1882 - Revision history

HansaThapliyal at 07:44, 24 November 2013

2013-11-24T07:44:12Z

HansaThapliyal at 20:22, 23 November 2013

2013-11-23T20:22:44Z

HansaThapliyal at 20:15, 23 November 2013

2013-11-23T20:15:23Z

HansaThapliyal at 19:28, 20 February 2012

2012-02-20T19:28:45Z

HansaThapliyal at 04:58, 13 January 2012

2012-01-13T04:58:07Z

HansaThapliyal at 04:56, 13 January 2012

2012-01-13T04:56:29Z

HansaThapliyal at 07:09, 11 December 2011

2011-12-11T07:09:43Z

HansaThapliyal at 16:02, 18 November 2009

2009-11-18T16:02:47Z

HansaThapliyal at 16:01, 18 November 2009

2009-11-18T16:01:55Z

HansaThapliyal at 14:16, 9 July 2009

2009-07-09T14:16:33Z

@@ Line 44: / Line 44: @@
 'One year later, in 1882, Kirloskar presented on stage his musical Saubhadra (सौभद्र). This play too contained well over 100 musical pieces, and once again he acted in the play.
 Because of its multifaceted quality, Saubhadra surpassed even the high popularity of Shakuntal. Innumerable performances of these two plays have been presented by different performing groups to the Marathi audience since their premiere 130 years ago.' [http://en.wikipedia.org/wiki/Annasaheb_Kirloskar]
-The Saubhadra song, her wondering who she should go to help. Bal Gandharva will sing i later.. Being sung by Asha Khadilkar
+The Saubhadra song, her wondering who she should go to help. Once Bal Gandharva joins the company it will be one of his sterling performances
 [http://www.youtube.com/watch?v=pJvETchWWOs]

@@ Line 44: / Line 44: @@
 'One year later, in 1882, Kirloskar presented on stage his musical Saubhadra (सौभद्र). This play too contained well over 100 musical pieces, and once again he acted in the play.
 Because of its multifaceted quality, Saubhadra surpassed even the high popularity of Shakuntal. Innumerable performances of these two plays have been presented by different performing groups to the Marathi audience since their premiere 130 years ago.' [http://en.wikipedia.org/wiki/Annasaheb_Kirloskar]
 [http://www.youtube.com/watch?v=pJvETchWWOs]

←Older revision		Revision as of 20:15, 23 November 2013
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	[http://books.google.co.in/books?id=ui3nAXVstroC&pg=PA422&lpg=PA422&dq=bhandarkar+ranade+phule&source=bl&ots=-sVsF8p0Sj&sig=_B10uUGo5E5X7XRPROnrbazGIxw&hl=en#v=onepage&q=bhandarkar%20ranade%20phule&f=false]		[http://books.google.co.in/books?id=ui3nAXVstroC&pg=PA422&lpg=PA422&dq=bhandarkar+ranade+phule&source=bl&ots=-sVsF8p0Sj&sig=_B10uUGo5E5X7XRPROnrbazGIxw&hl=en#v=onepage&q=bhandarkar%20ranade%20phule&f=false]
	page 422		page 422
		+	-----------
		+	Saubhadra
		+	'One year later, in 1882, Kirloskar presented on stage his musical Saubhadra (सौभद्र). This play too contained well over 100 musical pieces, and once again he acted in the play.
		+	Because of its multifaceted quality, Saubhadra surpassed even the high popularity of Shakuntal. Innumerable performances of these two plays have been presented by different performing groups to the Marathi audience since their premiere 130 years ago.' [http://en.wikipedia.org/wiki/Annasaheb_Kirloskar]
		+	[http://www.youtube.com/watch?v=pJvETchWWOs]

←Older revision		Revision as of 19:28, 20 February 2012
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		+	Adolescence by Sejan Dani
		+
		+	[[Image:Sejal.jpg]]
		+
		+
	Hunter Commision.		Hunter Commision.

←Older revision		Revision as of 04:58, 13 January 2012
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	1882, Memorial addressed to the education commission. Phule		1882, Memorial addressed to the education commission. Phule
	"I sincerely hope the Government will ere long..take the glory into their own hands, of emancipating my Shudra brethren from the trammels of bondage which the Brahmans have woven around them like the coils of serpent...Away with all Brahmin school masters"		"I sincerely hope the Government will ere long..take the glory into their own hands, of emancipating my Shudra brethren from the trammels of bondage which the Brahmans have woven around them like the coils of serpent...Away with all Brahmin school masters"
		+
		+	[http://books.google.co.in/books?id=ui3nAXVstroC&pg=PA422&lpg=PA422&dq=bhandarkar+ranade+phule&source=bl&ots=-sVsF8p0Sj&sig=_B10uUGo5E5X7XRPROnrbazGIxw&hl=en#v=onepage&q=bhandarkar%20ranade%20phule&f=false]
		+	page 422

←Older revision		Revision as of 04:56, 13 January 2012
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	Raja Raja listens. He knows his older brother has been a good student of their uncle, who is an expert in the Tanjore school of painting, where ornamentation is the most delicate and cosummate skill you can practice. But Raja Raja senses he has other desires. If Ravi Verma keens his eye to the texture of skin, the transparency of cloth that covers Urvashi's breast, Raja Raja's eye is on the pigments of the dawn that suffuse the sky, the grains of the evening that fall over a pond, till you feel they might choke you. He marvels at the changes of the sky in each new place they visit, and he remembers them all.		Raja Raja listens. He knows his older brother has been a good student of their uncle, who is an expert in the Tanjore school of painting, where ornamentation is the most delicate and cosummate skill you can practice. But Raja Raja senses he has other desires. If Ravi Verma keens his eye to the texture of skin, the transparency of cloth that covers Urvashi's breast, Raja Raja's eye is on the pigments of the dawn that suffuse the sky, the grains of the evening that fall over a pond, till you feel they might choke you. He marvels at the changes of the sky in each new place they visit, and he remembers them all.
		+	-----------
		+	Death of Vishnupant Chiplunkar, Pune Brahman, brilliant, polemical opponent of Phule. Chiplunkar might have been one of Phalke's heroes?
		+
		+	1882, Memorial addressed to the education commission. Phule
		+	"I sincerely hope the Government will ere long..take the glory into their own hands, of emancipating my Shudra brethren from the trammels of bondage which the Brahmans have woven around them like the coils of serpent...Away with all Brahmin school masters"

←Older revision		Revision as of 07:09, 11 December 2011
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	18TH FEBRUARY 1882		18TH FEBRUARY 1882
		+
		+	W J Wilkins Hindu Mythology illustrated with nearly 50 Kalighat type paintings.. most avaialbe, icons of almost all the hindu gods..

	---------------		---------------

@@ Line 20: / Line 20: @@
 ---------------
-Dhundiraj Phalke's notes on the script on Raja Ravi Varma
+Dhundiraj Phalke's notes for a possible script? on Raja Ravi Varma
 Ravi Varma: " And when you have finished with both, the body and its robes, when the most difficult labour is over, then you can take the evening off and sleep a fresh sleep in the knowledge of the pleasure that awaits you, when you will make their jewels. The brush must pick up the paint with some strength, because pearls need body. But when the brush leans on the canvas, then your touch must be light and sure, as pearl by pearl you festoon your woman with garlands. You let a small spot of gold touch his ear and hold up a teardrop of white. These too are the glories of our people, these make them more real, the viewer's hands are lifted in wonder and desire, wanting to touch and fearing to do the same. And women come closer, and look down at their own necks when they see these pictures, and see themselves standing at doorways, looking back, turning their heads, see themselves as Subhadra, as Damayanti, as Shakuntala"
-Raja Raja listens. He knows his older brother has been a good student of their uncle, who is an expert in the Tanjore school of painting, where ornamentation is the most delicate and cosummate skill you can practice. But Raja Raja senses he has other desires. If Ravi Verma keens his eye to the texture of skin, the transparency of cloth that covers Urvashi's breast, Raja Raja's eye is on the pigments of the dawn that suffuse the sky, the grains of the evening that fall over a pond, till you feel you might choke. He marvels at the changes of the sky in each new place they visit, and he remembers them all.
+Raja Raja listens. He knows his older brother has been a good student of their uncle, who is an expert in the Tanjore school of painting, where ornamentation is the most delicate and cosummate skill you can practice. But Raja Raja senses he has other desires. If Ravi Verma keens his eye to the texture of skin, the transparency of cloth that covers Urvashi's breast, Raja Raja's eye is on the pigments of the dawn that suffuse the sky, the grains of the evening that fall over a pond, till you feel they might choke you. He marvels at the changes of the sky in each new place they visit, and he remembers them all.

←Older revision		Revision as of 14:16, 9 July 2009
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	Ravi Varma: " And when you have finished with both, the body and its robes, when the most difficult labour is over, then you can take the evening off and sleep a fresh sleep in the knowledge of the pleasure that awaits you, when you will make their jewels. The brush must pick up the paint with some strength, because pearls need body. But when the brush leans on the canvas, then your touch must be light and sure, as pearl by pearl you festoon your woman with garlands. You let a small spot of gold touch his ear and hold up a teardrop of white. These too are the glories of our people, these make them more real, the viewer's hands are lifted in wonder and desire, wanting to touch and fearing to do the same. And women come closer, and look down at their own necks when they see these pictures, and see themselves standing at doorways, looking back, turning their heads, see themselves as Subhadra, as Damayanti, as Shakuntala"		Ravi Varma: " And when you have finished with both, the body and its robes, when the most difficult labour is over, then you can take the evening off and sleep a fresh sleep in the knowledge of the pleasure that awaits you, when you will make their jewels. The brush must pick up the paint with some strength, because pearls need body. But when the brush leans on the canvas, then your touch must be light and sure, as pearl by pearl you festoon your woman with garlands. You let a small spot of gold touch his ear and hold up a teardrop of white. These too are the glories of our people, these make them more real, the viewer's hands are lifted in wonder and desire, wanting to touch and fearing to do the same. And women come closer, and look down at their own necks when they see these pictures, and see themselves standing at doorways, looking back, turning their heads, see themselves as Subhadra, as Damayanti, as Shakuntala"

−	Raja Raja listens. But ~~his young eyes slowly reflect~~ other desires. If Ravi Verma keens his eye to the texture of skin, the transparency of cloth that covers Urvashi's breast, Raja Raja's eye is on the pigments of the dawn that suffuse the sky, the grains of the evening that fall over a pond, till you feel you might choke. He marvels at the changes of the sky in each new place they visit, and he remembers them all.	+	Raja Raja listens. He knows his older brother has been a good student of their uncle, who is an expert in the Tanjore school of painting, where ornamentation is the most delicate and cosummate skill you can practice. But Raja Raja senses he has other desires. If Ravi Verma keens his eye to the texture of skin, the transparency of cloth that covers Urvashi's breast, Raja Raja's eye is on the pigments of the dawn that suffuse the sky, the grains of the evening that fall over a pond, till you feel you might choke. He marvels at the changes of the sky in each new place they visit, and he remembers them all.