman was saddened at Valmiki's state of mind and, being a true bhakta without any desire for glory, Hanuman cast all the rocks into the ocean, some parts of which are believed to be available today as Hanuman Nataka. After this, Valmiki was instructed by Hanuman to take birth as Tulsidas and compose the Ramayana in the vernacular.

Early life

Birth
Tulsidas was born on Saptami, the seventh day of Shukla Paksha, the bright half of the lunar Hindu calendar month Shraavana (July–August). This correlates with 11 August 1511 of the Gregorian calendar. Although as many as three places are mentioned as his birthplace, most scholars identify the place with Soron, District Kasganj in Uttar Pradesh, a city on the banks of the river Ganga. In 2012 Soron was declared officially by the government of Uttar Pradesh as the birthplace of Tulsi Das. His parents were Hulsi and Atmaram Dubey. Most sources identify him as a Sanadhya Brahmin of the Bharadwaj Gotra (lineage). Gosvami Tulsidas of Soron and Sir George Grierson give the year as Vikram 1568 (1511 CE). These biographers include Ramkrishna Gopal Bhandarkar, Ramghulam Dwivedi, James Lochtefeld, Swami Sivananda and others. The year 1497 appears in many current-day biographies in India and in popular culture. Biographers who disagree with this year argue that it makes the life span of Tulsidas equal 126 years, which in their opinion is unlikely if not impossible. In contrast, Ramchandra Shukla says that an age of 126 is not impossible for a Mahatma (great soul) like Tulsidas. The Government of India and provincial governments celebrated the 500th birth anniversary of Tulsidas in the year 2011 CE, according to the year of Tulsidas' birth in popular culture.

Childhood

Legend goes that Tulsidas was born after staying in the womb for twelve months, he had all thirty two teeth in his mouth at birth, his health and looks were like that of a five-year-old boy, and he did not cry at the time of his birth but uttered Rama instead. He was therefore named Rambola (literally, he who uttered Rama), as Tulsidas himself states in Vinaya Patrika. As per the Mula Gosain Charita, he was born under the Abhuktamūla constellation, which according to Jyotisha (Hindu astrology) causes immediate danger to the life of the father. Due to the inauspicious events at the time of his birth, he was abandoned by his parents on the fourth night, sent away with Chuniya (some sources call her Muniya), a female servant of Hulsi. In his works Kavitavali and Vinayapatrika, Tulsidas attests to his parents abandoning him after birth due to an inauspicious astrological configuration.

Chuniya took the child to her village of Haripur and looked after him for five and a half years after which she died. Rambola was left to fend for himself as an impoverished orphan, and wandered from door to door begging for alms. It is believed that the goddess Parvati assumed the form of a Brahmin woman and fed Rambola every day.

name="rambhadracharya-tulsi-early"/> or alternately, the disciple of Anantacharya. Rambola was given the Virakta Diksha (Vairagi initiation) with the new name of early="shukla-early"/> Tulsidas narrates the dialogue that took place during the first meeting with his guru in a passage in the Vinayapatrika. When he was seven years old, his Upanayana ("sacred thread ceremony") was performed by Narharidas on the fifth day of the bright half of the month of Magha (January–February) at Ayodhya, a pilgrimage-site related to Rama. Tulsidas started his learning at Ayodhya. After some time, Narharidas took him to a particular Varaha Kshetra Soron (a holy place with temple dedicated to Varaha – the boar avatar of Vishnu), where he first narrated the Ramayana to Tulsidas. Tulsidas mentions this in the Ramcharitmanas.

Most authors identify the Varaha Kshetra referred to by Tulsidas with the Sookarkshetra is the Soron Varaha Kshetra in modern-day Kasganj, Tulsidas further mentions in the Ramcharitmanas that his guru repeatedly narrated the Ramayana to him, which led him to understand it somewhat.

Tulsidas later came to the sacred city of Varanasi and studied Sanskrit grammar, four Vedas, six Vedangas, Jyotisha and the six schools of Hindu philosophy over a period of 15–16 years from guru Shesha Sanatana who was based at the Pancaganga Ghat in Varanasi. Shesha Sanatana was a friend of Narharidas and a renowned scholar on literature and philosophy.

Marriage and renunciation

There are two contrasting views regarding the marital status of Tulsidas. According to the Tulsi Prakash and some other works, Tulsidas was married to Ratnavali on the eleventh day of the bright half of the Kartik month (October–November) in Vikram 1589 (1532 CE). Ratnavali was the daughter of Dinbandhu Pathak, a Brahmin of the Vashishtha Gotra, who belonged to Badariya village of Kasganj district. They had a son named Tarak who died as a toddler. Once when Tulsidas had gone to a Hanuman temple, Ratnavali went to her father's home with her brother. When Tulsidas learned of this, he swam across the Yamuna river in the night to meet his wife. Ratnavali chided Tulsidas for this, and remarked that if Tulsidas was even half as devoted to God as he was to her body of flesh and blood, he would have been redeemed. Tulsidas left her instantly and left for the holy city of Prayag. Here, he renounced the Grihastha (householder's life) stage and became a Sadhu (Hindu ascetic).

Some authors consider the marriage episode of Tulsidas to be a later interpolation and maintain among that he was a bachelor. They include Rambhadracharya, who cite two verses in the Vinayapatrika and Hanuman Bahuka to mean that Tulsidas never married and was a Sadhu from childhood.

Later life

Travels
After renunciation, Tulsidas spent most of his time at Varanasi, Prayag, Ayodhya, and Chitrakuta but visited many other nearby and far-off places. He travelled across India to many places, studying different people, meeting saints and Sadhus and meditating. The Mula Gosain Charita gives an account of his travels to the four pilgrimages of Hindus (Badrinath, Dwarka, Puri and Rameshwaram) and the Himalayas. He visited the Manasarovar lake in current-day Tibet, where tradition holds he had Darshan (sight) of Kakabhushundi, the crow who is one of the four narrators in the Ramcharitmanas.

Darshan of Hanuman
Tulsidas hints at several places in his works, that he had met face to face with Hanuman and Rama. The detailed account of his meetings with Hanuman and Rama are given in the Bhaktirasbodhini of Priyadas. According to Priyadas' account, Tulsidas used to visit the woods outside Varanasi for his morning ablutions with a water pot. On his return to the city, he used to offer the remaining water to a certain tree. This quenched the thirst of a Preta (a type of ghost believed to be ever thirsty for water), who appeared to Tulsidas and offered him a boon. Tulsidas said he wished to see Rama with his eyes, to which the Preta responded that it was beyond him. However, the Preta said that he could guide Tulsidas to Hanuman, who could grant the boon Tulsidas asked for. The Preta told Tulsidas that Hanuman comes everyday disguised in the mean attire of a leper to listen to his Katha, he is the first to arrive and last to leave.

That evening Tulsidas noted that the first listener to arrive at his discourse was an old leper, who sat at the end of the gathering. After the Katha was over, Tulsidas quietly followed the leper to the woods. In the woods, at the spot where the Sankat Mochan Hanuman Temple stands today, Tulsidas firmly fell at the leper's feet, shouting "I know who you are" and "You cannot escape me". At first the leper feigned ignorance but Tulsidas did not relent. Then the leper revealed his original form of Hanuman and blessed Tulsidas. When granted a boon, Tulsidas told Hanuman he wanted to see Rama face to face. Hanuman told him to go to Chitrakuta where he would see Rama with his own eyes.

At the beginning of the Ramcharitmanas, Tulsidas bows down to a particular Preta and asks for his grace (Ramcharitmanas, Doha 1.7). According to Rambhadracharya, this is the same Preta which led Tulsidas to Hanuman.

Darshan of Rama
As per Priyadas' account, Tulsidas followed the instruction of Hanumana and started living in an Ashram at Ramghat in Chitrakoot Dham. One day Tulsidas went to perform the Parikrama (circumambulation) of the Kamadgiri mountain. He saw two princes, one dark and the other fair, dressed in green robes pass by mounted on horsebacks. Tulsidas was enraptured at the sight, however he could not recognise them and took his eyes off them. Later Hanuman asked Tulsidas if he saw Rama and his brother Lakshmana on horses. Tulsidas was disappointed and repentful. Hanuman assured Tulsidas that he would have the sight of Rama once again the next morning. Tulsidas recalls this incident in a song of the Gitavali and laments how "his eyes turned his own enemies" by staying fixed to the ground and how everything happened in a trice.

On the next morning, Wednesday, the new-moon day of Magha, Vikram 1607 (1551 CE) or 1621 (1565 CE) as per some sources, Rama again appeared to Tulsidas, this time as a child. Tulsidas was making sandalwood paste when a child came and asked for a sandalwood Tilaka (a religious mark on the forehead). This time Hanuman gave a hint to Tulsidas and he had a full view of Rama. Tulsidas was so charmed that he forgot about the sandalwood. Rama took the sandalwood paste and put a Tilaka himself on his forehead and Tulsidas' forehead before disappearing. This famous incidence is described in the verse चित्रकूट के घाट पर हुई संतन की भीर तुलसीदास चन्दन घिसे तिलक देते रघुबीर.

In a verse in the Vinayapatrika, Tulsidas alludes to a certain "miracle at Chitrakuta", and thanks Rama for what he did for him at Chitrakuta. Some biographers conclude that the deed of Rama at Chitrakuta referred to by Tulsidas is the Darshan of Rama.

Darshan of Yajnavalkya and Bharadvaja
In Vikram 1628 (1572 CE), Tulsidas left Chitrakuta for Prayag where he stayed during the Magha Mela (the annual fair in January). Six days after the Mela ended, he had the Darshan of the sages Yajnavalkya and Bharadvaja under a banyan tree. In one of the four dialogues in the Ramcharitmanas, Yajnavalkya is the speaker and Bharadvaja the listener. Tulsidas describes the meeting between Yajnavalkya and Bharadvaja after a Magha Mela festival in the Ramcharitmanas, it is this meeting where Yajnavalkya narrates the Ramcharitmanas to Bharadvaja.

Attributed miracles

Most stories about Tulsidas tend to be apocryphal, and have been carried forward by word of mouth. None of them were related by Tulsi himself, thus making it difficult to separate fact from lore and fiction. In Priyadas' biography, Tulsidas is attributed with the power of working miracles. In one such miracle, he is believed to have brought back a dead Brahmin to life. While the Brahmin was being taken for cremation, his widow bowed down to Tulsidas on the way who addressed her as Saubhagyavati (a woman whose husband is alive). The widow told Tulsidas her husband had just died, so his words could not be true. Tulsidas said that the word has passed his lips and so he would restore the dead man to life. He asked everybody present to close their eyes and uttered the name of Rama, on doing which the dead Brahmin was raised back to life. Also one who was with him for a certain period of their life got moksha (salvation) from this Maya (illusion world).

Tulsidas was acclaimed in his lifetime to be a reincarnation of Valmiki, the composer of the original Ramayana in Sanskrit. He is also considered to be the composer of the Hanuman Chalisa, a popular devotional hymn dedicated to Hanuman, the vanara god and divine devotee of Rama.

In another miracle described by Priyadas, the Mughal Emperor Akbar summoned Tulsidas on hearing of his bringing back a dead man to life. Tulsidas declined to go as he was too engrossed in creating his verses but he was later forcibly brought before Akbar and asked to perform a miracle, which Tulsidas declined by saying "It's a lie, all I know is Rama." The emperor imprisoned Tulsidas at Fatehpur Sikri, "We will see this Rama." Tulsidas refused to bow to Akbar and created a verse in praise of Hanuman and chanted it (Hanuman Chalisa) for forty days and suddenly an army of monkeys descended upon the town and wreaked havoc in all corners of Fatehpur Sikri, entering each home and the emperor's harem, scratching people and throwing bricks from ramparts. An old Hafiz told the emperor that this was the miracle of the imprisoned Fakir. The emperor fell at Tulsidas' feet, released him and apologised. Tulsidas stopped the menace of monkeys and asked the emperor to abandon the place. The emperor agreed and moved back to Delhi. Ever since Akbar became a close friend of Tulsidas and he also ordered a firman that followers of Rama, Hanuman & other Hindus, should not be harassed in his kingdom.

Priyadas narrates a miracle of Tulsidas at Vrindavan, when he visited a temple of Krishna. When he began bowing down to the idol of Krishna, the Mahant of the temple named Parshuram decided to test Tulsidas. He told Tulsidas that he who bows down to any deity except their Ishta Devata (cherished form of divinity) is a fool, as Tulsidas' Ishta Devata was Rama. In response, Tulsidas recited the following extemporaneously composed couplet

When Tulsidas recited this couplet, the idol of Krishna holding the flute and stick in hands changed to the idol of Rama holding the bow and arrow in hands. Some authors have expressed doubts on the couplet being composed by Tulsidas.

Literary life

Tulsidas started composing poetry in Sanskrit in Varanasi on the Prahlada Ghat. Tradition holds that all the verses that he composed during the day, would get lost in the night. This happened daily for eight days. On the eighth night, Shiva – whose famous Kashi Vishwanath Temple is located in Varanasi – is believed to have ordered Tulsidas in a dream to compose poetry in the vernacular instead of Sanskrit. Tulsidas woke up and saw both Shiva and Parvati who blessed him. Shiva ordered Tulsidas to go to Ayodhya and compose poetry in Awadhi. Shiva also predicted that Tulsidas' poetry would fructify like the Sama Veda. In the Ramcharitmanas, Tulsidas hints at having the Darshan of Shiva and Parvati in both dream and awakened state.

Tulsidas is also credited with having composed a number of wise sayings and dohas containing lessons for life. A popular one among them is:

आवत ही हरसय नहीं, नैनन नहीं सनोह ।
तुलसी वहाँ न जाइये, चाहे कञ्चन बरसे मेर ॥ सिया पति राम चन्द्र जी की जय , जय जय बजरंगबली ।।
(Aawat hi harshe nahin, nainan nahin saneh. Tulsi tahan na jaiye, chahe kanchan barse megh. Lit. A place where people are not happy or welcoming when you come, where their eyes have no affection for you, Don't go there, even if a mountain of gold is showered.)

Composition of Ramcharitmanas

In the year Vikram 1631 (1575 CE), Tulsidas started composing the Ramcharitmanas in Ayodhya on Sunday, Ramnavami day (ninth day of the bright half of the Chaitra month, which is the birthday of Rama). Tulsidas himself attests this date in the Ramcharitmanas. He composed the epic over two years, seven months and twenty-six days, and completed the work in Vikram 1633 (1577 CE) on the Vivaha Panchami day (fifth day of the bright half of the Margashirsha month, which commenrates the wedding of Rama and his wife Sita).

Tulsidas came to Varanasi and recited the Ramcharitmanas to Shiva (Vishwanath) and Parvati (Annapurna) at the Kashi Vishwanath Temple. A popular legend goes that the Brahmins of Varanasi, who were critical of Tulsidas for having rendered the Sanskrit Ramayana in the Awadhi, decided to test the worth of the work. A manuscript of the Ramcharitmanas was kept at the bottom of pile of Sanskrit scriptures in the sanctum sanctorum of the Vishvanath temple in the night, and the doors of the sanctum sanctorum were locked. In the morning when the doors were opened, the Ramcharitmanas was found at the top of the pile. The words Satyam Shivam Sundaram (Sanskrit: सत्यं शिवं सुन्दरम्, literally "truth, auspiciousness, beauty") were inscribed on the manuscript with the signature of Shiva. The words were also heard by the people present.

Per traditional accounts, some Brahmins of Varanasi were still not satisfied, and sent two thieves to steal the manuscript. The thieves tried to break into the Ashram of Tulsidas, but were confronted by two guards with bows and arrows, of dark and fair complexion. The thieves had a change of heart and came to Tulsidas in the morning to ask who the two guards were. Believing that the two guards could be none other than Rama and Lakshmana, Tulsidas was aggrieved to discover that they were guarding his home at night. He sent the manuscript of Ramcharitmanas to his friend Todar Mal, the finance minister of Akbar, and donated all his money. The thieves were reformed and became devotees of Rama.

Last compositions
Around Vikram 1664 (1607 CE), Tulsidas was afflicted by acute pain all over his body, especially in his arms. He then composed the Hanuman Bahuk, where he describes his bodily pain and suffering in several stanzas. He was relieved of his pain after this composition. Later he was also afflicted by Bartod boils (Hindi: बरतोड़, furuncles caused by pulling out of the hair), which may have been the cause of his death.

The Vinaypatrika is considered as the last compositions of Tulsidas, believed to be written when Kali Yuga started troubling him. In this work of 279 stanzas, he beseeches Rama to give him Bhakti ("devotion"), and to accept his petition. Tulsidas attests in the last stanza of Vinaypatrika that Rama himself signed the manuscript of the work. The 45th stanza of the Vinaypatrika is sung as the evening Aarti by many Hindus.

Death
Tulsidas died aged 111 on 31 July 1623 (Shravan month of the year Vikram 1680) in Assi Ghat on the bank of the river Ganga. Like the year of his birth, traditional accounts and biographers do not agree on the exact date of his death.

Works

Twelve works are widely considered by biographers to be written by Tulsidas, six major works and six minor works. Based on the language of the works, they have been classified into two groups as follows–
 Awadhi works – Ramcharitmanas, Ramlala Nahachhu, Barvai Ramayan, Parvati Mangal, Janaki Mangal and Ramagya Prashna.
 Braja works – Krishna Gitavali, Gitavali, Sahitya Ratna, Dohavali, Vairagya Sandipani and Vinaya Patrika.
besides these twelve works, four more works are popularly believed to be composed by Tulsidas which include Hanuman Chalisa, Hanuman Ashtak, Hanuman Bahuk and Tulsi Satsai.

Ramcharitmanas

Ramacharitamanas (रामचरितमानस, 1574–1576), "The Mānasa lake brimming over with the exploits of Lord Rāma" is an Awadhi rendering of the Ramayana narrative. It is the longest and earliest work of Tulsidas, and draws from various sources including the Ramayana of Valmiki, the Adhyatma Ramayana, the Prasannaraghava and Hanuman Nataka. The work consists of around 12,800 lines divided into 1073 stanzas, which are groups of Chaupais separated by Dohas or Sorthas. It is divided into seven books (Kands) like the Ramayana of Valmiki, and is around one-third of the size of Valmiki's Ramayana. The work is composed in 18 metres which include ten Sanskrit metres (Anushtup, Shardulvikridit, Vasantatilaka, Vamshashta, Upajati, Pramanika, Malini, Sragdhara, Rathoddhata and Bhujangaprayata) and eight Prakrit metres (Soratha, Doha, Chaupai, Harigitika, Tribhangi, Chaupaiya, Trotaka and Tomara). It is popularly referred to as Tulsikrit Ramayana, literally The Ramayana composed by Tulsidas. The work has been acclaimed as "the living sum of Indian culture", "the tallest tree in the magic garden of medieval Indian poesy", "the greatest book of all devotional literature", "the Bible of Northern India", and "the best and most trustworthy guide to the popular living faith of its people."But, as he has said "हरि अनंत हरि कथा अनंता।( The story of the lord is endless as are his glories)

Several manuscripts of the Ramcharitmanas are claimed to have been written down by Tulsidas himself. Grierson wrote in the late nineteenth century, two copies of the epic were said to have existed in the poet's own handwriting. One manuscript was kept at Rajapur, of which only the Ayodhyakand is left now, which bears marks of water. A legend goes that the manuscript was stolen and thrown into Yamuna river when the thief was being pursued, and only the second book of the epic could be rescued. Grierson wrote that the other copy was at Malihabad in Lucknow district, of which only one leaf was missing. Another manuscript of the Ayodhyakanda claimed to be in the poet's own hand exists at Soron in Kasganj district, one of the places claimed to be Tulsidas' birthplace. One manuscript of Balakanda, dated Samvat 1661, nineteen years before the poet's death, claimed to be corrected by Tulsidas, is at Ayodhya. Some other ancient manuscripts are found in Varanasi, including one in possession of the Maharaja of Benares that was written in Vikram 1704 (1647), twenty-four years after the death of Tulsidas.

Other major works

The five major works of Tulsidas apart from Ramcharitmanas include:
 Dohavali (दोहावली, 1581), literally Collection of Dohas, is a work consisting of 573 miscellaneous Doha and Sortha verses mainly in Braja with some verses in Awadhi. The verses are aphorisms on topics related to tact, political wisdom, righteousness and the purpose of life. 85 Dohas from this work are also found in the Ramcharitmanas, 35 in Ramagya Prashna, two in Vairagya Sandipani and some in Rama Satsai, another work of 700 Dohas attributed to Tulsidas.
 sahitya ratna or ratna Ramayan (1608–1614), literally Collection of Kavittas, is a Braja rendering of the Ramayana, composed entirely in metres of the Kavitta family – Kavitta, Savaiya, Ghanakshari and Chhappaya. It consists of 325 verses including 183 verses in the Uttarkand. Like the Ramcharitmanas, it is divided into seven Kands or books and many episodes in this work are different from the Ramcharitmanas.
 Gitavali (गीतावली), literally Collection of Songs, is a Braja rendering of the Ramayana in songs. All the verses are set to Ragas of Hindustani classical music and are suitable for singing. It consists of 328 songs divided into seven Kands or books. Many episodes of the Ramayana are elaborated while many others are abridged.
 Krishna Gitavali or Krishnavali (कृष्णगीतावली, 1607), literally Collection of Songs to Krishna, is a collection of 61 songs in honour of Krishna in Braja. There are 32 songs devoted to the childhood sports (Balalila) and Rasa Lila of Krishna, 27 songs form the dialogue between Krishna and Uddhava, and two songs describe the episode of disrobing of Draupadi.
 Vinaya Patrika (विनयपत्रिका), literally Petition of Humility, is a Braja work consisting of 279 stanzas or hymns. The stanzas form a petition in the court of Rama asking for Bhakti. It is considered to be the second best work of Tulsidas after the Ramcharitmanas, and is regarded as important from the viewpoints of philosophy, erudition, and eulogistic and poetic style of Tulsidas. The first 43 hymns are addressed to various deities and Rama's courtiers and attendants, and remaining are addressed to Rama.

Minor works
Minor works of Tulsidas include:
 Barvai Ramayana (बरवै रामायण, 1612), literally The Ramayana in Barvai metre, is an abridged rendering of the Ramayana in Awadhi. The works consists of 69 verses composed in the Barvai metre, and is divided into seven Kands or books. The work is based on a psychological framework.
 Parvati Mangal (पार्वती मंगल), literally The marriage of Parvati, is an Awadhi work of 164 verses describing the penance of Parvati and the marriage of Parvati and Shiva. It consists of 148 verses in the Sohar metre and 16 verses in the Harigitika metre.
 Janaki Mangal (जानकी मंगल), literally The marriage of Sita, is an Awadhi work of 216 verses describing the episode of marriage of Sita and Rama from the Ramayana. The work includes 192 verses in the Hamsagati metre and 24 verses in the Harigitika metres. The narrative differs from the Ramcharitmanas at several places.
 Ramalala Nahachhu (रामलला नहछू), literally The Nahachhu ceremony of the child Rama, is an Awadhi work of 20 verses composed in the Sohar metre. The Nahachhu ceremony involves cutting the nails of the feet before the Hindu Samskaras (rituals) of Chudakarana, Upanayana, Vedarambha, Samavartana or Vivaha. In the work, events take place in the city of Ayodhya, so it is considered to describe the Nahachhu before Upanayana, Vedarambha and Samavartana.
 Ramajna Prashna (रामाज्ञा प्रश्न), literally Querying the Will of Rama, is an Awadhi work related to both Ramayana and Jyotisha (astrology). It consists of seven Kands or books, each of which is divided into seven Saptakas or Septets of seven Dohas each. Thus it contains 343 Dohas in all. The work narrates the Ramayana non-sequentially, and gives a method to look up the Shakuna (omen or portent) for astrological predictions.
 Vairagya Sandipini (वैराग्य संदीपनी, 1612), literally Kindling of Detachment, is a philosophical work of 60 verses in Braja which describe the state of Jnana (realisation) and Vairagya (dispassion), the nature and greatness of saints, and moral conduct. It consists of 46 Dohas, 2 Sorathas and 12 Chaupai metres.

Popularly attributed works
The following four works are popularly attributed to Tulsidas–
 Hanuman Chalisa (हनुमान चालीसा), literally, Forty Verses to Hanuman, is an Awadhi work of 40 Chaupais and two Dohas in obeisance to Hanuman. Popular belief holds the work to be authored by Tulsidas, and it contains his signature, though some authors do not think the work was written by him. It is one of the most read short religious texts in India, and is recited by millions of Hindus on Tuesdays and Saturdays. It is believed to have been uttered by Tulsidas in a state of Samadhi at the Kumbh Mela in Haridwar.
 Sankatmochan Hanumanashtak (संकटमोचन हनुमानाष्टक), literally Eight verses for Hanuman, the Remover of Afflictions, is an Awadhi work of eight verses in the Mattagajendra metre, devoted to Hanuman. It is believed to have been composed by Tulsidas on the occasion of the founding of the Sankatmochan Temple in Varanasi. The work is usually published along with Hanuman Chalisa.
 Hanuman Bahuka (हनुमान बाहुक), literally The Arm of Hanuman, is a Braja work of 44 verses believed to have been composed by Tulsidas when he suffered acute pain in his arms at an advanced age. Tulsidas describes the pain in his arms and also prays to Hanuman for freedom from the suffering. The work has two, one, five and 36 verses respectively in the Chhappaya, Jhulna, Savaiya and Ghanakshari metre.
 Tulsi Satsai (तुलसी सतसई), literally Seven Hundred Verses by Tulsidas, is a work in both Awadhi and Braja and contains 747 Dohas divided in seven Sargas or cantos. The verses are same as those in Dohavali and Ramagya Prashna but the order is different.

Doctrine
The philosophy and principles of Tulsidas are found across his works, and are especially outlined in the dialogue between Kakbhushundi and Garuda in the Uttar Kand of the Ramcharitmanas. Tulsidas' doctrine has been described as an assimilation and reconciliation of the diverse tenets and cultures of Hinduism. At the beginning of the Ramcharitmanas, Tulsidas says that his work is in accordance with various scriptures – the Puranas, Vedas, Upavedas, Tantra and Smriti. Ram Chandra Shukla in his critical work Hindi Sahitya Ka Itihaas elaborates on Tulsidas' Lokmangal as the doctrine for social upliftment which made this great poet immortal and comparable to any other world littérateur.

Nirguna and Saguna Brahman

As per Tulsidas, the Nirguna Brahman (quality-less impersonal absolute) and Saguna Brahman (personal God with qualities) are one and the same. Both, Saguna (qualified Brahman) and Aguna (or Nirguna - unqualified Brahman) are Akath (unspeakable), Agaadh (unfathomable), Anaadi (without beginning, in existence since eternity) and Anupa (without parallel) (अगुन सगुन दुइ ब्रह्म सरूपा। अकथ अगाध अनादि अनूपा॥). It is the devotion (Bhakti) of the devotee that forces the Nirguna Brahman which is quality-less, formless, invisible and unborn, to become Saguna Brahman with qualities. Tulsidas gives the example of water, snow and hail to explain this – the substance is the same in all three, but the same formless water solidifies to become hail or a mountain of snow – both of which have a form. Tulsidas also gives the simile of a lake – the Nirguna Brahman is like the lake with just water, while the Saguna Brahman is a lake resplendent with blooming lotuses. In the Uttar Kand of Ramcharitmanas, Tulsidas describes in detail a debate between Kakbhushundi and Lomasa about whether God is Nirguna (as argued by Lomasa adhering to monism) or Saguna (as argued by Kakbhushundi adhering to dualism). Kakbhushundi repeatedly refutes all the arguments of Lomasa, to the point when Lomasa becomes angry and curses Kakbhushundi to be a crow. Lomasa repents later when Kakbhushundi happily accepts the curse but refuses to give up the Bhakti of Rama, the Saguna Brahman. Though Tulsidas holds both aspects of God to be equal, he favours the qualified Saguna aspect and the devotees of the highest category in the Ramcharitmanas repeatedly ask for the qualified Saguna aspect of Rama to dwell in their mind. Some authors contend from a few couplets in Ramcharitmanas and Vinay Patrika that Tulsidas has vigorously contradicted the denial of Avatar by Kabir. In several of his works, Kabir had said that the actual Rama is not the son of Dasharatha. In the Balkand of Ramcharitmanas, Shiva tells Parvati – those who say that the Rama whom the Vedas sing of and whom the sages contemplate on is different from the Rama of Raghu's race are possessed by the devil of delusion and do not know the difference between truth and falsehood. However, such allusions are based on interpretations of the text and do not hold much water when considered in the context of Ramcharitmanas. Tulsidas, in none of his works, has ever mentioned Kabir.

The name of Rama

At the beginning of the Ramcharitmanas, there is a section devoted to the veneration of the name of Rama. As per Tulsidas, repeating the name of Rama is the only means to attain God in the Kali age where the means suited for other ages like meditation, Karma, and Puja are ineffective. He says in Kavitavali that his own redemption is because of the power, glory and majesty of the name of Rama. In a couplet in the Gitavali, Tulsidas says that wishing for liberation without refuge in the name of Rama is like wishing to climb to the sky by holding on to the falling rain. In his view, the name of Rama is greater than both Nirguna and Saguna aspects of God – it controls both of them and is illuminates both like a bilingual interpreter. In a verse in the Dohavali, Tulsidas says that the Nirguna Brahman resides in his heart, the Saguna Brahman resides in his eyes and the name of Rama resides on his tongue, as if a radiant gemstone is kept between the lower and upper halves of a golden casket. He holds that Rama is superior to all other names of God, and argues that ra and ma being are the only two consonants that are written above all other consonants in the conjunct form in Sanskrit because they are the two sounds in the word Rama.

Rama as Brahman
At several places in Tulsidas' works, Rama is seen to be the higher than Vishnu and not as an avatar of Vishnu, which is the general portrayal of Rama.

In the episode of the delusion of Sati in Ramcharitmanas, Sati sees many a Shiva, Brahma and Vishnu serving Rama and bowing at his feet. When Manu and Shatarupa perform penance, they crave to see that Supreme Lord "from a part of whose being emanate a number of Shivas, Brahmas and Vishnus." Brahma, Vishnu and Shiva come to them many times tempting them with a boon, but Manu and Shatarupa do not stop their penance. They are finally satisfied only by the appearance of Rama, on whose left side is Sita, from a part of whom are born "countless Lakshmis, Umas (Parvatis) and Brahmanis (Sarasvatis)." In the episode of marriage of Sita and Rama in Balkand, the trio of Brahma, Vishnu and Shiva is present – Brahma is astounded as he finds nowhere anything that is his own handiwork, while Vishnu is enchanted with Lakhmi on seeing Rama. In the Sundarkand, Hanuman tells Ravana that Brahma, Vishnu and Shiva can create, preserve and destroy by the might of Rama. In the Lankakand, Tulsidas presents the universe as the cosmic form of Rama, in which Shiva is the consciousness, Brahma is the reason and Vishnu is his intelligence. As per Tulsidas, Rama is not only an avatar, but also the source of avatars – Krishna is also an Avatar of Rama. Thus, Tulsidas clearly considers Rama as supreme brahman and not an avatar of Vishnu.

In the opinion of Urvashi Soorati, the Rama of Tulsidas is an amalgamation of Vishnu who takes avatars, Vishnu in the abode of Ksheera Sagara, Brahman and the Para manifestation of the Pancharatra. Macfie concludes that Tulsidas makes a "double claim", i.e. Rama is an incarnation of both Vishnu and Brahman. In the words of Lutgendorf, Tulsidas' Rama is at once "Valmiki's exemplary prince, the cosmic Vishnu of Puranas, and the transcendent brahman of the Advaitins."

Vedanta, World and Maya

In the Sundarkand of Ramcharitmanas, Tulsidas says that Rama is knowable by Vedanta.

As per Tulsidas, Rama is the efficient and material cause (Nimitta and Upadana) of the world, which is real since Rama is real. In several verses of the Ramcharitmanas, Tulsidas says that the animate and inanimate world is a manifestation of Rama, and the universe is the cosmic form of Rama. Authors interpret these verses to mean that the world is real according to Tulsidas, in keeping with the Vishishtadvaita philosophy of Ramanuja. However, at some places in the Ramcharitmanas and Kavitavali, Tulsidas compares the world to a night or a dream and says it is Mithya (false or unreal). Some commentators interpret these verses to mean that in Tulsidas' opinion the world is unreal as per the Vivartavada doctrine of Adi Shankara, while some others interpret them to mean that the world is transient yet real as per the Satkhyativada doctrine of Ramananda. Uday Bhanu Singh concludes that in Tulsidas' view, the world is essentially the form of Rama and appears to be different from Rama due to Maya. Its visible form is transient, which is what Tulsidas means by Mithya.

In the Vinayapatrika, Tulsidas says that the world in itself is neither true (Satya), nor false (Asatya), nor both true and false together (Satyasatya) – one who casts aside all these three illusions, knows oneself. This has been interpreted to mean that as per Tulsidas, the entire world is a Lila of Rama. At the beginning of the Ramcharitmanas, Tulsidas performs Samasti Vandana (obeisance to all beings) in which he bows down to the world also, saying it is "pervaded by" or "born out of" Sita and Rama. As per some verses in Ramcharitmanas and Vinaypatrika, when a Jiva (living being) knows the Self, Maya and Rama, it sees the world as being pervaded by Rama.

In the Balkand episode of the marriage of the princes of Ayodhya with the princesses of Mithila, Tulsidas presents a metaphor in which the four brides are compared with the four states of consciousness – the waking state (Jagrat), sleep with dreams (Swapna), dreamless sleep (Sushupti) and the fourth self-conscious state (Turiya). The four grooms are compared with the presiding divinity (Vibhu) of the four states – Vishva, Taijasa, Prajna and Brahman. Tulsidas says as the four states of consciousness with their presiding divinities reside in the mind of a Jiva, so the four brides with their grooms are resplendent in the same pavilion.

Tulsidas identifies Maya with Sita, the inseparable energy of Rama which takes avatar along with Rama. In his view, Maya is of two types – Vidya and Avidya. Vidya Maya is the cause of creation and the liberation of Jiva. Avidya Maya is the cause of illusion and bondage of the Jiva. The entire world is under the control of Maya. Maya is essentially the same but the two divisions are made for cognitive purposes, this view of Tulsidas is in accordance with Vaishnava teachers of Vedanta.

Views on other Hindu deities

As per Tulsidas, there is no incompatibility between devotion to Rama and attachment to Shiva. Tulsidas equates the Guru as an incarnation of Shiva, and a considerable part of the Balkand of Ramcharitmanas is devoted to the narrative of Shiva including the abandonment of Sati, the penance of Parvati, the burning of Kamadeva and the marriage of Parvati and Shiva. In addition, Tulsidas venerates the whole Hindu pantheon. The Ramcharitmanas begins with reverence of Ganesh, Sarasvati, Parvati, Shiva, the Guru, Valmiki and Hanuman. At the beginning of the Vinayapatrika, he bows to Ganesh, Surya, Shiva, Devi, Ganga, Yamuna, Varanasi and Chitrakoot, asking them for devotion towards Rama.

Bhakti
The practical end of all his writings is to inculcate bhakti addressed to Rama as the greatest means of salvation and emancipation from the chain of births and deaths, a salvation which is as free and open to men of the lowest caste as to Brahmins.

Critical reception

From his time, Tulsidas has been acclaimed by Indian and Western scholars alike for his poetry and his impact on the Hindu society. Tulsidas mentions in his work Kavitavali that he was considered a great sage in the world. Madhusūdana Sarasvatī, one of the most acclaimed philosophers of the Advaita Vedanta tradition based in Varanasi and the composer of Advaitasiddhi, was a contemporary of Tulsidas. On reading the Ramcharitmanas, he was astonished and composed the following Sanskrit verse in praise of the epic and the composer.
आनन्दकानने कश्चिज्जङ्गमस्तुल्सीतरुः ।
कविता मञ्जरी यस्य रामभ्रमरभूषिता ॥

ānandakānane kaścijjaṅgamastulsītaruḥ ।
kavitā mañjarī yasya rāmabhramarabhūṣitā ॥
Sur, a devotee of Krishna and a contemporary of Tulsidas, called Tulsidas as Sant Shiromani (the highest jewel among holy men) in an eight-line verse extolling Ramcharitmanas and Tulsidas. Abdur Rahim Khankhana, famous Muslim poet who was one of the Navaratnas (nine-gems) in the court of the Mughal emperor Akbar, was a personal friend of Tulsidas. Rahim composed the following couplet describing the Ramcharitmanas of Tulsidas –
रामचरितमानस बिमल संतनजीवन प्रान ।
हिन्दुवान को बेद सम जवनहिं प्रगट कुरान ॥

rāmacaritamānasa bimala santanajīvana prāna ।
hinduvāna ko beda sama javanahi̐ pragaṭa kurāna ॥
The historian Vincent Smith, the author of a biography of Tulsidas' contemporary Akbar, called Tulsidas the greatest man of his age in India and greater than even Akbar himself. The Indologist and linguist Sir George Grierson called Tulsidas "the greatest leader of the people after the Buddha" and "the greatest of Indian authors of modern times"; and the epic Ramcharitmanas "worthy of the greatest poet of any age." The work Ramcharitmanas has been called "the Bible of North India" by both nineteenth century Indologists including Ralph Griffith, who translated the four Vedas and Valmiki's Ramayana into English, and modern writers. Mahatma Gandhi held Tulsidas in high esteem and regarded the Ramcharitmanas as the "greatest book in all devotional literature". The Hindi poet Suryakant Tripathi 'Nirala' called Tulsidas "the most fragrant branch of flowers in the garden of the world's poetry, blossoming in the creeper of Hindi". Nirala considered Tulsidas to be a greater poet than Rabindranath Tagore, and in the same league as Kalidasa, Vyasa, Valmiki, Homer, Johann Wolfgang von Goethe and William Shakespeare. Hindi litterateur Hazari Prasad Dwivedi wrote that Tulsidas established a "sovereign rule on the kingdom of Dharma in northern India", which was comparable to the impact of Buddha. Edmour J. Babineau, author of the book Love and God and Social Duty in Ramacaritmanasa, says that if Tulsidas was born in Europe or the Americas, he would be considered a greater personality than William Shakespeare. In the words of the archaeologist F. R. Allchin, who translated Vinaypatrika and Kavitavali into English, "for people of a large part of North India Tulsidas claims reverence comparable to that accorded to Luther as translator of the Bible into the native German". Allchin also mentions that the work Ramcharitmanas has been compared to not only the Ramayana of Valmiki, but the Vedas themselves, the Bhagavad Gita, the Quran and the Bible. Ernest Wood in his work An Englishman Defends Mother India considered the Ramcharitmanas to be "superior to the best books of the Latin and Greek languages." Tulsidas is also referred to as Bhaktaśiromaṇi, meaning the highest jewel among devotees.

Specifically about his poetry, Tulsidas has been called the "emperor of the metaphor" and one who excels in similes by several critics. The Hindi poet Ayodhyasingh Upadhyay 'Hariaudh' said of Tulsidas –
कविता करके तुलसी न लसे
कविता लसी पा तुलसी की कला ।

kavitā karake tulasī na lase
kavitā lasī pā tulasī kī kalā ।
The Hindi poet Mahadevi Verma said commenting on Tulsidas that in the turbulent Middle Ages, India got light from Tulsidas. She further went on to say that the Indian society as it exists today is an edifice built by Tulsidas, and the Rama as we know today is the Rama of Tulsidas.

See also

 Hanuman Chalisa
 Ramcharitmanas
 Shri Ramachandra Kripalu
 Thumak Chalat Ram Chandra
 Bhakti movement

Notes

References

External links

The Ramcharitmanas of Tulasidas, published by Gita Press
Tulsidas Biography

Indian male poets
Hindi-language poets
Hindu poets
Epic poets
Sant Mat
1497 births
1532 births
1623 deaths
Hindu revivalists
Translators of the Ramayana
Indian Hindu saints
Scholars from Varanasi
16th-century Hindu religious leaders
16th-century Indian poets
16th-century Indian scholars
Bhakti movement
Poets from Uttar Pradesh
Writers from Varanasi
Vaishnava saints
Longevity claims
Miracle workers
Awadhi writers

Tulsidas


Raviv Gazit (* 1949 in Tel Aviv) ist ein israelischer Komponist.

Leben

Gazit hatte ab dem siebenten Lebensjahr Klavierunterricht. Nach dem Armeedienst von 1967 bis 1970 spielte er elektronische Orgel in verschiedenen israelischen Rockbands. 1971 begann er ein Studium als Elektroingenieur an der Universität Tel Aviv, nach dessen Abschluss er als Übersetzer von Fachliteratur arbeitete.

1980 begann Gazit ein Kompositionsstudium bei Yizhak Sadai, wobei er sich, insbesondere mit dem Aufkommen des Synclavier Systems für die Möglichkeiten der Computermusik interessierte. Zur gleichen Zeit entstanden seine ersten Film- und Schauspielmusiken sowie Kompositionen wie Zee für Synclavier (1986). Er begann, computergestützte Komposition an der Universität Tel Aviv zu unterrichten und wurde Nachfolger von Yizhak Sadai als Leiter des von diesem gegründeten Zentrums für Computermusik.

Werke
Zee für Synclavier Digital Music System, 1986
Z to Z für Sinfonieorchester und Computer, 1990
What a Sweet Way to Die für Computer, Fagott, Oboe und Klavier, 1992
Octet 95 für Bläserquintett, Klavier, Violine und Cello, 1995

Diskographie
Ze, 1988
Electronic Compositions, 1995 (mit Arie Shapira)
Shape Shifter, 1999

Quellen
AD Music online - Raviv Gazit
Robert J. Gluck: Fifty years of electronic music in Israel. (PDF-Datei; 267 kB)

Mann
Geboren 1949
Komponist (Israel)
Musikpädagoge
Israeli

Raviv Gazit


The New Era Party (, JL) was a centre-right political party in Latvia. Founded in 2002, the party merged with Civic Union and Society for Other Politics to form Unity in 2011.

New Era was a member of the European People's Party (EPP), and its MEPs sat in the European People's Party group (previously EPP-ED).

History
New Era was founded on 2 February 2002 by Einars Repše, a politician and central banker who was very popular at that time. Originally, most of the party candidates were political unknowns led by Repše.

In its first election campaign, New Era promised to combat corruption and tax evasion. According to New Era promises, eliminating tax evasion would increase Latvia's state budget by 400 million Latvian lats (about 750 million United States dollars), allowing for increased funding for a variety of programs and also for tax cuts. Running on this platform, the party won 23.9% of the popular vote and 26 out of 100 seats in the 2002 legislative election and became the largest party in the Saeima, the parliament of Latvia. It formed a coalition government with 3 other parties, with the New Era leader Einars Repše as the prime minister. In January 2004, the coalition fell apart and Repše resigned.

New Era was in the opposition until October 2004, when it joined a coalition government led by Aigars Kalvītis of the People's Party. It left the coalition after a vote-buying scandal in the Jūrmala municipal elections which involved one of its coalition partners, the Latvia's First Party. The New Era Party first requested Latvia's First Party to leave the coalition. After Latvia's First Party and prime minister Kalvītis refused this demand, all New Era ministers resigned on 13 April 2006. In the October 2006 parliamentary elections, the New Era party won 18 seats. After the elections it did not rejoin the coalition government. Despite its significant losses, it became the largest opposition party.

Repše has lost most of his popularity, due to a sequence of scandals, but remains one of the party leaders. In March 2007, the party established a new structure, in which it had two leaders: Einars Repše and Arturs Krisjanis Karins. Arturs Krisjanis Karins is a United States citizen, born in the United States to a Latvian family.

In 2008, prominent MPs and members of the board—Ina Druviete, Karlis Sadurskis, Ilma Cepane and Sandra Kalniete—left the New Era to create Civic Union. Its leadership resigned, and Solvita Aboltina and Artis Kampars became new leaders. The chairman of the New Era parliamentary faction is Dzintars Zakis.

In March 2009, New Era Party member Valdis Dombrovskis, who served as finance minister from 2002 to 2004, became Prime Minister, bringing the New Era Party to the leadership of a 4-party, center-right coalition government.

On 6 August 2011, it merged with two other parties to form the new political party Unity.

Ideology

The New Era Party had strong populist leanings and derived most of its appeal from positioning itself as the main anti-corruption force in Latvian politics. New Era supporters characterized most of the other political parties as corrupt and controlled by oligarchs. As a result, New Era had very strained relations with most of the other political parties, which made a considerable effort to leave New Era in opposition whenever possible.

On ethnic issues, New Era tended to be somewhat nationalist. Its economic positions were uncertain and have changed over time. Its original platform in 2002 included radical free-market reforms in health care and education, such as replacing government-funded higher education by student loans.

References

External links
 Official website

Defunct political parties in Latvia
Conservative parties in Latvia
Liberal parties in Latvia
Anti-corruption parties

New Era Party


Acustica arhitecturală (sau acustica construcțiilor) este un domeniu al tehnicii care are drept obiectiv obținerea unei calități optime a audiției sunetelor în incinta clădirilor (săli de concert sau de spectacole, studiouri de radio sau de televiziune etc.).

Prima aplicare practică notabilă din acest domeniu îl constituie studiile lui Wallace Clement Sabine, care au condus la proiectarea acustică a Sălii de Concert din Boston.

Problemele legate de acustica sălilor sunt total diferite de cele de izolare a construcțiilor împotriva zgomotelor.
Astfel, dacă în cazul izolării fonice se urmărește diminuarea nivelului de zgomot sub limitele admisibile, în cazul sălilor de audiție, pe lângă diminuarea zgomotelor neplăcute provenite din trafic, din funcționarea instalațiilor etc. se urmărește punerea în valoare a sunetelor, asigurarea unui nivel de audiție optim în toate punctele sălii, fie că este vorba de producție vorbită sau muzicală.

Preocupări pentru realizarea unei bune audiții în edificiile publice datează în că din Antichitate, nivelul atins în acest domeniu reflectându-se în calitățile acustice ale amfiteatrelor din Epidaur și Siracuza.
Amfiteatrul în formă de potcoavă de la Epidaur, unul dintre cele mai bine conservate edificii de acest gen, are o capacitate de 17 000 locuri, iar calitatea acustică deosebită poate fi ilustrată prin faptul cel mai mic zgomot pe scenă se poate auzi până în ultimele rânduri.
Pentru reflectarea sunetelor spre auditoriu și pentru amplificarea lor, în amfiteatre, circuri etc. se utilizau diferite mijloace: fundaluri reflectante în spatele scenei, vase mari rezonatoare, montate cu gura spre scenă, în nișe practicate în gradene etc.
Vitruvius (secolul I î.Hr.), în De Architectura, dă reguli în acest scop și arată cum poate fi îmbunătățită acustica de teatru, utilizând vase mari de bronz sau de teracotă și creând spații rezonatoare.
Nivelul atins de arhitectura antică în acest domeniu poate fi ilustrat prin calitățile sonore extraordinare ale vestitului teatru în aer liber din Epidaur (Grecia), cu 17 000 de locuri, unul dintre cele mai bine conservate din Antichitate.

În unele biserici de mănăstiri din nordul Moldovei se întâlnesc nișe și alte sisteme constructive de întărire a sunetelor.
Faza empirică în acest domeniu s-a încheiat abia în secolul al XX-lea, când preocupările pentru acustica construcțiilor au căpătat baze științifice, folosindu-se progresele realizate în ramura propagării sunetului (reflexie, absorbție etc.) și a electroacusticii.
În general, din punctul de vedere al acusticii, o sală mare închisă trebuie să îndeplinească două condiții principale: stereofonia și ambiofonia.
Prin aceasta, se poate modifica în două feluri calitățile sonore ale sălii și anume, pentru claritatea vorbirii printr-o durată de reverberație mai mică, iar pentru buna audiție a muzicii printr-o durată de reverberație mai mare, maximă în cazul muzicii coral-simfonice.

Sala Palatului din București (dată în funcțiune în 1960 și cu o capacitate de 3.100 de locuri) concentrează cele mai înaintate aplicații ale acusticii tehnice și ale electroacusticii.
Prin dispozitive și procedee mecanice și electronice, durata naturală mică de reverberație a sălii (1,8 secunde) poate fi mărită sau micșorată (reverberație artificială), după natura utilizării ei (conferințe, teatru, operă, formații instrumentale mici, muzică simfonică sau vocal-simfonică etc.).

Acustică
Ingineria construcțiilor

Acustică arhitecturală


සාරිපුත්ත රහතන්වහන්සේ සහ මොග්ගල්ලාන රහතන්වහන්සේ දෙනම ගෞතම බුදුන් වහන්සේගේ අග්‍ර ශ්‍රාවකයන් දෙනම විය. දෙසතියක් ඇතුළත එකිනෙකා වහන්සේ පිඑිනිවන්පෑ පසු උන්වහන්සේලා  ආදාහනය කොට ධාතුන් වහන්සේලා තැන්පත්කොට කොට තබා ගන්නා ලදි. මෙම ධාතූන් වහන්සේලා අග්‍ර ශ්‍රාවක ධාතූන් වහන්සේලා ලෙස හඳුන්වයි.

කැණීම්

ක්‍රි.පූ. 3වන සියවස දක්වා කාල නිර්ණය කර තිබූ, ඉන්දියාවේ, මධ්‍ය ප්‍රදේශ් ප්‍රාන්තයෙහි, භෝපාල් පෙදෙස සමීපයෙහි, සාංචියෙහි අශෝකානු බෞද්ධ සංකීර්ණයෙහි කැණීමක, බ්‍රිතාන්‍ය පුරාවිද්‍යාඥ ශ්‍රීමත් ඇලෙක්සැන්ඩර් කනිංහැම් 1851 වසරෙහිදී නිරතව සිටියේය. සුප්‍රකට තෙවන ස්තූපය තුලදී, හෙතෙම සාරිපුත්ත සහ මොග්ගල්ලාන මහ තෙරුන් වහන්සේලාගේ ශාරීරික ධාතුන් වහන්සේලා නිරාවරණය කර ගති. . දළ වශයෙන් එම කාල පරිච්ඡේදයෙහිදීම, රහතුන් වහන්සේලා දෙනමගේ තවත් ධාතුන් වහන්සේලා, සාංචියෙන් කිලෝමීටර  දහයක් පමණ ඔබ්බෙහි වූ  සතධාර නගරයෙහි ස්තූපයක  වැඩම කරමින් තිබියදී සොයා ගන්නා ලදි.

සාංචි හෙලෙහි පිහිටි ස්තූපය මධ්‍යයෙහි උමගක් සෑරීමෙන් අනතුරුව, කනිංහැම් මහතාට හමුවූයේ, උතුරු-දකුණු දිශාවට අක්ෂගතව පැවති, අඩි පහකට වඩා දිගින් යුතුවූ  විශාල ගල් පුවරුවකි. අළුපැහැ වැලිගලින් තැනුනු මඤ්ජුසා දෙකක් පුවරුවට යටින් පිහිටි අතර, ඒවායේ පියනෙහි  බ්‍රාහ්මි අක්ෂර භාවිතයෙන් කර තිබූ කෙටි ශිලාලේඛන තිබුණි. දකුණු කෙළවරෙහි වූ මඤ්ජුසාවෙහි කැටයම් කර තිබුණේ "සාරිපුත්තගේ (ධාතුන් වහන්සේලා) "  යන අර්ථය දෙන "සාරිපුත්ථස්ස" යනුවෙන් වන අතර උතුරු දිගවූ මඤ්ජුසාවෙහි වූ කැටයම  " මහා මොග්ගල්ලානගේ (ධාතුන් වහන්සේලා) " යන අර්ථය දුන්  "මහා-මොගලන්ස"  යනුවෙන් විය.

ධාතුන් වහන්සේලාගේ අන්තර්ගතය
සාරිපුත්ත මහ තෙරුන්වහන්සේගේ මඤ්ජුසාවේ අන්තර්ගත වූයේ  සුදු පැණි ගලින් නිමවූ විශාල පැතැලි කරඞුවක් වන අතර, එය අඟ් සයකට වඩා පළල සහ අඟල් තුනක් පමණ උස් විය. එහි පෘෂ්ඨය ඔප දැමූ සහ දැඩි එකක් වූ අතර, පට්ටලයක් භාවිතයෙන් නිමවනු ලැබුවේ යැයි විශ්වාස කෙරුණු මෙය විචිත්‍ර නිර්මාණ කෘතියක් විය. කරඞුව වට කොට  ආදාහන චිතකය වෙතින් යැයි විශ්වාස කෙරෙන සඳුන් ශේෂයන් වූ අතර,  කරඞුව තුල, ධාතුන් වහන්සේලාට අමතරව විවිධ මාණික්‍යයන් විය. කරඞුව තුල වැඩම සිටියේ, එක් අස්ථි ධාතුන් වහන්සේ නමක් වූ අතර එය දිගින් එක් අඟලකට වඩා කෙටි විය.

මහා මොග්ගල්ලාන මහ තෙරුන් වහන්සේගේ පාෂාණමය මඤ්ජුසාවේ තුල වූයේ තවත් පැණි ගල් කරඞුවක් වූ අතර, සාරිපුත්ත මහ තෙරුන් වහන්සේගේ කරඞුව වැනිම වුවද ප්‍රමාණයෙන් කුඩා සහ වඩාත් ඔප දැමූ පෘෂ්ඨයකින් සමන්විත විය. එය තුල වැඩ සිටියේ, සාරිපුත්ත මහ තෙරුන් වහන්සේගේ ධාතුන් වහන්සේලාට වඩා ප්‍රමාණයෙන් කුඩා සහ විශාලතමය අඟල් භාගයකට වඩා කුඩාවූ,   මහා මොග්ගල්ලාන මහ තෙරුන් වහන්සේගේ අස්ථි ධාතුන් වහන්සේලා දෙනමකි.

එක් එක් මඤ්ජුසාවේ පියනෙහි ඇතුළු පෘෂ්ඨයෙහි එක් තීන්ත අක්ෂරය බැගින් කොටා තිබුණි: සාරිපුත්ත මහ තෙරුන් වහන්සේගේ මඤ්ජුසාවෙහි දකුණු දිශාවෙහි  "සා" ලෙසින්ද මහා මොග්ගල්ලාන මහ තෙරුන් වහන්සේගේ මඤ්ජුසාවේ උතුරු දිශාවට  "මා" ලෙසිනි. මෙම තත්ත්වය කනිංහැම් විශ්ලේෂණය කළේ මෙලෙසිනි: "සාරිපුත්ත සහ මහා මොග්ගල්ලාන යනු බුදුන් වහන්සේගේ අග්‍ර ශ්‍රාවකයෝ දෙදෙන වූ අතර, උන්වහන්සේලා සාමාන්‍යයෙන් දැක්වුනේ එතුමන්ගේ දකුණු පස හා වම් පස ශ්‍රාවකයන් ලෙසිනි. උන්වහන්සේලා දිවි ගෙවූ විටදී බුදුන් වහන්සේගේ දකුණු හා වම් පසින් වැඩ සිටි අයුරින්ම උන්වහන්සේලාගේ මරණින් පසු භෂ්මාවශේෂයන්ද තැන්පත් කෙරිණි." ගෞතම බුදු රජාණන් වහන්සේ සාම්ප්‍රදායික වශයෙන් වැඩ සිටියේ නැගෙනහිර දිශාවට මුහුණ ලා වන අතර, එබැවින් සාරිපුත්ත සහ මහා මොග්ගල්ලාන මහා තෙරුන් වහන්සේලාගේ ධාතුන් වහන්සේලා පිළිවෙලින් දකුණු සහ උතුරු දිශාගතව තැන්පත් කෙරිණි.

දේශීය වශයෙන් "බුද්ධ බිථ" හෝ "බුද්ධ ස්මාරක" ලෙසින් හැඳින්වුණු ලෙසින් කනිංහැම් විසින් සටහන් කර ඇති ස්ථාන කාණ්ඩයක එක් අඩවියක් වූ සතධාර ස්ථූපයෙහි, ඔහු විසින් සොයා ගත්තේ  සුදුමැලි පැහැයෙන් පාට ගැන්වුණු පැණි ගලින් තැනුනු කරඞු දෙකකි. සාංචියේ හමුවූ වස්තූන් මත වූ ලෙසින්ම, මේවායේද, "සාරිපුත්ථස්ස" සහ  "මහා  මොගලන්ස" ලෙසින් කැටයම් කොට තිබුණි. හොරුන් විසින් කඩා දැමීට ලක්වූ බවට සාක්ෂ්‍ය මෙම ස්තූපය වෙතින් දක්නට ලැබුණද, ධාතුන් වහන්සේලා නිරුපද්‍රිතව පැවතිණි. මෙහිදී හා අනෙකුත් ස්ථූපයන්හීදී තමන් විසින් නිරාවරණය කර ගනු ලැබූ සියල්ල පිළිබඳ සවිස්තරාත්මක විස්තර කනිංහැම් විසින් සටහන් කර තැබූ අතර, මෙම ධාතුන් වහන්සේලා පිළිබඳ යථාභූතාව, විද්වත් සමූහයන් විසින් සනාථ කෙරිණි.

ප්‍රදක්ෂිණාව
ස්ථාන දෙකෙන්ම නිරාවරණය කෙරුනු ධාතුන් වහන්සේලා, එංගලන්තය වෙත වැඩම්මවා,   වික්ටෝරියා සහ ඇල්බට් කෞතුකාගාරය වෙත තැන්පත් කෙරුණු මුත්, කරඞු පිළිබඳ කනිංහැම්ගේ විස්තරය සහ සත්‍ය වශයෙන් තැන්පත් කර තිබූ මඤ්ජුසා අතර සමහරක් පරස්පරයන් වූ හෙයින් සංචිය වෙතින් නිරාවරණය කෙරුණු ධාතුන් වහන්සේලා යමෙකු විසින් සතධාර වෙතින් සොයා ගත් කරඞු වෙතට මාරු කර ඇති බවක් විශ්වාස කෙරෙන අතර, සංචි පැණි ගල් කරඞු වලට කුමක් සිදුවූයේද යන්න පිළිබඳ පැහැදිලි සාක්ෂ්‍ය නොපවතියි.

ධාතුන් වහන්සේලා 1939 දක්වා රක්ෂිතව තබා ගන්නා ලද අතර, එම අවස්ථාවේදී මහා බෝධි සංගමය විසින් බ්‍රිතාන්‍ය රජය වෙත ඉදිරිපත් වෙමින් ඒවා ඉන්දියාව වෙත යළි භාර දෙන මෙන් ඉල්ලා සිටියේය. මෙම ඉල්ලීම ප්‍රදානය කරන ලද මුත්, එය ක්‍රියාත්මක කිරීම ප්‍රමාද වූයේ දෙවන ලෝක යුද්ධය නිසාය. මෙහි ප්‍රතිඵලයක් ලෙසින්, ධාතුන් වහන්සේලා භෞතික වශයෙන් හුවමාරු කර ගැනීම 1947 පෙබරවාරි 24 දින දක්වා සිදු නොවූයේ, ආරක්ෂාකාරී ගමනය සහතික කළ යුතු වීම නිසාය.

උපමහාද්වීපික දේශාටනය
ඉන්දියාවට යළි ගෙන ඒමට පෙර, ධාතුන් වහන්සේලා ශ්‍රී ලංකාවට වැඩම්මවන ලද අතර, එහිදී මහත් බහුමානයට පාත්‍ර විය. 1947 වසරෙහිදී, මාස දෙකක් සහ අඩක කාල සීමාවක් පුරා, ඒවා මහජන ප්‍රදර්ශනය සඳහා  කොළඹ කෞතුකාගාරයෙහි තැන්පත් කර තිබූ අතර, මිලියන දෙකක පමණ මහජනතාව උන්වහන්සේලා වැඳ පුඳා ගත් බව ඇස්තමේන්තු කර ඇත.  ධාතුන් වහන්සේලා ඉන් පසු කල්කතාව වෙත වැඩම්මවන ලද අතර, ඉන්දියාවේ මහා බෝධි සංගමයෙහි මූලස්ථානය වූ  ධර්මරාජික විහාරයේ මහජන ප්‍රදර්ශනය සඳහා තැන්පත් කරන ලදි. ප්‍රදර්ශනය තුල දෙසතියක කාල සීමාවක දිගු පෝලිම් දක්නට ලැබුණු අතර, බොහෝ වන්දනාකරුවන්  හින්දු භක්තිකයන් වූ අතර, ඔවුනතර මුස්ලිම් වරුන් විශාල සංඛ්‍යාවක්ද සිටියහ.

මෙයින් පසුව සිදුවූයේ  බුරුම දේශාටනයයි. බුරුම සමාජයෙහි පුළුල් පැතිකඩකට මෙම ධාතුන් වහන්සේලා වැඳ පුදා ගැනුමට අවකාශ සලසනු වස්, ඉරවඩි  ගංගාව ඔස්සේ මංඩලේ සිට  රැංගුන් දක්වා නාවික සංචාරයක්  සංවිධානය කෙරුණු අතර, සංචාරය හා සමග සබැඳි ධර්ම දේශනා වලට සහ සූත්‍ර  සජ්ජායනයන්ට සවන් දීමට යාබද ගම්මාන වලින් මහත් ජනකායක් ඇදී ආහ. මෙයින් පසුව සිදු වූයේ නේපාල සහ  ලදාක් සංචාරයන් වෙති.

තැන්පත් කිරීම
ජාත්‍යන්තර සංචාරය නිමවීමෙන් පසුව, ධාතූන් වහන්සේලා ඉන්දියාවට යළි භාර දෙන ලදි. කෙසේවෙතත්, බුරුම රජය ඉල්ලා සිටියේ ධාතුන් වහන්සේලාගෙන් කොටසක් බුරුමය වෙත ලබා දිය යුතු බවයි. ඉන්දියාවේ මහා බෝධි සංගමය එයට එකඟ වූ අතර, එකල  බුරුමයේ අග්‍රාමාත්‍යවරයා පුද්ගලික වශයෙන් කල්කටාවට පැමිණියේ එය භාර ගැනීමටය. 1950 ඔක්තොම්බර් මාසයේදී බුරුමය සඳහා වෙන් කෙරුණු කොටස උත්සවාකාරයෙන් භාර දෙනු ලැබුණු අතර, රැංගුන් නගරයට සඹීපයෙහි සයවන බෞද්ධ මන්ත්‍රණ සභාව පැවති අඩවියෙහි ඉදිකෙරුණු  ගබා  ඊ සේඩි (ලෝක සාම චෛත්‍යය) තුල උන්වහන්සේලා පසුව තැන්පත් කෙරිණි. චෛත්‍යයේ කොත් වහන්සේ පැළඳීම සහ ධාතුන් වහන්සේලා නිදන් කිරීම පිළිබඳ පුළුල් උත්සව 1952 මාර්තු 5 දින සිට 11 දින දක්වා පැවතිණි.

ඒවා තැන්පත් කිරීම සඳහා ශ්‍රී ලංකාවේ මහා බෝධි සංගමය විසින් ගොඩනැගෙන නව ස්තූපයක නිදන් කිරීම සඳහා තවද කොටසක් ශ්‍රී ලංකාවට ලබා දෙන ලදි. එතුමන් වහන්සේලා  දැනට  කොළඹ,  මහා බෝධි සංගමයෙහි විහාරයෙහි වැඩ වසන්නේ අදාල ගොඩනැගිල්ලේ ඉදිකිරීම් සම්පූර්ණ වන තුරුයි.

1952, නොවැම්බර් 30 දිනදී, ඒ සඳහාම සාංචියෙහි තැනුනු, චේතියගිරි විහාරයෙහි ඉතිරි ධාතුන් වහන්සේලා තැන්පත් කරන ලදි.

ආශ්‍රිත

සාහිත්‍යය
 ඩෝල්ටන්, ජැක්. (1999). "සාරිපුත්ත ඇන්ඩ් මොග්ගල්ලාන ඉන් ද ගෝල්ඩන් ලෑන්ඩ්: ද රිලික්ස් ඔෆ් ද බුද්ධාස් චීෆ් ඩිසයිෆල්ස් ඇට් ද  ගබා  ඊ  පැගෝඩා," ජර්නල් ඔෆ් බර්මා  ස්ටඩීස් 4 (1999), 101-128.

බාහිර සබැඳි
 ජැක් ඩෝල්ටන්, "සාරිපුත්ත ඇන්ඩ් මොග්ගල්ලාන ඉන් ද ගෝල්ඩන් ලෑන්ඩ්: ද රිලික්ස් ඔෆ් ද බුද්ධාස් චීෆ් ඩිසයිෆල්ස් ඇට් ද  ගබා  ඊ  පැගෝඩා"

බුද්ධාගම
පුරාතන ඉන්දියාව
බුද්ධාගමෙහි ඉතිහාසය
ධාතුන් වහන්සේලා
ගෞතම බුදුන් වහන්සේගේ ශ්‍රාවකයෝ

අග්‍ර ශ්‍රාවක ධාතූන් වහන්සේලා


Herningsholm Å Dalbro er en 200 meter lang højbro, der går henover Herningsholm Å vest for Herning.

Broen bærer den firesporede (Messemotorvej), sekundærrute 502, der går vest om Herning.

Broen gør at hjorte og andre dyr kan passere under motorvejen og den giver også mulighed for, at dyrelivet og naturen kan leve så uforstyrret af motorvejen som muligt.

Kilder

Vejbroer i Danmark
Bygninger, konstruktioner og anlæg i Herning
Transport i Herning
Bjælkebroer

Herningsholm Å Dalbro


Abe Lyman, vollständiger Name Abraham Simon Lymon, (* 4. August 1897 in Chicago; † 23. Oktober 1957 in Beverly Hills) war ein US-amerikanischer Bandleader, Schlagzeuger und Komponist.

Lyman begann als Schlagzeuger. Er spielte schon mit vierzehn Jahren regelmäßig in einem Café in Chicago und danach in Theatern und Kinos, wechselte dann aber um 1919 nach Kalifornien. In Los Angeles spielte er im Nachtclub seines Bruders Mike, der auch bei der Filmprominenz populär war, bis die Studiobosse die Besuche verboten. Seine Filmkontakte zum Beispiel zu Gloria Swanson zahlten sich aber aus. Ab 1922 leitete er erfolgreich eine Band im Nachtclub Cocoanut Grove des berühmten Ambassador Hotel auf dem Wilshire Boulevard in Los Angeles, wo sie bis 1926 spielten. Zur Band gehörten unter anderem der Hot-Trompeter Ray Lopez aus New Orleans und der Pianist Gus Arnheim, der später eine eigene Band gründete. Lyman machte auch früh (1923) Aufnahmen mit seinem Tanzorchester für Brunswick. 1925 nahm Charlie Chaplin mit der Band auf. Sie spielten auch um 1930 Filmmusik in frühen Tonfilmen ein (unter anderem für die Merrie Melodies Cartoons der Warner Brothers). 1929 tourten sie in Europa und traten in London im Kit-Cat-Klub und Palladium und in Paris im Moulin Rouge. Erkennungsmelodie der Band war California Here I Come. 1933 zog er nach New York City, wo er in populären Radio Shows wie Waltz Time bei NBC, Accordiana und später Your Hit Parade bei CBS mit seinem Orchester spielte.

1937 und 1938 gewann er den Down Beat Poll als Schlagzeuger in der Sparte Sweet Music (in der Jazz-Zeitschrift damals ironisch corn genannt).

Außer für Brunswick nahm er für Decca und zuletzt für Bluebird auf. Um 1947 wechselte er mit seiner Frau Rose Blane (die früher in seiner Band sang) von der Unterhaltungsmusik in die Versicherung und später Restaurant-Branche.

Weblinks

 Biographie von Ate Van Delden
 Biographie im Red Hot Jazz Archive, The Syncopated Times
 Lyman bei IMDB mit Biographie

Bandleader
Schlagzeuger
US-Amerikaner
Geboren 1897
Gestorben 1957
Mann

Abe Lyman


الشيخة لولوة بنت خليفة بن سلمان آل خليفة (مواليد 1976، المحرق) شاعرة بحرينية تكتب الشعر العربي والمحلي ولها إسهامات ومشاركات شعرية منذ 1994 وحتى الآن في الصحافة البحرينية والخليجية عموما. My group is on the telegram platform

https://t.me/XM_SJ

نشأتها

هي بنت الرياضي البحريني المشهور الشيخ خليفة بن سلمان بن أحمد آل خليفة أسطورة المحرق الكروية في الستينات حتى الثمانينات، وحفيدة الشاعر الشيخ محمد بن عيسى آل خليفة المعروف بالوائلي.

حاصلة على ماجستير في البلاغة العربية بامتياز مع مرتبة الشرف الأولى من جامعة البحرين 2006. تعمل كأستاذة جامعية بنفس الجامعة منذ العام 2002. لها العديد من الأمسيات الشعرية داخل وخارج البحرين ومن أهمها أمسية ليالي فبراير بالكويت 2009وعديد من الأمسيات المقامة بالنادي الأهلي والملتقى الثقافي مركز عبد الرحمن كانو حاليا 1996- 1997ومشاركات ببرامج قناة دبي الشعرية برنامج عذب المعاني والعديد من المشاركات بتلفزيون البحرين أهمها برنامج وجوه شعرية كما أحيت أمسيتين بالشارقة برعاية رابطة أديبات الإمارات 2003 وبيت الشعر العربي 2008.

أعمالها

من أشهر قصائدها دار آل خليفة-حي الصباح-جنة النوار-بسم الشعب-عرجون-لا نخذلها-قديمين المحبة-بحر النار.
كما لها موقع شعري خاص بعنوان حدائق القمر. و لها ديوان شعري تحت الطبع الهديل وهو ديوانها الأول.

آل خليفة
أشخاص يحتمل أن يكونوا أحياء
شاعرات بحرينيات
شعراء بحرينيون في القرن 20
شعراء بحرينيون في القرن 21
مواليد 1976

لولوة بنت خليفة آل خليفة


අපරාධ නීතිය සහ නඩු නොවිමසා දඬුවම් කිරිම (එල්ලා මැරීම)

1880 දී එක්සත් ජනපද ශ්‍රේෂ්ඨාධිකරණය විසින් ස්ට්‍රෝඩර් එදිරිව වෙස්ට් වර්ජිනියා, 100 US 303 (1880) නඩුවෙන්, අප්‍රිකානු ඇමෙරිකානුවන් ජූරියෙන් ඉවත් කළ නොහැකි යයි නියම කරන ලදි. දහනම වෙනි සියවසේදි අග භාගයේදි දකුණු ජනපද වල කලු ජාතිකයින්ගේ ඡන්ද බලය අහිමි කිරීමෙන් අදහස් කෙරුනේ ඔවුනට ජූරිසේවයේ සඳහා හිමිකමක් නොමැති බවයි. මන්ද ජූරි සේවයේ හිමිකම ලැබිය යුත්තේ ඡන්ද බලය හිමි අයට පමණක් හෙයිනි. මෙය තීරණය කිරීමට ඉඩහැර තිබුනේ කලු මිනිසුනට එරෙහිව සකස් වී තිබුණු සුදු අධිකරණ ක්‍රියා දාමයකටයි. සමහර ජනපදවල, විශේෂයෙන්ම ඇලබාමා ජනපදය එහි තිබුණු අපරාධ විනිශ්චය කිරීමේ ක්‍රමය උපයෝගි කර ගෙන සිර ගත කළ වැරදි කරුවන් කුලියට දීමේ ක්‍රමයක් ක්‍රියාත්මක කරන ලදි. එම ජනපදය කලු ජාතික පිරිමින්ට අවුරුදු ගණන් ගත වන සිර දඬුවම් නියම කරන ලදි. එම සිරකරුවන් ඒ සිර දඬුවම් විඳින කාලය තුල කුලියක් නොමැතිව වැඩ කළ යුතු විය. ජනපදය කළේ මෙම සිරකරුවන් පෞද්ගලික ආයතන වෙත කුලියට දීමයි. එවැනි ආයතනයක් නම් ටෙනසි කෝල්, අයන් ඇන්ඩ් රේල් රෝඩ් කොම්පැණියයි. මෙම සමාගම යුනයිටඩ් ස්ටේට්ස් ස්ටීල් කෝපරේෂන්  හි ශාඛා සමාගමකි. මෙම සමාගම් කුලි කරුවන් සඳහා රජයට ගෙවීම් කළහ. රජය මෙම ක්‍රමයෙන් මුදල් උපයන ලදි. එහෙයින් වැඩි පුර පිරිමින් සිර ගත කිරීමේ ක්‍රමයක් ක්‍රියාත්මක වුනේය. මෙම සිරකරුවන්ගෙන් වැඩි සංඛ්‍යාවක් වූයේ කලු මිනිසුන්ය. එමෙන්ම සිරකරුවන් කෙරෙහි අඩු සැලකිල්ලක් දැක්වීමේ ක්‍රමයක්ද ක්‍රියාත්මක විය.

අධිකරණ විනිශ්චයකින් පරිබාහිරව වූ දඬුවම්ද වඩාත් අමානුෂික විය. 19 වෙනි සියවසේදි අන්තිම දශකයේ සහ 20 වෙනි සියවසේ මුල් දශකවලදි සුදු සුචරිතවාදි පිරිස් නඩු විමසීමෙන් තොරව දහස් ගණනක් කලු මිනිසුන් වධබන්ධන වලට හා මරණයට පත් කළහ. සමහර විට රජයේ නිලධාරින්ද ප්‍රසිද්ධියේ සහයෝගය දැක්වූහ. මෙය වැඩි වශයෙන් ක්‍රියාත්මක වුනේ දකුණෙහිය. මෙම සමූහ ඝාතණ වලට එරෙහිව කිසිදු සුදු ජාතිකයෙකුට නඩු පවරනු නොලැබීය. සුදු මිනිසුන් මෙම වැරදි වලට දඬුවම් නොකරන බව කොපමණ දුරට විශ්වාස කළා දැයි කියතොත් ඔවුහු දඬුවම් වලට ගොදුරු වූ අය ඡායාරූප ගත කොට ඒවායින් තැපැල් පත්ද නිර්මාණය කළහ.

නැවත ගොඩනැගීමේ කාළය නම් වූ කාල පරිච්ඡේදයේ මුල් අවුරුදු වල කෙටි කාලයකට සීමා වුනු ප්‍රචණ්ඩකාරි ක්‍රියා කාරකම් කීපයකින් පසුව කූ ක්ලක්ස් කැලෑන් නම් කල්ලිය 1915 වර්ෂයේදි නැවතත් දෘෂ්‍යමාන විය. මෙම සංවිධානය දකුණේ සහ මිඩ්වෙස්ට් (මධ්‍ය බටහිර) හි කාර්මික නගර වල වැඩි වශයෙන් ක්‍රියා කාරි වූ අතර 1910 සිට 1930 දක්වා කාලය තුල වේගයෙන් වර්ධනය විය. රැකියා සහ නිවාස සඳහා තිබුණු උග්‍ර තරඟකාරි බව නිසා ඇතිවුණු වර්ගවාදි අවුල් තත්වයට සමාජ අස්ථාවරත්වය බල පෑවේය. දකුණේ සිට සංක්‍රමණය වූ කලු සහ සුදු ජාතිකයින්, කාර්මික කරණය, නැගෙනහිර යුරෝපයෙන් ක්‍රමයෙන් වැඩි වූ ආගමනයන් යනාදි සියලු කාරනා වල ප්‍රථිපලයක් ලෙසින් නගර ඉතා ඉක්මණින් වෙනස් විය. ඇමෙරිකානු සමාජය තුල තමනට තිබෙන තත්වය ගැන අවධානයෙන් සිටි ඉහත කී කූ ක්ලක්ස් ක්ලෑන් කණ්ඩායම සමග ජනතාව සම්බන්ධ වූහ.

මුලදි ක්ලෑන් කල්ලිය පෙන්වා සිටියේ ඔවුන් තම සාමාජිකයින්ගේ අභිවෘද්ධිය තකා කටයුතු කරන තවත් සහෝදර කණ්ඩායමක් ලෙසිනි. බර්ත් ඔෆ් අ නේෂන් (Birth of a nation) නැමැති චිත්‍රපටයෙන් ක්ලෑන් කල්ලියේ පුනර්ජීවනයට උත්තේජනයක් ලැබුණු අතර කලු ජාතිකයින් සම්බන්ධයෙන් ක්‍රියාත්මක වූ වර්ගවාදයේ ඒකාකාරී ස්වරූපයද නිරූපනය කළේය. ක්ලෑන් කල්ලිය දේශපාලන වශයෙන් ඒකාරාශී වීම කෙරෙහි අවධානය යොමු කළ අතර එහි ප්‍රථිපලයක් වශයෙන් ඉන්ඩියානා වැනි ප්‍රාන්තයක බලය ලබ‍ා ගැනීමටද හැකි විය. එම ප්‍රාන්තය වූ කලි සංක්‍රමණික විරෝධි, යුදෙව් හා කතෝලික විරෝධි, ශාස්ත්‍ර සංගම් විරෝධී ලක්ෂණ සමග වර්ගවාදය ඒකාබද්ධ කළ වේදිකාවක් විය. එමෙන්ම නඩු නොවිමසා කෲර ලෙස කරන ලද  ඝාතණයන්ට හා දඬුවම් පැමිණවීම්වලට සහයෝගය දැක්වීය. මෙම කල්ලිය 1925 වන විට සාමාජික සංඛ්‍යාවෙන්ද, බලයෙන්ද උපරිම තත්වයට ළඟා වී සිටි නමුත් ඉන් පසු විරුද්ධ වාදීන්ගේ ඒකරාශී වීම හේතුවෙන් සීඝ්‍රයෙන් පිරිහීමට ලක් විය.

මූලාශ්‍ර
http://en.wikipedia.org/wiki/American_Civil_Rights_Movement_%281896-1954%29#Criminal_law_and_lynching

අපරාධ නීතිය සහ අක්‍රමික දණ්ඩන


Johann Robert Mende (* 3. Mai 1824 in Brieg; † 23. August 1899 in Altona) war ein deutscher Architekt und Baubeamter. Er war Stadtbaurat von Liegnitz und von Breslau.

Leben

Johann Robert Mende arbeitete zunächst in Lauban und wurde am 1. Oktober 1867 von den Stadtverordneten von Liegnitz auf den Posten des Stadtbaurats und Magistratsmitglieds gewählt. Am 13. Mai oder am 26. Mai 1873 wurde er nach Breslau berufen, wo ihm der Stadtrat ein ähnliches Amt angeboten hatte. Er wurde am 8. August vereidigt und blieb für eine zwölfjährige Wahlperiode im Amt. Gleichzeitig gab es mit Ferdinand Alexander Kaumann einen zweiten Stadtbaurat, der bislang für die Gebiete rechts der Oder zuständig war; mit dem Amtsantritt Mendes wurden die Kompetenzen neu eingeteilt. Seitdem war Kaumann hauptsächlich für den Tief-, Wasser- und Brückenbau, Mende hingegen für den Hochbau verantwortlich.

Nach dem Ablauf der Amtszeit stellte sich Mende erneut zur Wahl, unterlag jedoch noch in der Vorentscheidung Richard Eger und Richard Plüddemann, der schließlich sein Nachfolger wurde. Ab 1886 übernahm Mende die Leitung der städtischen Baupolizei als Bauinspektor. 1893 trat er 69-jährig in den Ruhestand.

Als Architekt gehörte Mende zu späten Nachahmern Schinkels und war zeit seines Lebens ein Anhänger des Rundbogenstils. Die erste Hälfte seiner Breslauer Amtszeit fiel in die Gründerkrise. In dieser Zeit vollzog sich endgültig der Wandel der kommunalen Architektur von den Putz- zu Backsteinfassaden. Bereits Ende des 19. Jahrhunderts wurde seinem Schaffen schlechter Geschmack und architektonisches Fiasko attestiert (Karl Masner).

Werk (Auswahl)
 1868–1869: Friedhofskapelle auf dem Städtischen Friedhof in Liegnitz (gemeinsam mit Bauinspektor Wolff).
 1876–1877: Evangelische Höhere Bürgerschule an der Vorwerkstraße in Breslau (jetzt Grundschule Nr. 2, ul. Komuny Paryskiej)
 1876–1877: Schule an der Matthiasstraße in Breslau (jetzt ul. Bolesława Drobnera 5)
 1877–1878: Königliche Gewerbeschule am Lehmdamm in Breslau (jetzt ul. Bolesława Prusa; 1945 zerstört)
 1880: Friedhofskapelle auf dem städtischen Friedhof Gräbschen II in Breslau
 ab 1881: Psychiatrische Klinik an der Einbaumstraße in Breslau (jetzt ul. Józefa Ignacego Kraszewskiego; während der Ausführung abgeändert von Richard Plüddemann)
 1881–1882: Volksschule an der Lohestraße in Breslau (jetzt Gymnasium Nr. 17, ul. Ślężna 22-24, Ecke ul. Dyrekcyjna; erhalten mit späteren Erweiterungen durch Richard Plüddemann (Turnhalle von 1890) sowie Plüddemann mit Heinrich Froböse und Karl Klimm (Nordwestflügel von 1895))

Literatur

Einzelnachweise

Architekt (Deutschland)
Stadtbaurat (Breslau)
Deutscher
Geboren 1824
Gestorben 1899
Mann

Johann Robert Mende


Otto Karl Gottlob baron von Manteuffel (né le  à Berlin et mort le  dans la même ville) est le propriétaire d'un manoir en Basse-Lusace et un éminent homme politique conservateur prussien.

Biographie

Manteuffel est le fils du ministre-président prussien Otto Theodor von Manteuffel et de son épouse Berta née von Stammer. Il étudie le droit à l'Université de Göttingen et à l'Université Martin-Luther de Halle-Wittemberg. Il est membre du Corps Saxonia Göttingen (1862) et du  (1864).

Il prend part à la guerre austro-prussienne en tant que lieutenant dans le  de hussards. De 1872 à 1889, Manteuffel est administrateur de l'. Il est également député du parlement provincial de Brandebourg et du . De plus, Manteuffel est membre du Synode général et du Synode provincial pour le Brandebourg. Il est président de l'Association d'aide évangélique et directeur général de la Land-Feuersocietät pour la Marche-Électorale et Basse-Lusace.

De 1877 à 1898, Manteuffel est député du Reichstag pour le Parti conservateur allemand. Entre 1892 et 1897, il est chef de groupe parlementaire. Depuis 1883, il est député de la Chambre des seigneurs de Prusse ; En 1891, il en est le premier vice-président. De 1882 à 1908, il préside l'ancien groupe parlementaire. Avec la décision du Conseil fédéral du  Manteuffel devient membre de la  pour la préparation du  de Code civil.

Dans le Parti conservateur allemand, Manteuffel joue un rôle central, surtout depuis le Congrès du Parti de Tivoli en 1892, au cours duquel, entre autres, des points de programme antisémites sont résolus. Jusqu'en 1911, il est président du Parti conservateur allemand. En outre, Manteuffel est président du Parlement provincial de Brandebourg et du Parlement municipal de Basse-Lusace en 1894. En 1896, sa propriété autour de Krossen, Drahnsdorf, Falkenhayn et Schäcksdorf près de Luckau s'étend sur .

Entre 1896 et 1912, il est directeur d'État de la province de Brandebourg. En 1904, il devient un conseiller secret. De 1908 à 1911, Manteuffel est président du manoir. Il est également président de l'association conservatrice des réformateurs fiscaux et économiques.

Famille
Otto von Manteuffel épouse à Mersebourg en 1872 Helene Johanne Luise Isidore von Brandenstein (1847-1934). Le couple est resté sans enfant.

Hélène adopte son neveu Hans von Brandenstein (1870-1950) vers 1927 et règle ainsi la question de la succession.

Bibliographie
 Manteuffel, Otto Karl Gottlob, Freiherr von. In: Brockhaus Konversations-Lexikon 1894–1896, 11. Band, S. 565.
 Herrmann A. L. Degener (Hrsg.): Wer ist's? 4. Ausgabe, Degener, Leipzig 1909.
 Anton Bettelheim (Hrsg.): Biographisches Jahrbuch und deutscher Nekrolog. Band 18, Reimer, Berlin 1913.
 Wilhelm Kosch, fortgeführt von Eugen Kuri: Biographisches Staatshandbuch. Francke, Bern u. a. 1963.
 Acta Borussica. 1. Reihe: Die Protokolle des Preußischen Staatsministeriums 1817–1934/38. Band 10: 14. Juli 1909 bis 11. November 1918. Olms-Weidmann, Hildesheim u. a. 1999 , S. 413. (PDF-Datei; 2,74 MB)
 Friedwerd Messow: Stadtjunker in der Lausitz. Regia-Verlag, Cottbus 2002 , S. 34.
 Kristina Hübener: Manteuffel, Otto Karl Gottlob, Frhr. v. In: Friedrich Beck, Eckart Henning (Hrsg.): Brandenburgisches Biographisches Lexikon (= Einzelveröffentlichung der Brandenburgischen Historischen Kommission e. V. Band 5). Verlag für Berlin-Brandenburg, Potsdam 2002 , S. 269–270 (mit Bild).
 Eckhard Hansen, Florian Tennstedt (Hrsg.) u. a.: Biographisches Lexikon zur Geschichte der deutschen Sozialpolitik 1871 bis 1945. Band 1: Sozialpolitiker im Deutschen Kaiserreich 1871 bis 1918. Kassel University Press, Kassel 2010 , S. 105 (Online, PDF; 2,2 MB).

Liens externes
 Presse officielle Prusse (l'enregistrement exact des données doit être déterminé avec la fonction de recherche)

Références

Député du Reichstag (Empire allemand)
Député de la Chambre des seigneurs de Prusse
Député du parlement provincial de Brandebourg
Personnalité du Parti conservateur allemand
Baron
Naissance en novembre 1844
Naissance à Berlin
Décès en mars 1913
Décès à Berlin
Décès à 68 ans

Otto von Manteuffel


Ellen Bernkopf-Catzenstein (auch: Ellen Bernkopf, Künstlername: E. Colmar; * 4. April 1904 in Hannover; † 20. Januar 1992 in Jerusalem) war eine deutsche Bildhauerin.

Leben
Im Deutschen Kaiserreich wurde Ellen Catzenstein 1904 als Tochter des jüdischen Arztes Leo Catzenstein (eigentlich: Louis Catzenstein) und der Anna Catzenstein in Hannover geboren. Sie war die Schwester des Galeristen Franz Catzenstein. Nach dem Besuch der Schule durchlief sie zunächst eine künstlerische Ausbildung bei Hermann Scheuernstuhl und dem Holzschnitzer Ostermann an der Kunstgewerbeschule Hannover. Anschließend wechselte sie an die Akademie der Künste in Berlin und in die Bildhauerklasse der Unterrichtsanstalt des Kunstgewerbemuseums Berlin, wo sie durch die Bildhauer Walter Reger und Edwin Scharff unterrichtet wurde.

Nach dem Ersten Weltkrieg freundete sich Catzenstein in der Weimarer Republik mit der Künstlerin Gerda Rotermund an – diese Freundschaft hielt lebenslang; ihre Korrespondenz ist heute im Ellen-Bernkopf-Archiv dokumentiert (siehe Abschnitt weiter unten).

Während ihres Aufenthaltes in Paris 1926/27 gemeinsam mit Gerda Rotermund arbeitete Catzenstein mit dem Bildhauer Jacques Loutchansky zusammen.

Ellen Catzenstein war 1927 in Hannover Gründungsmitglied der hannoverschen GEDOK, deren Bildhauerei-Gruppe sie leitete.

Nachdem sie 1928 eine Provence-Reise mit Mara Matthiesen und Gerda Rotermund unternommen hatte, siedelte sie im selben Jahr nach Berlin über, um unter dem Künstlernamen Ellen Colmar Arbeiten in Ton und Stein auszuführen und in ihrem ersten eigenen Atelier in Berlin-Wilmersdorf, Jenaer Straße 3 zu verkaufen.

Im Jahr der Machtergreifung durch die Nationalsozialisten wurde 1933 eine Ausstellung in Hannover gezeigt, die jedoch "im Zuge der nationalsozialistischen Kulturpolitik in den Zeitungen diffamiert wurde". Noch im selben Jahr unternahm Ellen Catzenstein eine "Hollandreise" und emigrierte – ohne ihre Eltern – zunächst in die Schweiz, dann nach Italien.

Ebenfalls 1933 emigrierte ihr Bruder Franz zunächst nach Zürich, dann ins Exil nach London.

1936 lernte Catzenstein in Palästina Hans Bernkopf kennen, Professor für Virologie an der Hebräischen Universität Jerusalem, im selben Jahr starb Catzensteins Vater in Hannover. Im Juli 1937 heiratete Ellen Bernkopf-Catzenstein den Professor, allerdings konnte sie erst im Dezember des Jahres von Athen aus ein Visum nach Palästina erhalten und dorthin ausreisen.

Im Jahr der Reichspogromnacht in Deutschland kam 1938 Tochter Yael in Catzensteins neuer Heimat zur Welt. 1939 gelang auch der bis dahin in Hannover ausharrenden Witwe, Anna Catzenstein, Großmutter der kleinen Yael, die Flucht nach Palästina. Ellen verdiente den Lebensunterhalt von 1940 bis 1947 mit Privatunterricht in Jerusalem. 1947 präsentierte sie ihre eigenen Werke, insbesondere Porträts, Reliefs und Figuren aus Terrakotta und Bronze, in einer Kollektivausstellung mit Joseph Kossonogi in Tel Aviv.

Von 1947 bis 1950 hielt sich Ellen Bernkopf-Catzenstein in den USA auf: Im Dezember 1947 in New York City hatte sie eine Ausstellung in der Bertha Schaefer Gallery, später in Ann Arbor, Michigan. Im keramischen Studio "The Potter's Guild" arbeitete sie wieder als Lehrerin, um 1948 im Jewish Museum (New York City) auszustellen.

1950 kehrte Bernkopf-Catzenstein nach Jerusalem zurück und wurde dort als Krankengymnastin für behinderte Kinder tätig.

Zwischen 1951 und 1955 unternahm sie verschiedene Reisen nach Europa. Von 1968 bis 1969 arbeitete sie in Genf in der Gießerei Pastori an ihrem "Mahnmal für die Opfer der Gewalt". Es wurde – nach dem Bocholter Stadtlexikon – im Frühjahr 1970 an der von der Künstlerin gewünschten Stelle, "zwischen den Aa-Brücken, vor dem Südhaus" aufgestellt:

"1999 fand das Denkmal im Zuge der Baumaßnahmen um den Neutor-Platz den heutigen Standort."

1987 machte Ellen Bernskopf-Catzenstein in ihrer Geburtsstadt Hannover von sich reden: Im Rahmen der Ausstellung "60 Jahre GEDOK Hannover 1927–1987" wurde zugleich eine Retrospektive der gebürtigen Hannoveranerin präsentiert.

Werke (unvollständig)

Schriften
 Ellen Bernkopf: Den Opfern. In: UNSER BOChOLT, Jg. 21 (1970), Heft 1, S. 8/9

Ellen-Bernkopf-Archiv
1993 übergab die Tochter Ellen Bernkopfs, Yael Arnold-Baran, den schriftlichen Nachlass ihrer Mutter an die Akademie der Künste in Berlin.

Ehrungen
Nachdem der Rat der Stadt Hannover 1999 beschlossen hatte, neue Straßen überwiegend nach Frauen zu benennen, die in der Geschichte der Stadt eine bedeutende Rolle gespielt haben, wurde im August 2011 eine Broschüre herausgegeben, die Angaben über bisherige Straßenbenennungen nach weiblichen Persönlichkeiten gibt und eine Reihe von Personen listet, nach denen zukünftig Straßenbenennungen erfolgen sollten. Unter letzteren ist auch eine Kurzbiographie zu Ellen Bernkopf enthalten.

Siehe auch
 Geschichte der Juden in Hannover
 Mahnmal für die ermordeten Juden Hannovers
 Mahnmal am Bahnhof Fischerhof

Literatur
 Herbert A. Strauss, Werner Röder: International Biographical Dictionary of Central European Emigrés 1933–1945 [entspricht: Biographisches Handbuch der deutschsprachigen Emigration nach 1933], Volume II/Part 1: A–K. The Arts, Sciences, and Literature [hrsg. vom Institut für Zeitgeschichte, München, und von der Research Foundation for Jewish Immigration, Inc., New York unter der Gesamtleitung von Werner Röder und Herbert A. Strauss], München; New York; London; Paris; Saur, 1983, ISBN 3-598-10087-6, p. 97f.
 Hilde Weström: Die Bildhauerin Ellen Bernkopf-Catzenstein. In: 60 Jahre GEDOK Hannover. 1927–1987. Bildende Kunst, angewandte Kunst, Literatur, Musik, Kunstfreunde, S. 14f.
 Hiltrud Schroeder (Hrsg.): Sophie & Co. Bedeutende Frauen Hannovers. Biographische Portraits, Hannover: Fackelträger-Verlag, 1991, ISBN 3-7716-1521-6, S. 227
 Ines Katenhusen: "… das bedürfnis nach geistiger anregung". Gedok-Künstlerinnen und Kunstfreundinnen im Hannover der zwanziger und dreißiger Jahre. In: Adlige, Arbeiterinnen und … Frauenleben in Stadt und Region Hannover vom 17. bis zum 20. Jahrhundert, hrsg. von Karin Ehrich und Christiane Schröder (Kommunalverband Großraum Hannover), in der Reihe Materialien zur Regionalgeschichte, Bd. 1, Bielefeld: Verlag für Regionalgeschichte, 1999, ISBN 3-89534-292-0, S. 216 u.ö.
 Peter Schulze: Bernkopf-Catzenstein, Ellen. In: Hannoversches Biographisches Lexikon, S. 54f. u.ö. ().
 Peter Schulze: Bernkopf-Catzenstein, Ellen. In: Klaus Mlynek, Waldemar R. Röhrbein (Hrsg.) u. a.: Stadtlexikon Hannover. Von den Anfängen bis in die Gegenwart. Schlütersche, Hannover 2009, ISBN 978-3-89993-662-9, S. 64.
 Christine Kannenberg, Sabine Poppe (Redaktion), Petra Utgenannt (Gestaltung): Bedeutende Frauen in Hannover. Eine Hilfe für künftige Benennungen von Straßen, Wegen, Plätzen und Brücken nach weiblichen Persönlichkeiten, Broschüre, hrsg. vom Referat für Frauengleichstellung sowie vom Fachverband Planen und Stadtentwicklung, Landeshauptstadt Hannover, Juni 2013 (Online, PDF, 736 kB).
 Gerd Häckelmann: Mahnmal für die Opfer der Gewalt. In: UNSER BOCHOLT, Jg. 21 (1970), Heft 1, S. 6/7

Weblinks
 Ellen-Bernkopf-Archiv im Archiv der Akademie der Künste, Berlin

 Center for Yewish History: Outdoor portrait of Ellen Bernkopf nee Catzenstein with her husband Hans Bernkopf; Paris, France, online
 Irmgard Ratermann: Bocholter Stadtlexikon / Mahnmal für die Opfer der Gewalt. online auf bocholt.de

Einzelnachweise

Bildhauer (Deutschland)
Bildhauer (Israel)
Bildender Künstler (Hannover)
Bildender Künstler (Berlin)
Person (Paris)
Person (Jerusalem)
Emigrant aus dem Deutschen Reich zur Zeit des Nationalsozialismus
Emigrant in Palästina zur Mandatszeit
Person (Genf)
Person (New York City)
Person (Bocholt)
Deutscher
Geboren 1904
Gestorben 1992
Frau

Ellen Bernkopf-Catzenstein