#waris shah

[husn-e-bahar]

I was reading Waris Shah Qissa Heer Ranjha.

I love how Heer straight out threatens her uncle Kaido. Girl does not care at all. Mind you this version of Heer Ranjha was written in 1766.

ਮਿਲੀ ਰਾਹ ਵਿੱਚ ਦੌੜ ਦੇ ਆ ਨਢੀ, ਪਹਿਲੇ ਨਾਲ ਫ਼ਰੇਬ ਦੇ ਚੱਟਿਆ ਸੂ । ਨੇੜੇ ਆਣ ਕੇ ਸ਼ੀਹਣੀ ਵਾਂਗ ਗੱਜੀ ,ਅੱਖੀਂ ਰੋਹ ਦਾ ਨੀਰ ਪਲੱਟਿਆ ਸੂ । ਸਿਰੋਂ ਲਾਹ ਟੋਪੀ ਗਲੋਂ ਤੋੜ ਸੇਲ੍ਹੀ, ਲੱਕੋਂ ਚਾਇਕੇ ਜ਼ਿਮੀਂ ਤੇ ਸੱਟਿਆ ਸੂ । ਪਕੜ ਜ਼ਮੀ ਤੇ ਮਾਰਿਆ ਨਾਲ ਗੁੱਸੇ, ਧੋਬੀ ਪਟੜੇ ਤੇ ਖੇਸ ਨੂੰ ਛੱਟਿਆ ਸੂ । ਵਾਰਿਸ ਸ਼ਾਹ ਫਰਿਸ਼ਤਿਆਂ ਅਰਸ਼ ਉੱਤੋਂ, ਸ਼ੈਤਾਨ ਨੂੰ ਜ਼ਿਮੀਂ ਤੇ ਸੱਟਿਆ ਸੂ ।

Hir overtook Kaido on the way, pretending at first to speak in mirth. But coming near she roared like a tiger, shedding tears of wounded pride. Snatching away his cap and stole she threw him down with a violent thud. The devil must have been thrown from heaven thus by the angels, Waris, on earth.

ਹੀਰ ਢਾਇ ਕੇ ਆਖਿਆ ਮੀਆਂ ਚਾਚਾ, ਚੂਰੀ ਦੇਹ ਜੇ ਜੀਵਿਆ ਲੋੜਨਾ ਹੈਂ । ਨਹੀਂ ਮਾਰ ਕੇ ਜਿੰਦ ਗਵਾ ਦੇਸਾਂ, ਮੈਨੂੰ ਕਿਸੇ ਨਾ ਹਟਕਣਾ ਹੋੜਨਾ ਹੈਂ । ਬੰਨ੍ਹ ਪੈਰ ਤੇ ਹੱਥ ਲਟਕਾਇ ਦੇਸਾਂ, ਲੜ ਲੜਕੀਆਂ ਨਾਲ ਕੀ ਜੋੜਨਾ ਹੈਂ । ਚੂਰੀ ਦੇਹ ਖਾਂ ਨਾਲ ਹਯਾ ਆਪੇ, ਕਾਹੇ ਅਸਾਂ ਦੇ ਨਾਲ ਅਜੋੜਨਾ ਹੈਂ ।

Throwing him down, Hir said, 'sir uncle, return my pudding if you care for your life. 'Otherwise I'll beat the breath out of you. and none will save you here from me. 'You dare pick quarrels with us girls, I'll dangle you from the nearest tree. 'Now if you have an iota of shame, give back the pudding, or come to grief.'

Heer made kheer for Ranjha, her uncle tricked Ranjha to give that kheer to him. Now he is going towards the village. Heer is afraid that he is going to tell her parents about her and Ranjha's love.

Source: https://www.punjabi-kavita.com/The-Love-Of-Hir-And-Ranjha-Waris-Shah.php https://www.punjabi-kavita.com/HeerWarisShah2.php

#Heer Ranjha #Waris Shah #Punjabi literature #punjabi poetry #love #desiblr #sufism #heer #ranjha #desi academia #desi girl #classical literature #women in love #bookblr #quotes

[indizombie]

Don’t tell me the child of ancient farmers can’t tell agriculture from ecocide; the waaris of Waris Shah poetry from crudity; the heir to Bade Ghulam Ali, Salamat/Nazakat Ali music from travesty; the builder of Harappa, dignified existence, from a rat’s nest; the child of Vaisakhi 1699, true revolution, from lip service. Don’t worry, he’s just tripping, riding out the bad trip. And when he wakes up, everything will be accounted for — the dead, the living, the comatose. Till then, we all play our parts. Shore up your version of Punjabiyat. Look at your kids’ faces. What would you like to pass on to them? Pass that. Whose light do you want them to reflect? Cast that. Which song do you want them to remember you by? Sing that.

Rabbi Shergill, ‘Rhythm of an ominous beat’, Tribune

#Tribune #Rabbi Shergill #India #Punjab #Waris Shah #Bade Ghulam Ali #Salamat Ali #Nazakat Ali #Harappa #Baisakhi 1699 #Punjabiyat

[like-a-flowing-river]

ਭਾਵੇਂ ਜ਼ੁਹਦ ਇਬਾਦਤਾਂ ਲੱਖ ਹੋਵਣ

ਇਸ਼ਕ ਬਾਝ ਨਜਾਤ ਨਾ ਮੂਲ ਮੀਆਂ - ਵਾਰਿਸ ਸ਼ਾਹ

#book #ਹੀਰ #heer #waris shah #gurmukhi punjabi #punjabi poetry #punjabi

[hindikala]

Amrita Pritam Nazm Waris Shah Se | वारिस शाह से | अमृता प्रीतम | कविता #AmritaPritam #Nazm #Punjab #WarisShah Read More: https://hindikala.com/hindi-literature/poetry-in-hindi/amrita-pritam-nazm-waris-shah-se/

#amritapritam #amrita pritam #hindikala #waris shah #punjab

[jones-friend]

How to Horde

Horde Decks, or PvE EDH, is something I’ve had a good time playing with and I wanted to share my notes here!

The idea behind horde is 2+ survivors with a shared life total are battling against a horde deck, where all damage dealt to the horde mills that many cards from the top of the horde. The horde is allowed one or more reveals each turn. Consisting of token and nontoken cards, the horde reveals cards from the top of the deck until a nontoken card is revealed. That card is cast with infinite mana and all revealed tokens enter play. The horde’s creatures have haste and must attack every turn. Players win if they reduce the horde deck to 0!

Building the Horde

Start with a theme. Theme is the most important part of the deck. Horde mode arose during the zombie craze of the late 00’s. Traditionally a horde deck is 60 token cards and 40 nontoken cards with tokens at 2/2 with a few stronger 5/5 thrown in. Flavor is king when it comes to horde, so the first thing you’ll want to do is pick a theme that has a broad base of tokens. Phyrexian invasions, zombie hordes, onslaughts of beasts, killer robots, legions of soldiers, theres a lot of fun unifying themes to pick from.

The traditional horde token has 2 power 2 toughness, so if you use higher power tokens like 3/3 beasts consider adding more nontoken cards. You can make the horde harder with less nontoken cards (more tokens per reveal) or easier with more nontoken cards (less tokens per reveal). I like to find a diverse base of tokens with varying power and/or keywords, but I recommend to make at least 30 cards (half your token base) the same token.

Building a horde deck is a fascinating exercise bc mana cost and rarity are entirely irrelevant. Cards that are normally considered weak can blow out the game and cause a sudden and unhappy loss.

Preventing your opponents from blocking for a full turn can be devastating. When building a horde you aren’t looking for complex card interaction like you would with a deck. You’re looking to build a series of challenges for the survivors to overcome. Much more like dm’ing a game of EDH than trying to win it.

When packing removal be sure to “game-ify” the removal. For example I would play Ravnica at War in a horde with multicolor permanents at stake so the boardwipe impacts the horde as well, but a monocolor EDH deck could slip by. Board wipes can help even out a horde out of control or set the players back a few paces. Try to stay away from flat out boardwipes, try to give some kind of choice or interaction with it from the survivor’s side. You also want to avoid removal that forces the horde to make a choice. Tribute to the Wild is a great card for Horde impacting the survivors and taking off an artifact/enchant per player. If the horde does make a choice it should do so randomly, without affecting its own permanents if possible.

You should also be aware of how the rules work for direct damage on survivors. They share a life total, but are counted as individual opponents for the sake of direct damage. For example Red Dragon will deal 4 damage to the survivors per survivor. Even though its an uncommon it can deal 8-16 damage just by entering the field. Crackling Doom deals 2 damage to the survivors per survivor and they each have to make a sacrifice.

You can also add cards that help the survivors. Whenever the horde draws a card they are allowed to play it during the pre combat main phase. While Vision Skeins lets the horde draw and play two more cards that turn each survivor draws 2. Shah hits for 6 trample damage BUT if survivors let it stay out they’ll each draw 3 making more of a game out of this reveal. Enslaved Horror lets each survivor recur a creature.

Be VERY wary of letting the horde steal, and do so carefully. The horde’s infinite mana can break the game and this often makes the horde makes choices which we want to avoid doing. For example Intellect Devourer lets the horde steal and play from hands but only whatever the players give it. To me this is reasonable. So if players give the horde a comet storm it will multitarget everything for infinite damage and the game will end. Speaking of, also be wary of X cost cards. The horde has infinite mana and will cast for the highest value of X. So Comet Storm is a bad add because it ends the game when revealed.

Playing the Horde

The horde is designed to play autonomously, so the player piloting the horde should be able to also play. I give the survivors 30 life +10 per player, though other people do 20 life per player. Decks that play more traditional mtg using combat to deal damage and win are ideal as some archetypes get messy with the format. If anyone plays mill I recommend on cards like Mind Grind that mill for lands to mill until a nontoken card is revealed instead of a land. If Poison is in the game I recommend milling a number of cards whenever the poison threshold is reached (anywhere 20-50 cards or half of whats left).

In EDH players will gain momentum the longer the game goes on and eventually will begin to overtake the horde. I recommend adding another reveal each time a damage threshold is met. I prefer to add a second reveal whenever the survivors deal 20+ damage to the horde deck and this has worked nicely. You can also do 15/30, two reveals after 15+ damage and three reveals after 30+ damage. This usually matches the power of the survivors and keeps the challenge going.

Adding Goodies

You may be tempted to add extra goodies like Background enchantments or war chests that give bonuses during the game. If you decide to make sure the horde works as intended first. Once you have the horde going then start adding extras. Its up to you how to award them. One angle I recommend is adding a flavorful emblem that causes each horde reveal. For example in a phyrexian invasion horde you could have Breach emblems that read “the horde reveals a nontoken card”. And each time a condition is met add another breach token adding another reveal making the game harder. You can also add emblems related to major characters for flavor. In a phyrexian invasion where incubator tokens are used you could make an Atraxa emblem that reads “at the end of your turn proliferate all permanents you control”.

And that’s my guide to horde! Pick a theme, 60 tokens, 40 nontokens, and go nuts with it. Remember this is for fun, you aren’t trying to murderize the survivors, and really lean into the flavor of your horde. If you’ve made any or will make one I’d love to see it!

#Mtg #magic the gathering #buy singles not sealed

[the-whispers-of-death]

"Dance with me."

Grim Reaper turned to the person speaking, a man he knew so well.

Heartthrob.

Captain Fariz "Heartthrob" Shah was an old acquaintance of Grim Reaper's, the closest thing he had to a friend. Standing at 6'6" tall, he was shorter Grim Reaper, but he was so much warmer. His brown eyes sparkled and his warm brown skin dimpled when he smiled, brightening any room he walked in. Since they were on deployment, his usual beard was shaved clean, giving the thirty-five year old a sense of youth as his rounded jaw was shown off.

He looked... handsome. If Grim Reaper gave it much thought about Heartthrob's appearance.

"What did you say?" Grim Reaper asked, clearly thinking he had misheard. His voice was deep and monotone as always, an air of coldness surrounding him.

No one ever asked to dance, mostly because they were scared of him. And those who weren't scared of him told him he was just a mindless soldier, a weapon. They weren't wrong, Grim Reaper was nothing more than a weapon.

Okay well, he was also Bharat Mishra's son, a man whom he looked so much alike that he took his father's name as his own. He became his father, and the Marine Corps loved it.

Heartthrob's smile hadn't dimmed and he moved closer to Grim Reaper, holding out a calloused hand. "Dance with me, this is my favorite song. I want to dance with you to it," he repeated, as if that made any sense to Grim Reaper.

But Grim Reaper just thought it was one of the odd things about Heartthrob. Because surely the man must be odd to take one look at a mindless soldier like Grim Reaper and decide to befriend him.

Grim Reaper slipped his hand in Heartthrob's, feeling the warmth of the other man's encase his gloved hand. "I don't know how to dance," he murmured as he let Heartthrob lead him onto the bar's dance floor.

"No need for you to, not really." Heartthrob led him to the middle of the dance floor and let go of Grim Reaper's hand, placing his own around Grim Reaper's waist. "Just wrap your arms around my neck and sway. It'll be fun, I promise."

Grim Reaper bit back his initial instinct to say that he never had fun, but he instead just said nothing. He wrapped his burly arms around Heartthrob's neck, something that would make the others wary.

He had snapped so many enemy soldiers' necks so many times over the years and his efficiency for doing so made the others scram whenever he was in arms distance from them.

But not Heartthrob. Heartthrob stayed so close to Grim Reaper, gave him affectionate pats on the shoulders and chest, touched his waist like he was doing now. He wasn't afraid of being hurt, being burned by the intense paranoid that clouded Grim Reaper's ability to make friends.

He always thought people were going to hurt him. That someone was going to poison his food. Drug his drink.

But Heartthrob always took the first bite of Grim Reaper's food and waited minutes before telling him that it was safe to eat. Always taking the first sip so Grim Reaper knew he could drink it safely.

So kind, so... nurturing.

Grim Reaper always wondered what was in it for Heartthrob. Was it so he could boast about taking down Grim Reaper's walls? Was it so he could hurt Grim Reaper when his walls were fully down?

It made him want to pull back from the man.

Grim Reaper went to do just that, but he looked into Heartthrob's eyes and his paranoia melted away. Instead of pulling away, he found himself leaning in. Since they were so close, he could smell Heartthrob's cologne that he had worn to supposedly woo people.

His callsign was Heartthrob, not because he could charm people, but because he couldn't. He was notoriously bad at getting dates, so other Marines started teasing him and calling him a heartthrob. True to his easygoing nature, he never got angry at the teasing, he actually welcomed it. He joined in on making fun of himself on more than one occasion.

"What are you thinking about?" Heartthrob asked as they swayed together. His hands had moved up slightly, on the small of Grim Reaper's back.

He was cradling him. Like Grim Reaper was something—someone—so precious to him.

Grim Reaper replied immediately, "I'm thinking about you."

And he immediately bit his tongue to stop himself from saying more.

He was always too blunt, too honest. He didn't know how to lie, unless it was to save someone's life. Whenever he had to lie to get someone out of a bad situation, it was like a switch flipped in his brain and he could lie. Other times, he was just too honest, saying such vulnerable things.

Which was why he had to be quiet more often. People often didn't like what he said anyways.

Heartthrob seemed amused though, a laugh bubbling up from his chest and escaping from his lips. His brown eyes seemed to sparkle more as a smile Grim Reaper wasn't sure ever left his face came back. "What about me are you thinking about?"

Instead of replying, Grim Reaper just gave him a blank look, which seemed to amuse Heartthrob even more. So much so that he took advantage of Grim Reaper's sheepishness and grabbed one of his gloved hands, twirling Grim Reaper.

It was like the breath left Grim Reaper, a sense of fleeting freedom washed over as he twirled. What was this feeling blooming in his chest, the twitching in his lips?

"You're glowing," Heartthrob murmured, his voice soft like he was in awe as he brought Grim Reaper back into his hold, pulling the other man against his chest. "You like the twirl, hm? I'll keep that in mind."

Grim Reaper's eyebrows furrowed. "I don't what you're talking about."

And he really didn't. He didn't know what emotion he was feeling, why he was even feeling anything.

Shouldn't he be emotionless? His father trained him to be an emotionless soldier, to be molded into whatever the Marine Corps wanted him to be. So what was this foreign emotion that he was feeling?

Heartthrob chuckled. "You looked like you were about to smile," he explained softly, unbothered at having to explain emotions to Grim Reaper. "Your eyes were bright, you looked happy. It's like the world gets so much brighter and you feel like nothing can dim the warmth you feel. Does that sound similar to what you felt?"

"I... I don't know," Grim Reaper admitted, wincing at his own words. He waited with abated breath, waiting for the inevitable scoff and disbelief that he didn't understand what happiness was or what emotion he was feeling.

"That's okay," Heartthrob instead responded with, one of his hands lifting upwards and gently guiding Grim Reaper's head towards his shoulder. "We'll take it one day at a time, help you learn your emotions, together."

Grim Reaper melted in Heartthrob's arms. "You promise?" he asked.

Heartthrob smiled down at Grim Reaper. "I promise, and perhaps we can also see about you giving yourself your own name." His hand was still on the back of Grim Reaper's hair, his fingers gently carding through the black strands.

"I like the name Vikram."

"Vikram, what a beautiful name. I promise, Vikram, I'll be by your side for as long as you'll have me."

Reblogs are welcomed & appreciated! Asks are open, feel free to pop in and talk or request something! (SFW requests only, please and thank you)

#task force 141 oc #call of duty oc #cod oc #task force 141 oc: stone #call of duty oc: stone #cod oc: stone #grim reaper!stone #stone variants #The Multiverse of Stone #call of duty oc: heartthrob #cod oc: heartthrob #Heartthrob x Grim Reaper!Stone #Grim Reaper!Stone x Heartthrob #oc x oc #male oc x male oc #this was longer than intended #nobody asked for them but the first line popped into my head and wouldn't leave me alone until I wrote this #:)

[hazellevessque]

Characters from Aru Shah and Secret Shanghai who would be besties and characters would hate each other

OOOH OK

Dawn said that Mini and Silas would be really good friends and I see that 10000% so that. Maybe also Benedikt and Mini as friends?

Then I think Aru and Marshall would fuck shit up. The world is not ready for them together.

Rosalind and Aiden. There is a half-written post in my drafts about how similar they are to each other. They would get along really well. I also think that Rosalind would be very wary of Rudy and they could talk about him together.

Phoebe and Brynne as best friends or worst enemies. There is no in between. I can also imagine Orion and Brynne being friends (they are strong™️)

I can see Alisa, Phoebe, Sheela, and Nikita playing the annoying girl game too.

Juliette wouldn’t like Aru or Brynne I have a feeling in my soul. Roma doesn’t like them because Juliette doesn’t like them

That’s all I can think of for now.

#aru shah #tpq #the pandava quintet #aiden acharya #yamini kapoor mercado lopez #brynne rao #sheela jagan #nikita jagan #prince rudra of naga loka #secret shanghai #tvd #ove #flf #fhh #these violent delights #our violent ends #foul lady fortune #foul heart huntsman #silas wu #phoebe hong #orion hong #rosalind lang #juliette cai #roma montagov #alisa montagova #last violent call #marshall seo #benedikt montagov #ask #roshani chokshi

[nerdywriter36]

Hey Emily! 👋

For the fic title ask game

1) A Heart of Glass

2) Something Old Something New

hi hannah! thank you so much for the ask, these were great suggestions!

A Heart of Glass

Canon era: Erik's heart was so fragile, like a piece of fine china. Over the years, Nadir had seen it be broken and cracked before, right before his eyes; the shah did plenty of damage, and Erik never truly did recover from losing Reza, from playing a part in the death of Nadir's son. He had heard of how people in Erik's past had broken it; the circus ringmaster, the Italian stonemason, his own mother. He thought that by now, surely Erik would know to be more careful with it. Clearly not.

Now, he could only watch from afar and hope that the Daaé girl wouldn't be the one to finally shatter that delicate heart inside of his dear friend's chest.

Something Old, Something New

Post-canon era, happy E/C: There had only been one other girl in his life: Luciana Bellandini. For the time that he had her, she had been the most beautiful girl in the world to him. She fawned over him, showered him in her sweet affections. She was his first love, his first kiss, the first—and thus far only—girl he had shared a bed with. He couldn't call her perfect, though; there was also her prying questions, her vicious outbursts, and her incessant curiosity about what lay under his mask. Though he had lost her so long ago now, her memory stuck with him. The beautiful parts, yes, but also the parts that had left scars long ago.

Those scars had made him wonder for some time if Christine Daaé would end up the same way when he first met her, when their mutual interest first became known. Luciana had damaged him in so many ways amongst the love she had given him, which only made him wary of Christine. Was her love false? Was she only playing him so that she could find out what lay under his mask and mock him endlessly, reveal him to the opera staff?

Bless the girl's heart, she was patient with him. She took the time to help him work through those fears, and now, he knew that he had been wrong. Now he had a woman whom he would kiss and love for the rest of his life with no fear of whether she would turn on him one day, exchange her love for hatred. No, there was no fear of that with Christine. His new reality was a far sweeter one.

Find the original post for this ask game here!

#got a little carried away with that second one #which means it'll probably turn into a oneshot #oh well #ask game #poto #phic #e/c #the daroga #nadir khan #my writing

[fdelopera]

Welcome to the 19th installment of 15 Weeks of Phantom, where I post all 68 sections of Le Fantôme de l’Opéra, as they were first printed in Le Gaulois newspaper 114 yeas ago.

In today’s installment, we have Part III of Chapter 8, “Où MM. Firmin Richard et Armand Moncharmin ont l’audace de faire représenter « Faust » dans une salle « maudite » et de l’effroyable événement qui en résulta” (“Where MM. Firmin Richard and Armand Moncharmin Have the Audacity to Have ‘Faust’ Performed in a ‘Cursed’ House and the Horrifying Event Which Thereby Ensued”).

This section was first printed on Friday, 22 October, 1909.

For anyone following along in David Coward’s translation (the link is to the Kindle edition on Amazon US), the text starts in Chapter 8 at, “Moncharmin, ever a man for a joke, said, ‘Actually, quite a good house for a theatre which has a curse on it!'” and goes to Chapter 8, “But a few, who seemed slightly better informed, agreed that 'they'd kick up a storm' at the start of the ballad of the King of Thule, and hurried off to the subscribers' door to tell La Carlotta.” Please note, however, that a large portion of this section was omitted from Leroux’s 1st Edition.

There are some significant differences between the standard 1st Edition text and the Gaulois text. In this section, these include (highlighted in red above):

1) This section in the Gaulois was sadly cut from the 1st Edition:

The Persian was a living enigma who was starting to irritate Paris. He spoke to no one. He never smiled. He seemed to love music since he attended all of the musical productions, and yet he was not enthusiastic, he did not applaud, and he did not become impassioned.

Here is how M. A.D…, a former journalist who had been the Opéra’s secretary, spoke of the Persian:* “For many years, he has been sneaking his way through our Parisian lives, always alone, always silent, but loving and seeking out the crowds, carrying in broad daylight and by lamplight a stone-faced countenance and a slightly hesitant gait, appearing at every performance with his perpetual costume, a Persian hat and a great, black houppelande coat,** in the sleeves of which he continuously wrings his unceasingly nervous hands.”

That evening, like every evening, our Persian was thus dressed in Persian attire; but the new Ambassador of Persia himself was dressed in the latest Parisian fashion, and there was nothing surprising about this, since he had come directly from London.

The seat occupied by the Persian was located right below the Ambassador’s box. At the close of the curtain, the Persian rose and remained standing, turning his back to the box. But certainly he would soon turn around, and the Ambassador would see him. What would he do? Would he recognize him? Was there even anyone in Persia who knew the Persian? There were those who said that he was a very important figure; well, they were going to see!

They saw nothing at all. M. Moncharmin relates in his Memoirs that the Persian appeared before the Ambassador of Persia without even acknowledging him and that there was in the demeanor of the former more aloofness and quiet disdain than usual. In this regard, M. Moncharmin writes that the Persian was one of the most handsome men that one could see, “of average height, with even features, an expressive and masculine face etched with a profound melancholy, with black eyes*** that are intense and sad, a jet black beard, and an amber colored complexion made golden by the Oriental sun.” M. Moncharmin recounts that when the public’s attention turned to the Persian, one heard in the house the discrete sound of rattling keys. The spectators were wary of the “evil eye.” And he says nothing more about that incident.

When the Managers were once again alone in their box, M. Moncharmin said to M. Richard, still with a light-hearted air: (this is where the 1st Edition picks back up)

*NOTE: As revealed by Raj Shah in his article, “No Ordinary Skeleton" (read more about his research here), "M. A.D…" was M. Adolphe Dupeuty. He described a real incident which happened at the old Opéra in 1857, in which the Persian Ambassador attended a performance at which the "Persian" (Mohammed Ismaël Khan) was also present. This article was published in "La Vie parisienne à travers le XIXe siècle: Paris de 1800 à 1900 d’après les estampes et les mémoires du temps,” edited by Charles Simond.

In his “factional” style, Leroux “borrowed” heavily from this article in writing his fictional account of the Persian and the Persian Ambassador. The quote from “M. A.D.” was taken verbatim from Dupeuty’s article.

**NOTE: This is possibly the outfit that Dupeuty was describing, and that Leroux copied into Le Fantôme de l'Opéra in the above paragraph (Leroux also described the Persian wearing a "houppelande" in his narrative).

This image is from Les Célébrités de la rue, by Charles Yriarte, published in 1864, a book that listed notable figures in Paris in the early to mid 1800s. It was published seven years after the incident described in Dupeuty's article, and so is reasonably contemporary with his account.

***NOTE: Throughout the rest of the narrative, the Persian’s eyes are described as being “jade” rather than black. This was a case of internal inconsistency. In the Gaulois text of the chapter, "The Vicomte and the Persian" (as well as in the 1st Edition), Leroux described that the Persian had ebony skin and jade-green eyes (instead of bronze-colored skin and black eyes).

It is also worthy of note that the Persian as a character is an example of Lerouxian trope subversion. The Daroga is a foreigner and an outcast. The Parisian operagoers make no attempt at hiding their prejudice against him. And yet he is one of the heroes of Leroux’s novel, and he puts his life on the line to save the vary Tout-Paris who rattle their keychains at him.

2) This sentence was cut from the 1st Edition:

Yes, this was the appointed replacement for the old madwoman, and with her in place, they would see if Box 5 continued to cause a sensation.

3) This paragraph was cut from the 1st Edition:

None of the sounds of the sort that are heard at séances and which, as everyone knows, are generally attributed to interference from the beyond, resounded against or within the partition walls, the ceiling, or the floor; the chair upon which Richard was sitting behaved itself in the most admirable way possible, and the voice, the notorious voice, still remained silent. The Managers were busy noting this, when the door of their box was abruptly flung open by the panic-stricken stage manager.

4) This sentence was cut from the 1st Edition:

They would see to this in a little while.

5) Sadly, this section in the Gaulois was cut from the 1st Edition, and replaced with a brief summary:

At this time, MM. Moncharmin and Richard descended from their box. The wings were already overrun. Having arrived on the stage, they headed immediately to the right, towards La Carlotta’s dressing room, whose windows overlooked the administrative courtyard. They then ran into La Sorelli, who was rushing to see the Comte de Chagny before he returned to his box.

They gestured to her, which she understood, for she straightaway left the Comte and came over to the two Managers who begged her to discretely ask the Comte about what might be the basis of the rumors of a cabal organized against La Carlotta.

While they awaited La Sorelli’s reply, they entered La Carlotta’s dressing room. The room was full of friends and comrades, and above all of the various conversations, one could hear the singer’s voice, which proclaimed a thousand threats against La Daaé.

Of Spanish origin, La Carlotta had retained an accent of a very particular flavor, and when some excessive emotion, like anger, hurried her speech, she expressed herself in such a way that it was difficult for those listening to refrain from smiling. And so despite the gravity of the situation, there were many smiles that evening in La Carlotta’s dressing room.

The two Managers approached the singer, who was in the process of placing upon her magnificent tresses, blacker than the night, another no less magnificent coiffure, paler blonde than the dawn’s first light. It was the wig with two thick plaits worn by the gentle Marguerite. The twinkling of La Carlotta’s jet black eyes stood out even more within this golden frame. She rose when she saw “these gentlemen,” and placing a hand upon her heart, she professed her sincerest feelings to the new management so passionately that certainly MM. Moncharmin and Richard would have been moved to tears if they had been able to understand a word of that astounding gibberish. Finally, she handed them a piece of paper whose writing in red ink had the effect of commanding the interest of the two Managers. They had no difficulty recognizing it.

6) Minor differences in punctuation and capitalization.

Click here to see the entire edition of Le Gaulois from 22 October, 1909. This link brings you to page 3 of the newspaper — Le Fantôme is at the bottom of the page in the feuilleton section. Click on the arrow buttons at the bottom of the screen to turn the pages of the newspaper, and click on the Zoom button at the bottom left to magnify the text.

#phantom of the opera #gaston leroux #le fantôme de l’opéra #le gaulois #phantom translation #15 weeks of phantom

[husn-e-bahar]

One of my favorite lines,

Heer says

ਵਾਰਿਸ ਸ਼ਾਹ ਨਾ ਮੁੜਾਂ ਰੰਝੇਟੜੇ ਤੋਂ, ਭਾਵੇਂ ਬਾਪ ਦੇ ਬਾਪ ਦਾ ਬਾਪ ਆਵੇ ।

Waris Shah na mudhay Ranjhatadhay to, bhavein baap de baap da baap avein.

Hindi Translation:

Waris Shah na lauttey Ranjhay se, chahey baap ke baap ka baap aye.

English Translation by Sant Singh Sikhon:

'But Ranjha I will never forsake, though father, grandfather, great-grand-father rant.

Heer is such a girlboss, she is like bring who ever you want, I am not giving up my man.

Notes: Ranjhatadhay is a way of referring to Ranjha. Ranjha was his last name. His full name was Dhidho Ranjha. In Punjabi poems, poets sometimes use their own name to convey a character's message.

#Heer Ranjha #Waris Shah #punjabi literature #punjabi poetry #vintage #love poetry #desiblr #girlboss #heer aint bechari #sufism #desi academia #desi girl #classical literature #women in love #bookblr #quotes

[ssj2hindudude]

Ok, I just watched a BNHA randomizer where the roles were changed, sooo...

Potatoes Salad: Randomizing the Pandavas

Chaotic Team Leader: Mini

(How?!? She doesn't have a chaotic nerve in her brain!)

Medic that's scared of everything: Brynne

(The literal tough girl of the group is now wary of things that can kill her...)

Buff girl that can cook: Aru

(Shah just got swole! How did the big three manage to get each other?!?)

Sassy grass fashionista: Sheela

(I swear if they switch roles...)

Sleepy psychic cinnamon roll: Kara

(Ok, good. She would've been the same. At least she's still got dreams.)

Angsty Anti-heroine who just wants friends: Nikita

(Long lost twin AU)

#i suddenly wanna see fanart of this now #aru shah #the pandava quintet #the potatoes #aru shah headcanon #aru shah headcanons

[salmankhanholics]

★ Trade experts explain why no Hindi or Pan-Indian film clashes with Salman Khan’s films at the box office: “He’s 100% an ORGANIC star; clashing with him can prove SUICIDAL”!

Nov 7, 2023

Salman Khan’s Diwali release Tiger 3 is nearly a week away and the excitement is tremendous. What’s interesting is that it’ll have a solo release of sorts, as no other Hindi or Pan-India South film is clashing on the same day. In fact, Salman Khan has not faced a clash since 2010. The last time that happened was when his 2009 action super-hit film Wanted was released on the same day as Rani Mukerji-starrer Dil Bole Hadippa.

Dabangg (2010), Ready (2011), Bodyguard (2011), Ek Tha Tiger (2012), Dabangg 2 (2012), Jai Ho (2014), Kick (2014), Bajrangi Bhaijaan (2015), Prem Ratan Dhan Payo (2015), Sultan (2016), Tubelight (2017), Race 3 (2018), Bharat (2019), Dabangg 3 (2019) and Kisi Ka Bhai Kisi Ki Jaan (2023) released with no competition. Antim (2021) faced a collision with Satyameva Jayate 2 (2021) but then it didn’t feature the superstar in the lead.

Other stars haven’t been that fortunate. Shah Rukh Khan’s Dilwale (2015) and Raees (2017) were released alongside Bajirao Mastani (2015) and Kaabil (2017) respectively. SRK is at his best position arguably right now and yet, his next film Dunki will have to share screens with Salaar on Christmas 2023. Aamir Khan’s Laal Singh Chaddha clashed with Akshay Kumar’s Raksha Bandhan last year. Salman’s last few films have not done well and yet, no one is ready to come on the same Friday as him.

We asked trade experts about this rare phenomenon. Trade veteran Taran Adarsh said, “He has a huge following and is a darling of the masses. The business he has generated over a period of time in mass pockets is phenomenal. Though he has had a rough patch, he's the pied piper of Bollywood.”

Trade analyst Atul Mohan, in agreement, exulted, “Salman is a very big hero of the masses. He has always had such a huge fan following; Shah Rukh Khan ka aisa following ab bana hai. Aamir Khan never had such a mass pull. Salman’s craze is one of a kind. Hence, filmmakers are wary of clashing their films with him. Itna bada hero hai, kaun takkar lega iske saath?”

Girish Johar, producer and film business analyst, remarked, “Salman is the only superstar who people want to see on screen. He has the maximum on-screen superstardom out of all the actors. It’s a very critical factor. He’s also not on our social media every time, going to malls, opening ribbons, dancing, etc.”

He continued, “Unfortunately his films have not worked as he hasn’t paid much attention to the storytelling, packaging, direction, etc. He has that power that if he gets these things right, then there’s no stopping him. That’s why many are wary of clashing with him as they know that at least in the opening weekend, their film will get butchered.”

Raj Bansal, the owner of Entertainment Paradise cinema hall in Jaipur, explained, “Salman Khan is an action hero. When no one was doing action, he was the only action excelling in this genre. Somewhere, his confidence shook and he also did non-action films like Tubelight (2017), Prem Ratan Dhan Payo (2015), etc. Only Bajrangi Bhaijaan (2015) worked in this regard. But even when his films were gadbad, they still made Rs. 100 crores plus. There was a time when the hit films of Akshay Kumar and Ajay Devgn did Rs. 100 crores. But Salman’s flop films do Rs. 100 crores even today! And his hit films have done more than Rs. 300 crores. It’s thanks to him that the industry realized the true potential of a Hindi film. Hence, clashing with him can prove suicidal.”

He also said, “He’s 100% an organic star. Even Sunny Deol is.”

Girish Johar added, “If he moulds himself to the sensibilities that cater to his fans and also provides intelligent content, then sky is the limit. I think Tiger 3 will do well. It ticks all the right boxes.”

Taran Adarsh also said along the same lines, “Tiger 3 being a brand and essaying a role that is much-loved, I am sure it’ll have a great run and a huge opener.”

#salman khan #Trade Analyst #Taran Adarsh #Atul Mohan #raj Bansal #tiger 3 #organic hero #salman Khan is organic hero #masses #t3

[indigocotton]

राँझा ढूंडन मैं चली मैंनू राँझा मिलेया नाही, रब मिलेया, राँझा नाही मिलेया रब, राँझे वर्गा नाही - waris shah

for ranjha i searched far and wide i couldn't find him, though i tried i found God but couldn't catch ranjha i found that God couldn't match ranjha the story of the love of heer and ranjha is legendary in Punjab, and it is also the source of much imagery and iconography in the Sufi music of the area. i can't read Punjabi or Urdu, so i have chosen to write the original in script i am conversant in, but neither the original text nor my translation should really be taken as fully authentic. (except, of course, that i am Sufi in my leanings, and i am fully authentic.) राँझा राँझा कर दी नी मैं आपे राँझा होई सद्दो नी मैनूँ धीदो राँझा हीर ना आखो कोई - bulleh shah

i went chanting ranjha's name ranjha himself, i became only ranjha exists here heer has disappeared, my dear love is, i'm afraid, transformative. go looking for it, and you will not come back the same.

and love is transcendent, too - even God cannot match it.

is this a metaphor? yes. is it literal? also yes. let no one tell you different.

#khusro nadiyan prem ki #so ulti vaki dhaar #jo nikla so to doob gaya #aur jo dooba so hua paar #khusro #the river of love flows #in strange and foreign ways #those who leave it #drown in it #and those who drown in it #make it to shore

[thelazypandasblog]

Dark academia but brown culture

A few dark academia things: • Calligraphy (Urdu or arabic) • Listen to Ahmad Faraz poetry • waking up in the morning for Fajar and watching sunrise • pages and pages written in a messy urdu handwriting. • listen to songs by A.R Rahman • read the folk tale of Heer Ranjha written by Waris Shah (Heer and Ranjha are Juliet and Romeo of the Subcontinent)

[revolution-must-happen]

"Shadows of History: Brahminical Influence and India's Struggle for Freedom"

Jai Bhim to all.

The conflict often mischaracterized as the initial struggle for independence against the British in 1857 was actually triggered by British violations of traditional Manu laws. This included punishment of Brahmins, erosion of Brahmin authority, and expanded opportunities in education and employment for Shudras.

In response, figures like Tantia Tope, a Konkani Brahmin, collaborated with other prominent Brahmins to strategize. With the nominal leadership of Bahadur Shah Jafar, figures like Nana Saheb, Jhansi Lakshmi Bai, and Sadashiba Rao Peshwa prepared for conflict.

The British, understanding the plot, suppressed the rebellion, targeting Brahmins and placing a bounty on their heads. Many Brahmins went underground, disguising themselves as ascetics or Babas (eg. Saibaba).

The introduction of the Indian Penal Code in 1860 marked a seismic shift, departing from Manu laws by instituting uniform punishment regardless of caste. The IPC now mandated death for resistance to British rule.

For years, Brahmins waited, wary of British reprisal, much like during Buddha and Ashoka's era and later in the 19th century.

By 1875, Dayananda Saraswati founded the Arya Samaj. Yet, Brahmins hesitated to act openly, fearing British retaliation.

In 1884, Bala Gangadhar Tilak, Lala Lajpat Rai, and Bipin Chandrapal founded Congress under the name Home Rule, appointing A.O. Hume as its first president.

Brahmins sought to temper British anger by signaling an alliance through Hume. Yet, the British saw through the ploy and dismissed it.

Later, Tilak assumed Congress presidency, realizing broader support was needed beyond Brahmins. He engaged with other community leaders, like Chhatrapati Sahu Maharaj and Mahatma Jyoti Rao Phule, but faced skepticism.

Phule's seminal work "Gulamgiri" underscored the need to challenge Brahminical dominance even before British departure. Phule's ideas galvanized the Mulnivasi, leading to skepticism of Brahmin leadership.

The Ganesh Nimajjana Utsav, initiated by Tilak, sought to unify Indians under Brahmin auspices, catalyzing support for independence.

Previously, Shivaji's festival was Maharashtra's primary celebration. Phule's unearthing of Shivaji's legacy highlighted Brahminical opposition to Shudra rule. Annual events like Bhima Koregaon served as reminders of Brahminical treachery.

Brahmins leveraged festivals like Ganesh Nimajjana to suppress their history of exploitation, fostering religious unity and support for their independence movement.

Through strategic propaganda, they recast Shivaji as a symbol of Hindu self-respect, obscuring their own antagonism towards Shudras and Mulnivasis, currently trending as Hindu-Muslim clashes in the name of Hindutva.

#ganeshchaturthi

[novelsmini]

Amrita Pritam was a renowned Indian writer and poet, celebrated for her literary contributions in Punjabi and Hindi literature

Amrita Pritam -

Amrita Pritam was a renowned Indian writer and poet, celebrated for her literary contributions in Punjabi and Hindi literature. Here's an overview of her biography:

Early Life:

Amrita Pritam, born Amrita Kaur, was a renowned Indian writer and poet, celebrated for her contributions to Punjabi literature. Here are some details about her early life:

1. Birth: Amrita Pritam was born on August 31, 1919, in Gujranwala, which was then part of British India and is now in present-day Pakistan.

2. Family Background: She was born into a Sikh family. Her father, Kartar Singh Hitkari, was a schoolteacher and a poet, which perhaps instilled in her an early love for literature.

3. Education: Pritam received her early education at the Khalsa College for Women in Lahore. She showed a keen interest in poetry and literature from a young age.

4. Marriage and Early Writing Career: At the age of 16, Amrita Pritam married Pritam Singh, an editor of a Punjabi literary magazine. This marked the beginning of her association with the world of literature. Her early poetry was published under the pen name Amrita Pritam.

5. Early Works: Pritam's early works reflected the social and cultural milieu of her time. She wrote about the experiences of women, the partition of India in 1947, and the human condition with depth and sensitivity.

6. Recognition: Her talent was recognized early on, and she became one of the leading literary figures of her generation. She received numerous awards and honors throughout her career, including the Sahitya Akademi Award in 1956 for her long poem "Sunehade" (Messages).

7. Activism: Apart from her literary pursuits, Amrita Pritam was also known for her activism. She was deeply involved in social and political causes, advocating for the rights of women and marginalized communities.

Amrita Pritam's early life laid the foundation for her prolific literary career, which spanned several decades and left an indelible mark on Indian literature. Her works continue to inspire readers and writers alike with their timeless relevance and universal themes.

Literary Career:

Amrita Pritam began writing at a young age and gained recognition for her poetry during her teenage years. Her early works reflected themes of romanticism and rebellion against societal norms. She wrote extensively in Punjabi and later translated many of her works into Hindi and other languages.

Her most famous work is the Punjabi poem collection titled "Sunehade" (Messages), which was published in 1949. This collection earned her widespread acclaim and established her as a prominent voice in Punjabi literature.

Amrita Pritam's literary career spanned several decades and encompassed various forms of writing, including poetry, fiction, essays, and autobiographical works. Here are some details about her literary career:

1. Poetry: 

Amrita Pritam is perhaps best known for her poetry, which she began writing at a young age. Her poetry reflects a deep sensitivity to human emotions, especially the experiences of women, love, and the socio-political realities of her time. Her poetic style is characterized by simplicity, sincerity, and emotional depth. Some of her notable poetry collections include "Ajj Aakhaan Waris Shah Nu" (Today I Invoke Waris Shah), "Kagaz Te Canvas" (Paper and Canvas), and "Naginaa Da Ishaq" (The Love of the Gem).

Amrita Pritam penned numerous poems throughout her prolific career, many of which have become celebrated for their emotional depth, social commentary, and lyrical beauty. Here are some of her most famous poems:

1. Ajj Aakhaan Waris Shah Nu (Today I Invoke Waris Shah): This poem, written in the aftermath of the partition of India in 1947, is perhaps one of Amrita Pritam's most renowned works. It addresses the Sufi poet Waris Shah, imploring him to rise from his grave and witness the devastation caused by the partition. It captures the anguish, pain, and longing for peace in the aftermath of communal violence.

2. Main Tenu Phir Milangi (I Will Meet You Again): This poem is a poignant expression of love and longing. It reflects on the enduring nature of love and the belief that despite physical separation, souls remain connected. It's often considered one of Pritam's most powerful and evocative love poems.

3. Aj Di Raat (Tonight): In this poem, Amrita Pritam explores themes of loneliness, existentialism, and the passage of time. The poem's speaker reflects on the solitude of the night and contemplates the mysteries of life and death.

4. Kagaz Te Canvas (Paper and Canvas): This collection of poems delves into various facets of life, love, and creativity. Pritam's verses in this collection are characterized by their simplicity, yet they carry profound philosophical insights and reflections on the human experience.

5. Naginaa Da Ishaq (The Love of the Gem): In this poem, Pritam employs imagery of precious gems to symbolize love and longing. The poem explores the depth of human emotions and the transformative power of love.

These are just a few examples of Amrita Pritam's famous poetry. Her body of work is vast and diverse, encompassing a wide range of themes and emotions. Pritam's poetry continues to resonate with readers for its timeless relevance and universal appeal.

2. Fiction: Alongside her poetry, Pritam also wrote fiction, including novels and short stories. Her fictional works often explore the complexities of human relationships, societal norms, and the struggles of women in patriarchal societies. One of her most famous novels is "Pinjar" (The Skeleton), which portrays the trauma and upheaval caused by the partition of India in 1947.

3. Autobiographical Works: Pritam wrote several autobiographical works, offering insights into her own life and experiences. "Rasidi Ticket" (Revenue Stamp) is one such notable autobiography where she candidly reflects on her life, love, and literary journey. Her autobiographical writings provide a glimpse into the cultural and historical context of her time.

4. Essays and Journalism: Pritam was also an accomplished essayist and journalist. She wrote extensively on various social, cultural, and political issues, advocating for gender equality, social justice, and peace. Her essays are marked by their intellectual rigor, clarity of thought, and commitment to progressive ideals.

5. Recognition and Awards: Amrita Pritam received numerous awards and honors for her literary contributions. She was the first woman to receive the Sahitya Akademi Award in 1956 for her long poem "Sunehade" (Messages). She was also honored with the Padma Vibhushan, one of India's highest civilian awards, in 2004, in recognition of her outstanding contribution to literature and social activism.

Amrita Pritam's literary legacy continues to inspire readers and writers around the world. Her works remain relevant for their exploration of universal themes and their profound insights into the human condition.

Amrita Pritam's love story-

Amrita Pritam's writing often explored themes such as love, loss, feminism, and the partition of India in 1947. She witnessed the horrors of the partition firsthand, an experience that deeply influenced her work. Her poignant prose and poetry captured the human suffering and emotional turmoil caused by the partition.

Notable Works:

Some of Amrita Pritam's notable works include:

- "Pinjar" (The Skeleton) - A novel that depicts the impact of partition on individuals and families.

- "Rasidi Ticket" (Revenue Stamp) - An autobiographical novel that delves into her personal life and relationships.

- "Ajj Aakhaan Waris Shah Nu" (Today I Invoke Waris Shah) - A poem lamenting the tragedies of partition and calling out to the 18th-century Punjabi Sufi poet Waris Shah.

- "Nanak Naam Jahaz Hai" (Nanak, the Boat of Name) - A novel exploring the life and teachings of Guru Nanak Dev, the founder of Sikhism.

Amrita Pritam's love story is one of the most famous and intriguing aspects of her life. Her relationship with the renowned poet Sahir Ludhianvi is often discussed in literary circles. Here's an overview of their love story:

Meeting and Relationship:

Amrita Pritam and Sahir Ludhianvi first met in 1944 when they were both young and aspiring poets in Lahore, which was then part of undivided India. Their meeting sparked a deep emotional connection, fueled by their shared passion for literature and poetry.

Their relationship blossomed against the backdrop of political turmoil and societal norms of the time. Both Amrita and Sahir were known for their progressive views and rebellious spirits, which further cemented their bond.

Challenges and Obstacles:

Despite their profound love for each other, Amrita and Sahir faced numerous challenges in their relationship. Sahir was known for his aloof and reserved nature, while Amrita was more expressive and emotive. Their differing personalities sometimes led to conflicts and misunderstandings.

Moreover, societal norms and personal circumstances posed significant obstacles to their love story. Sahir's commitment issues and reluctance to settle down in a conventional relationship added strain to their bond. Additionally, Amrita was already married to Pritam Singh, a prominent editor and writer, which further complicated their situation.

Literary Collaboration:

Despite the complexities of their personal relationship, Amrita Pritam and Sahir Ludhianvi continued to share a deep intellectual and artistic connection. They often exchanged letters and poems, exploring themes of love, longing, and separation in their writings.

Their literary collaboration produced some of their most renowned works, showcasing the depth of their emotional bond and creative synergy. Although their romantic relationship faced challenges, their artistic partnership endured, leaving a lasting impact on Indian literature.

Legacy:

Amrita Pritam's literary contributions have had a profound impact on Indian literature, particularly in the realms of poetry and fiction. She received numerous awards and honors throughout her career, including the Sahitya Akademi Award, the Padma Shri, and the Padma Vibhushan, among others.

Amrita Pritam passed away on October 31, 2005, leaving behind a rich legacy of literature that continues to inspire readers and writers alike. Her works remain relevant for their exploration of timeless themes and their powerful portrayal of the human experience. 

#books and reading #women stories #womaniyas #amrita pritam #lovejourney