#story explained in tamil

[social-vifree]

Make Wednesday Thing easy - The hand of horror - An act of horror - Fun making - kids playing

Please Subscribe for More Crafts and Arts Video : https://www.youtube.com/@docraftsarts/videos Hello Friends.. We just try to show, how to do a hand which appears in the Wednesday movie. Matterials : Surgical glows Polyester Synthetic Cotton Black and Red Marker #wednesday #things #catherine #zeta #jones #christinaperri #ricci #dance #fred #armisen #gwendolinechristie #christie #jenna #ortega…

[burningtacostranger]

মেয়ে ও বাবা একটি বিধ্বস্ত গাড়ির মধ্যে আটকে পরে | Frost movie explained in Bangla

মেয়ে ও বাবা একটি বিধ্বস্ত গাড়ির মধ্যে আটকে পরেছিল বরফ আর ঠান্ডার মধ্যে কোনো ভাবে বেঁচেছিল । কিন্তু তার উপর আরো ঝড় শুরু হয়ে যায়। কি হয়েছিল তাদের সাথে ! A young woman and her estranged father fight to survive after being stranded on a remote mountainside during a winter storm. Credits: Director:Brandon Slagle Writers:James Cullen BressackRobert Thompson Stars:Devanny PinnVernon WellsVenus DeMilo Thomas

[metamatar]

unrebloggable personal rant post

I used to be a bit of a crybaby when I was a kid. I accept it. When anyone was mad at me the waterworks would instinctively start like I couldn't take anyone reaming me out bravely. My parents consistently accused me of crying crocodile tears, till the age of 8. That was around when I was being bullied by kids expressing their parents tamil brahmin supremacist politics on the nearest non tamil they could find bc indian private schools are like that (as a real indian socialist I def had a dravidian phase Mr. Freud explain this.) I don't remember when it started, but it stopped around then because I think my parents figured I was genuinely distressed. I wrote my first suicide note when I was in second grade as a bit of that'll show them fantasizing, but usually I was obedient and well mannered and frankly obsessive about getting good grades. My mother found a diary I wrote after reading Anne Frank in fourth grade and commented on how critically she was depicted once. I burned the diary and have not journalled succesfully since. I think compared to my teenage yrs it was mostly idyllic bc my parents never struggled to provide me meals or their version of love. Their is a very popular story in india from the buddhist panchtantra about a crocodile who eats monkey hearts that I heard basically a lot at storytime, bc like I said, I was loved. My dad loved it since the crocodile was so clever. I'm sure I probably asked for it. I loved Steve Irwin, because I loved watching nature channels as a kid. I would watch crocodile wrangling all day.

I couldn't do it then, but I can cry on demand now, and I still cry when someone's really lighting into me aggressively but nobody except bosses or parents do that in the real world. But nobody thinks I'm sensitive or affected by things bc I simply do not know when or how I simply turned into an ice block to cope with being a person instead. #LowEmpathySwag. I could've been different but I resent the opportunity to have never ever found out. And I smile at people and fake a laugh all the time to be polite, and I get annoyed and mad enough that people can read it on my face but I am always the last person to know and despite that everyone I keeps telling me I'm cold!!! And I'll never forgive them for this. I have to keep retelling this story to myself so I don't forget that I have the right to be angry about it.

[bijoumikhawal]

The Song of Songs has quite recently (1973) been assigned to the time of Solomon by a distinguished Hebraist, Professor Chaim Rabin of the Hebrew University in Jerusalem. For more than forty years now evidence has been accumulating for some kind of relationship between the cities of the Harrapan civilization of the Indus Valley and lower Mesopotamia during the latter part of the third millennium B.C. and into the second (cf. C. J. Gadd, PBA, 1932). Rabin (205) called attention to the few dozen typical Indus culture seals which have been found in various places in Mesopotamia, some of which seem to be local imitations. He suggested that these objects were imported not as knickknacks, but because of their religious symbolism by people who had been impressed by Indus religion. To the examples of Indus type seals in Mesopotamia cited by Rabin (217n2), we may add a dated document from the Yale Babylonian Collection, an unusual seal impression found on an inscribed tablet dated to the tenth year of Gimgunum, king of Larsa, in Southern Babylonia, which according to the commonly accepted "middle" chronology would be 1923 B.C. (B. Buchanan, 1967).

[...]

Rabin cited a story from the Buddhist Jatakas, the Baveru Jataka, which tells of Indian merchants delivering a trained peacock to the kingdom of Baveru, the bird having been conditioned to scream at the snapping of fingers and to dance at the clapping of hands. Since maritime connection between Mesopotamia and India lapsed after the destruction of the Indus civilization, and since the name Baveru (i.e. Babel, Babylon) would hardly have been known in the later period when trade with India went via South Arabia, Rabin concluded that the Jataka story about the peacock must ultimately date before 2000, an example of the tenacity of Indian tradition (p. 206). Ivory statuettes of peacocks found in Mesopotamia suggest that the birds themselves may also have been imported before 2000 B.C. (cf. W. F. Leemans, 1960, 161, 166), and Rabin (206) wondered whether the selection of monkeys and peacocks for export may not have derived from the Indian tendency to honor guests by presenting them with objects of religious significance. Imports of apes and peacocks are mentioned in connection with Solomon's maritime trade in I Kings 10:22 [=II Chron 9:21], the roundtrip taking three years. The word for "peacocks," tukkiyyim, singular tukki, has since the eighteenth century been explained as a borrowing of the Tamil term for "peacock," tokai. Tamil is a Dravidian language which in ancient times was spoken throughout South India, and is now spoken in the East of South India. Scandinavian scholars claim to have deciphered the script of the Indus culture as representing the Tamil language (cf. Rabin, 208, 218n20). Further evidence of contact with Tamils early in the first millennium B.C. is found in the names of Indian products in Hebrew and in other Semitic languages. In particular Rabin cites the word 'ahalot for the spice wood "aloes," Greek agallochon, Sanskrit aghal, English agal-wood, eagle-wood, or aloes, the fragrant Aquilaria agallocha which flourishes in India and Indochina. The Tamil word is akil, now pronounced ahal. Its use for perfuming clothing and bedding is mentioned in Ps 45:9 [8E] and Prov 7:17 and Rabin surmised that the method was one still current in India, the powdered wood being burned on a metal plate and the clothing or bedding held over the plate to absorb the incense. Rabin supposed that it was necessary to have observed this practice in India in order to learn the use of the substance (p.209). Aloes are mentioned in 4:14 among the aromatics which grace the bride's body. The method of perfuming bedding and clothing by burning powdered aloes beneath them may clarify the puzzling references to columns of smoke, incense, and pedlar's powders in connection with the epiphany of "Solomon's" splendiferous wedding couch ascending from the steppes (3:6-10), bearing it seems (cf. 8:5) the (divine?) bride and her royal mate. Myrrh and frankincense only are mentioned, but "all the pedlar's powders" presumably included the precious aloes from India.

Opportunity to observe Indian usages would have been afforded visitors to India in the nature of the case, since the outward journey from the West had to be made during the summer monsoon and the return trip during the winter monsoon, so that the visitor would have an enforced stay in India of some three months. Repeated visits with such layovers would provide merchant seamen with the opportunity to learn a great deal about local customs, beliefs, and arts.

After a brief critique of modern views about the Song of Songs, none of which has so far found general acceptance, Rabin ventured to propound a new theory based on Israel's commercial contacts with India during Solomon's reign.

There are three features which,in Rabin's view (pp. 210f), set the Song of Songs apart from other ancient oriental love poetry. Though occasional traces of these maybe found elsewhere, Rabin alleged that they do not recur in the same measure or in this combination:

1. The woman expresses her feelings of love, and appears as the chief person in the Song. Fifty-six verses are clearly put into the woman's mouth as against thirty-six into the man's (omitting debatable cases).

2. The role of nature in the similes of the Song and the constant reference to the phenomena of growth and renewal as the background against which the emotional life of the lovers moves, Rabin regarded as reflecting an attitude toward nature which was achieved in the West only in the eighteenth century.

3. The lover, whether a person or a dream figure, speaks with appropriate masculine aggressiveness, but the dominant note of the woman's utterances is longing. She reaches out for a lover who is remote and who approaches her only in her dreams. She is aware that her longing is sinful and will bring her into contempt (8:1) and in her dream the "watchmen" put her to shame by taking away her mantle (5:7). Ancient eastern love poetry, according to Rabin, generally expresses desire, not longing, and to find parallels one has to go to seventeenth-century Arab poetry and to the troubadours, but even there it is the man who longs and the woman who is unattainable.

These three exceptional features which Rabin attributed to the Song of Songs he found also in another body of ancient poetry, in the Sangam poetry of the Tamils. In three samples, chosen from the Golden Anthology of Ancient Tamil Literature by Nalladai R. Balakrishna Mudaliar, Rabin stressed the common theme of women in love expressing longing for the object of their affection, for their betrothed or for men with whom they have fallen in love, sometimes without the men even being aware of their love. The cause of the separation is rarely stated in the poem itself, but this is rooted in the Tamil social system and code of honor in which the man must acquire wealth or glory, or fulfill some duty to his feudal lord or to his people, and thus marriage is delayed. There is conflict between the man's world and the woman's and her desire to have her man with her. This conflict is poignantly expressed in one of the poems cited (Rabin, 212) in which a young woman whose beloved has left her in search of wealth complains: I did his manhood wrong by assuming that he would not part from me. Likewise he did my womanhood wrong by thinking that I would not languish at being separated from him. As a result of the tussle between two such great fortitudes of ours, my languishing heart whirls inagony, like suffering caused by the bite of a cobra.

In the Tamil poems the lovelorn maiden speaks to her confidante and discusses her problems with her mother, as the maiden of the Song of Songs appeals to the Jerusalem maids and mentions her mother and her lover's mother; but neither in the Tamil poems nor the Song of Songs is there mention of the maiden's father. In Rabin's view the world of men is represented by "King Solomon," surrounded by his soldiers, afraid of the night (3:7-8), with many wives and concubines (6:8), and engaged in economic enterprises (8:11). Significantly, however, according to Rabin (p. 213), Solomon's values seem to be mentioned only to be refuted or ridiculed: "his military power is worth less than the crown his mother (!) put on him on his wedding day; the queens and concubines have to concede first rank to the heroine of the Song; and she disdainfully tells Solomon (viii 12) to keep his money."

Since the Sangam poetry is the only source of information for the period with which it deals, Rabin plausibly surmised that the recurring theme of young men leaving home to seek fortune and fame, leaving their women to languish, corresponded to reality, i.e. the theme of longing and yearning of the frustrated women grew out of conditions of the society which produced these poems. Accordingly, the cause for the lover's absence need not be explicitly mentioned in the Tamil poems and is only intimated in elaborate symbolic language. Similarly, Rabin finds hints of the nonavailability of the lover in the Song of Songs. The references to fleeing shadows in 2:17, 4:6-8, and 8:14 Rabin takes to mean winter time when the shadows grow long. The invitation to the bride to come from Lebanon, from the peaks of Amana, Senir, and Hermon in 4:6-8 means merely that the lover suggests that she think of him when he traverses those places. The dream like quality of these verses need not, inRabin's view, prevent us from extracting the hard information they contain. The crossing of mountains on which or beyond which are myrrh, incense, and perfumes all lead to South Arabia, the land of myrrh and incense. Thus the young man was absent on a caravan trip. Even though he did not have to traverse Amana or Hermon to reach Jerusalem from any direction, he did have to traverse mountains on the trip and in South Arabia he had to pass mountain roads between steep crags ("cleft mountains") and it was on the slopes of such mountains that the aromatic woods grew ("mountains of perfume"). Coming from South Arabia, however, one had to cross Mount Scopus, "the mountain of those who look out," from which it is possible to see a caravan approaching at a considerable distance. In 3:6 "Who is she that is coming up from the desert, like pillars of smoke, perfumed with myrrh and incense, and all the powders of the perfume merchant?" is taken to refer to the caravan, the unexpressed word for "caravan" sayyarah, being feminine (Rabin, 214 and 219n29). "The dust raised by the caravan rises like smoke from a fire,but the sight of the smoke also raises the association of the scent a caravan spreads around it as it halts in the market and unpacks its wares."

The enigmatic passage 1:7-8 Rabin also related to a camel caravan despite the pastoral terminology. Rabin's theory encounters difficulty with the repeated use of the verb r'y, "pasture," and its participle, "pastor, shepherd" in view of which commentators commonly regard the Song as a pastoral idyl. His solution is to suggest that the term may have some technical meaning connected with the management of camels.

The list of rare and expensive spices in 4:12-14 reads so much like the bill of goods of a South Arabian caravan merchant that Rabin is tempted to believe that the author put it in as a clue.

Be it what it may, it provides the atmosphere of a period when Indian goods like spikenard, curcuma, and cinnamon, as well as South Arabian goods like incense and myrrh, passed through Judaea in a steady flow of trade. This can hardly relate to the Hellenistic period, when Indian goods were carried by ship and did not pass through Palestine: it sets the Song of Songs squarely in the First Temple period (Rabin,215).

As for the argument that the Song contains linguistic forms indicating a date in the Hellenistic period, Rabin points out that the alleged Greek origins of 'appiryon in 3:9 and talpiyyot in 4:4, the former word supposedly related to phoreion, "sedan chair," and the latter to telopia, "looking into the distance,"are dubious.

The phonetic similarity between the Greek and Hebrew words is somewhat vague, and this writer considers both attributions to be unlikely, but even acceptance of these words as Greek does not necessitate a late dating for the Song of Songs, since Mycenaean Greek antedates the Exodus. Neither word occurs elsewhere in the Bible, so that we cannot say whether in Hebrew itself these words were late. In contrast to this, pardes "garden, plantation," occurs, apart from 4:13, only in Nehemiah 2:8, where the Persian king's "keeper of the pardes" delivers wood for building, and in Ecclesiastes 2:5 next to "gardens." The word is generally agreed to be Persian, though the ancient Persian original is not quite clear. If the word is really of Persian origin, it would necessitate post-exilic dating. It seems to me, however, that this word, to which also Greek paradeisos belongs, maybe of different origin.

[...]

Rabin's summation of his view of the Song of Songs is of such interest and significance as to warrant citation of his concluding paragraphs (pp.216f):

It is thus possible to suggest that the Song of Songs was written in the heyday of Judaean trade with South Arabia and beyond (and this may include the lifetime of King Solomon) by someone who had himself travelled to South Arabia and to South India and had there become acquainted with Tamil poetry. He took over one of its recurrent themes, as well as certain stylistic features. The literary form of developing a theme by dialogue could have been familiar to this man from Babylonian-Assyrian sources (where it is frequent) and Egyptian literature (where it is rare). He was thus prepared by his experience for making a decisive departure from the Tamil practice by building what in Sangam poetry were short dialogue poems into a long work, though we may possibly discern in the Song of Songs shorter units more resembling the Tamil pieces. Instead of the vague causes for separation underlying the moods expressed in Tamil poetry, he chose an experience familiar to him and presumably common enough to be recognized by his public, the long absences of young men on commercial expeditions. I think that so far our theory is justified by the interpretations we have put forward for various details in the text of the Song of Songs. In asking what were the motives and intentions of our author in writing this poem, we must needs move into the sphere of speculation. He might, ofcourse, have been moved by witnessing the suffering of a young woman pining for her lover or husband, and got the idea of writing up this experience by learning that Tamil poets were currently dealing with the same theme. But I think we are ascribing to our author too modern an out look on literature. In the light of what we know of the intellectual climate of ancient Israel, it is more probable that he had in mind a contribution to religious or wisdom literature, in other words that he planned his work as an allegory for the pining of the people of Israel, or perhaps of the human soul, for God. He saw the erotic longing of the maiden as a simile for the need of man for God. In this he expressed by a different simile a sentiment found, for instance, in Psalm 42:24: "Like a hind that craves for brooks of water, so my soul craves for thee, O God. My soul is a thirst for God, the living god: when shall I come and show myself before the face of God? My tears are to me instead of food by day and by night, when they say to me day by day: Where is your god?" This religious attitude seems to be typical of those psalms that are now generally ascribed to the First Temple period, and, as far as I am aware, has no clear parallel in the later periods to which the Song of Songs is usually ascribed.

Rabin considered the possibility of moving a step further in speculation about Indian influence.

In Indian legend love of human women for gods, particularly Krishna, is found as a theme. Tamil legend, in particular, has amongst its best known items the story of a young village girl who loved Krishna so much that in her erotic moods she adorned herself for him with the flower-chains prepared for offering to the god's statue. When this was noticed, and she was upbraided by her father, she was taken by Krishna into heaven. Expressions of intensive love for the god are a prominent feature of mediaeval Tamil Shaivite poetry. The use of such themes to express the relation of man to god may thus have been familiar to Indians also in more ancient times, and our hypothetical Judaean poet could have been aware of it. Thus the use of the genre of love poetry of this kind for the expression of religious longing may itself have been borrowed from India.

Rabin's provocative article came to the writer's attention after most of the present study had been written. It is of particular interest in the light of other Indian affinities of the Song adduced elsewhere in this commentary.

pg 27-33, Song of Songs (commentary) by Marvin Pope

[thereader-radhika]

An analysis of Nandini - Veera Pandyan relationship and answering some questions

The relationship between Nandini and Veera Pandyan is something that has perplexed Ponniyin Selvan readers for almost 70 years. Were they married? Were they living together as lovers? Was Veera Pandyan Nandini's father? Were they in an incestuous relationship? Did they have a son?

There are enough reasons for this confusion. Nandini tells Karikalan that Veera Pandyan is her lover. Aabathudavigal too call her his wife and Queen. Nandini tells "Veera Pandyan's son' that she is his mother.

So, what was the relationship between Nandini and Veera Pandyan?

Nothing. It might be surprising, but there was absolutely no relationship between Nandini and Veera Pandyan when Veera Pandyan lived.

(There is a possibility that he was Nandini's father. Nandini believed so but any physically strong person could have taken advantage of a lonely heartbroken mute woman like Mandakini)

A little bit about Nandini's life before meeting Veera Pandyan . . .

Nandini never explains her life story to anyone. We get a picture of Nandini's life through others. Their stories are pretty consistent across the books, except some omissions like Alwarkadiyan not telling Vanthiyathevan that it was he himself who took newborn Nandini to his village.

After being forced to leave Aditha Karikalan, Nandini decided not to marry anyone else. Remember that Nandini was not a financially independent woman from a progressive family. There must have been immense pressure on her to get married, especially after the marriage of her sister (yes, she had an elder sister who is mentioned only once).

So Nandini took refuge in the only outlet she had - devotion. His sister becoming a saint like Andal was acceptable for Alwarkadiyan too. Nandini renounced worldly life, wandered with her brother and sang devotional hymns in different temples across Tamil Nadu.

One time, around the time of the sister's delivery, Nandini stays back at their home and Alwarkadian leaves for Thiruvenkadam (Tirupati). Pandya Aabathudavigal brought an injured Veera Pandyan to Nandini's hut. Nandini treated him for a few days.

Why do Aapathudaivikal call her their Queen and Veerapandyan's wife?

Veera Pandyan, injured and delirious, told everyone that Nandini is his queen, he is going to marry her and place her on the Pandya throne with him.

We know that Mandakini and Nandini shared a strong resemblance and Veera Pandyan had a connection with Mandakini. Karuthiruman later says that Veera Pandyan paid him a lot of money to bring Mandakini to Madurai. In his last days, Veera Pandyan was not in a condition to recognise that around twenty years have passed and the girl before him is a different person.

Hell, he was not in a state to get up from his bed when someone came to kill him.

Why was Nandini alone with Veera Pandyan?

Aapathudaivikal who were with Veera Pandyan somehow got last minute information that Aditha Karikalan is coming. Nandini, who felt pity, promised to save him and asked them to hide. She must have told them that Aditha Karikalan once loved her and wouldn't reject her request. Ravidasan, their ever pragmatic leader, recognised that letting the girl use her charm is better than all of them dying. As I said earlier, Veera Pandyan himself was grievously ill and couldn't move from his bed. 

Why does Nandini say that Veera Pandyan is her lover? Couldn't she have said that Veera Pandyan is her father?

Killing or defeating enemies and marrying their daughters was very common in that period. There is a living example in the Chola royal family itself - Sundara Cholan's mother Kalyani, whom Arinjayan married due to her unparalleled beauty was the daughter of a defeated vassal. Vanthiyathevan reminiscens about her when he thinks about the inconsistent enemity and friendship between royals.

Killing your own family wasn't uncommon either. The close relationship of Cholas and Rashtakutas turned into enemity because Paranthaka I was crowned as Aditya I's successor instead of Kannara Devan, the son of "munnam pugunda mita deviyar" (senior queen) Ilangon Pichchi, the daughter of the Rashtrakuta Emperor Krishna II.

Why did Aapathudaivikal try to burn her on Veera Pandyan's pyre?

They were angered by her failure to save Veera Pandyan and wanted to punish her.

Why does Nandini address Veera Pandyan's head as "my lover"? By now, Nandini had deducted that Veera Pandyan is her father. Still, why does she treat "him" like her lover?

Trauma

Some stranger with armed guards telling you indecent things when you are all alone with them in itself is pretty traumatic. After his murder, Nandini was destined to spend a lot of time with an even older man who sees her as a sexual object- Periya Pazhuvettaraiyar, her husband.

He often asks her about living as 'husband and wife', but she uses saccharine words, empty promises and excuses to postpone their consummation. Then she realised that Veera Pandyan could have been her father which was even more traumatic.

What Nandini hears as Veera Pandyan's words are the result of her trauma - a mix of Veera Pandyan's own (mis)behaviour and Periya Pazhuvettaraiyar's constant questions about Nandini's reluctance to sleep with him. What she uses against him are only tools Nandini has in her arsenal against lecherous men - sweet words.

She has already decided to commit the murder-suicide. With "eyes gleaming with hate", she is asking what she sees as Veera Pandyan's ghost to leave her alone. Alright, she will kill Karikalan and die. Will Veera Pandyan leave then? There are many beautiful women in heaven. Can't he go to them?

They are the same words she use when Periya Pazhuvettaraiyar compels her to share bed him. There are many high born women in his anthapuram (Nandini is his 9th wife) , why can't he leave her alone?

Nandini was not Veera Pandyan's lover or wife. She wasn't proclaiming her undying love and loyalty. She was just desperately pleading him to leave her alone.

P.S. What about the young child who is crowned as the Pandya Emperor? Isn't Nandini his mother?

Nandini is manipulating the child so that he won't choose anyone else to kill Karikalan. It works- the child chooses Nandini.  Nandini has no idea about the identity of the child. Ravidasan brought the kid from somewhere and she just played along.

What do you say?

@willkatfanfromasia, @sowlspace, @vibishalakshman, @harinishivaa, @thelekhikawrites , @hollogramhallucination , @chiyaanvikram , @thegleamingmoon, @whippersnappersbookworm, @rang-lo @curiousgalacticsoul , @rapunzels-stuff , @nspwriteups , @balladedutempsjadis , @dosai-maavu , @ @jukti-torko-golpo , @ragkee

[unfair-water-plane]

Remains of the Night!!!!

(A snippet from a piece I was writing set in the Old Kingdom from Garth Nyx’s ‘Abhorson’ series. It’s my oldest WIP, started in 2004 when I first read Sabriel. My writing has changed so much, so be patient with Highschool UWP)

There were rumors, even in the city.

Oh, everyone knew the stories. There were monsters in the woods, dangers in the shadows. The peasants who lived in the wastes would not venture out of their shacks after dusk, and traders who traveled the roads swore men made of mist and women made of moonlight stalked the darkling hours between dusk and dawn. But the educated rich only scoffed at that, chuckling at the folly of lesser people. Wolves took those who wandered at night, it was well known, and shadows played tricks on tired minds. That was all it was, and everyone knew it.

But still...there were rumors. And rumors held truth, if you looked deep enough. Smoke could not coil into the air without fire to breed it. And whether the noble and merchant classes had wanted to see the truth or not, things were still happening in the wastes and in the borderlands. Things that could not be explained, things that would not be rationalized out of existance. But the kings and nobles did not care to dwell on it, and there was no profit to be made for merchants to investigate.

And so it fell on those who did not hold a sceptical light to the darker things of the world.

The first time Ruben had seen a shade he had been seven, and had ventured too far towards the border of his father’s plantation. But he’d been a curious child, and had chased locusts and frogs through the fields of late summer wheat to the copse of trees around the farm brook. The creaking of taut rope had drawn his attention upward, and he’d seen the hanged men. Thieves hung for crimes, almost a century before. But their ghosts lingered, and he had the power to see them.

His father had followed terrified screamings to the child, but by the time he arrived Ruben had gone still and silent. Only his eyes showed any sign of life, wide and terrified and unblinking. He had lain like that for two days when a necromancer had stopped by the large estate, hoping for shelter in exchange for work. It had been he who had explained the meaning of Ruben’s condition, and he who had loaded the child on the front of a horse and taken him north.

Ten years of training- on the art of music, sword play and the dead- had led to his final induction into the life. A sacrifice was required, but he’d gladly paid it, and had been gifted with the cloak and gear of his order. At his waist was a sword, forged with steel and silver and iron, to fight any enemy he might cross. And across his breast were the seven bells of his practice, from the tinny Ranna to the ever silent Astarael. All he used to bind the dead, ridding all he came across of ghosts and ghasts and those creatures of the night he could tame or destroy.

And he had heard the rumors. The necromancers had not forgotten the old histories the wars with the fae and the walls that had saved them. Scholars in their own right they hoarded knowledge, and sought it where ever possible. And he had sought it in the wastes, near the borderlands.

The forests held little fear for him before, but as he had worked his way farther and farther from the cities the dangerous became more real. Towards night he had made it his habit to dismount, leading the black stallion through the thick undergrowth to find campsites. Tamilal was a necromancer’s horse, and balked at nothing, but he seemed to appreciate the concern.

[1010ninetynine]

kavetham storyboard for an animatic. i'm going to story board the whole song (eventually), but how much I animate is largely dependent on how hard animation is (the words of a woman who's never animated before)

now my native language (as in the one my parents speak) is tamil not hindi however being from a traditional indian family with a desire for u to be able to fit in India if we ever wanna go back means they tried to teach you some hindi so one of these days i'll explain the animatic with a shitty translation. (if you're a hindi speaker lemme know how well the animatic fits.

this is the song btw

and this is the ship because my drawings are not the best

made in loving memory of my parents. yes, really. my parents saw these two while I was playing Kaveh's hangout and thought they were married. I told them China hated gay people, they said "CLEARLY NOT" make of that what you will...

[yeyinde]

do you have any recs for folklore/mythology books to learn from or docs/videos?

I have tonnes!!! I prefer non-fiction books when it comes to mythology, with the exception of American Gods and Anansi Boys by Neil Gaiman, and Things Fall Apart by Chinua Achebe. This one is more history focused but it blends the mythology and culture of Nigeria/Igbo folklore. I would recommend it to anyone just looking for a really good book to read about culture, history, the perception of masculinity within that culture, and of course, the negative effects of colonisation, and the history of pre-colonisation in Nigeria. It's one of my favourite history books by a really amazing author and poet! Def recommend.

I tried to focus on mythology that is not as widely popularised as others since they are often harder to find. But here are some of the ones that I enjoyed! Most of them were available at my public library as well so if you can't find them in stores or online, that's always another good place to look for mythology books/refs!

Books:

Myths from Mesopotamia by Stephanie Dalley

Voices from the Other World: Ancient Egyptian Tales by Naguib Mahfouz

Conceptions of God in Ancient Egypt: The One and the Many by Erik Hornung

Indaba, my Children: African Folktales by Vusamazulu Credo Mutwa (this is a massive encyclopedia at 700 pages but sooooo worth it!)

Folktales from India by A.K. Ramanujan

Myth = Mithya: Decoding Hindu Mythology by Devdutt Pattanaik (also: The Goddess in India: The 5 faces of Eternal Feminism, 99 thoughts on Ganesha: stories, symbols and Rituals of India's beloved Elephant Headed Deity, and the Pregnant King are really good)

Myth and Reality: Studies in the Formation of Indian Culture by Damodar Dharmananda Kosambi

The Ramayana & Mahabharata by Chakravarti Rajagopalachari (these are epics but OH GOD they are fantastic!)

Irish Mythology - this is a massive tumblr reference with books and guides on where to find Irish Folklore

I've really been enjoying the Chronical Books series on mythology - if only for the illustrations. My favourite so far is Tales of East Africa by Jamilla Okubo, Tales of India: Folktales from Bengal, Punjab, and Tamil Nadu by Svabhu Kohli and Viplov Singh. I wouldn't really say these are super important for mythology - the stories are very basic (not in a bad way at all, just less in-depth since I believe the books are geared toward a younger audience) but the art alone makes them worth it!

Mythology by Edith Hamilton is usually a good introduction to Greek, Roman, and Norse myths

The Prose Edda: Tales from Norse Mythology by Snorri Sturluson

Videos:

Trese on Netflix - it's about Philippine mythology told in modern times, and just an amazing show on its own!

The Entire Story of Greek Mythology Explained - it's 3.5 hours but WORTH IT!

I don't really watch too many videos on mythology, but I do on history and culture. It's just kinda hard to find mythology/folklore specific videos but since it's often interwoven within the cultures respective history, I watch Smithsonian docs on their history instead.

I really hope this helps!!!

[handweavers]

re: prev post about sambal belacan, my favourite story is one my dad tells about when he first came to canada for university in the 70s and he befriended the 2 other malaysian international students at the school (a chinese guy & a tamil guy) and the 3 of them tried to make it from scratch by roasting the paste in the oven in one of their apartments cos you couldn't buy it in canada back then, and their white neighbours were so alarmed by the smell they called the cops on them thinking they had a rotting corpse in their apartment and they had to explain to the police that it was just malaysian fermented shrimp paste roasting lol

[voidsteffy]

can you talk about OK kanmani? I am having a brainrot🥰😭. Also autocorrect keeps correcting brainrot to brain roti lol.

autocorrect is a desi mom, confirmed.

OKK is like a warm hug? idk how else to explain it. I love Dulquer Salmaan and Nitya Menon's chemistry. And as usual rain is a very important character like I always wished in Mani Ratnam's movies.

The back stories come from a good place but are underdeveloped methinks.

Also, it is weird af to see Dulquer but listen to Nani (context: I saw OKK in Tamil and then in Telugu. In Telugu, Nani (Gangleader, Shyam Singha Roy fame) dubbed for Dulquer)

[mylifeisshite]

has anyone else here read fanfictions about Parvati and Padma Patil from HP, where they are Tamilian/speak Tamil? I'm sorry if you are one of the authors of such a story but please, check your facts. Their name is 'Patil'. That is a Maharashtrian name, it could be stretched to Kannadiga, but it's not Shivaramakrishnan or Ranganathan so please explain to me how tf they are from Tamil Nadu? you'd have better luck saying they were North Indian.

[shut-up-rabert]

I posted 263 times in 2022

That's 263 more posts than 2021!

139 posts created (53%)

124 posts reblogged (47%)

Blogs I reblogged the most:

@pulihora

@suvarnarekha

@navaratna

@ramayantika

@shanti-ashant-hai

I tagged 256 of my posts in 2022

Only 3% of my posts had no tags

#desiblr - 173 posts

#hindublr - 21 posts

#hinduphobia - 10 posts

#hinduism - 8 posts

#kashmir - 7 posts

#jammu and kashmir - 6 posts

#kashmiri hindus - 5 posts

#kashmir genocide - 5 posts

#kanhaiya lal - 5 posts

#pakistan - 5 posts

Longest Tag: 123 characters

#won’t even be surprised if kashmir genocide is represented as “a dark time when young kashmiri girls couldn’t go to school”

My Top Posts in 2022:

#5

Movie concept: students from pan India living together in a hostel but instead we get less represented states like 7 sisters(+sikkim), Odisha, Karnataka, MP, Chhattisgarh, Jharkhand, Goa in lead along with correct representation of states like Haryana, Punjab, Tamil Nadu, Kerela, Andhra, Bihar, J&K&Ladakh in the background

46 notes - Posted November 20, 2022

#4

Just read a comic where UK and Canada were referred to as North Punjab and West Punjab and I haven’t been okay since

49 notes - Posted September 21, 2022

#3

Why isn’t mass media more neutral?

Disclaimer: I’m not taking any sides here, nor am I provoking any of you to say it, but this has been on my mind quite a bit and I feel like saying it now: Honestly saying, I’ve always felt like the media favours Palestine over Israel way to much even tho media is supposed to be neutral.

Essays in exams, front pages of newspaper, stars on social media always talk about Palestine but seem to be painting a rather black and white “Palestine good Israel bad” picture but never seem to be willing to dwell deeper into the topic, and when they they go somewhat below the surface it’s always from Palestine’s perispective only, nothing explaining Israel’s side of story as passionately even if at all. Even in India vs Pakistan wars, you’ll find motives and aggressions from both sides easily enough if you looked.

“Stars” like Bela Hadid raise slogans demanding Israel’s dissolve under the ruse of Palestine’s independence and no one bats an eye. The founder of Human rights watch left the organisation saying that it was being biased towards Palestine and has forgotten its original purpose. A lot of funding of these pro palestine news channels comes from Pro Islamic nations organisations, most of the said countries being Palestine supporters.

Palestine is suffering, yes, but it’s not just Israel that’s making it suffer. Hamas has a major role to play too. It kills its own civilians more than Israel does. Palestine has seen some serious bloodshed since Hamas came into power but no one seems to focus on that. There’s little to no discussion about how Palestine is bleeding internally due to hamas, but only the stuff that can be used against Israel.

You’ll hear about how Israel “attacked” Gaza and most of the times it turns out to be some retaliation. We always hear about civilian deaths whose names are never revealed but no one ever wonders what civilians were doing around militant bases. We talk about how palestinians are being thrown out of Israel to show them as big aggressors and it turns out that the land was originally Israel’s territory to begin with.

I’m not being pro-Israel here, And I very well admit that it can have its fair share of violations, such as killing of the one Al-Jazeera reporter , accident or not (look, I fucking hate that platform but that doesn’t mean I condone killing of someone who didn’t do anything) but this is something that has always made me curious. It can’t be as simple as “Israel evil”, can it?

53 notes - Posted August 29, 2022

#2

Hassi to ye sochkar aati h ki mera hone waala abhi kisi aur ke saath jeeney-marne ki kasme kha rha hoga

62 notes - Posted August 5, 2022

My #1 post of 2022

What you see:

What Desi kids see:

156 notes - Posted November 11, 2022

Get your Tumblr 2022 Year in Review →

[neengareadynaaready]

Agent Tina!!! (SPOILERS: If you haven't seen Vikram and still want to, look away because this one is a cool reveal)

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Everyone who saw Vikram agrees she is sooooooo awesome

Actor: Vasanthi

This was her debut film.

According to She the People magazine:

Vasanthi is a dancer by profession and a dance instructor by passion. She started her career as a group dancer in Tamil films and later through hard work and passion she became an assistant dance choreographer. Currently, she is working with choreographer Dinesh’s team and has performed in over 1000 shows all over the world.

From Cinema Express:

Explaining how she landed the role, Vasanthi says, “I’ve been working as an assistant for Dinesh master for over twenty years. We did ‘Vaathi Coming’ song for Vijay-starrer Master. That was when we met Director Lokesh Kanagaraj and we all took a picture with him. He remembered me when writing Vikram and asked Dinesh master if I would act in the film. Master knew I have always been interested in acting. It means so much to me that I have acted in Kamal sir’s movie.” She then had to audition for the role, which included remembering dialogues, before she could be taken on board. “Initially, I was a bit afraid, but director Lokesh and his assistant directors made me comfortable, and guided me through the role and encouraged me,” she says.

If you've been keeping yourselves updated on "Leo", you will remember that Dinesh is the movie's choreographer and reports are saying she will reprise her role as Agent Tina. Considering how much the audience loved her, everyone is excited to see her again and how her character fits into Leo's story.

[everyday-is-brighter-with-you]

Hey!! People who still visit this blog for any reason ...and bored people! Curious people! People with entirely too much time on their hands! People who like cringe! HEAR YE...

(Plain text: Hey!! People who still visit this blog for any reason...and bored people! Curious people! People with entirely too much time on their hands! People who like cringe! HEAR YE...)

So, um. Basically I'm trying to like, start an OCverse. And you know, if you want to collaborate, and help, and bounce ideas, and have fun because this isn't supposed to be that serious all the time, and stuff, you know, that would be, COOL

It's still just a little sprout, my verse. Actually let me tell you how this started. Well you see I'm in this fandom....and I made a lot of stuff for this fandom.....and now I realised that workload is way, way too much, and I'm FINALLY just keeping it solidly on the side, or atleast trying to. People who've known me for a while will know this fandom is for the 2019 game Smile For Me. People who've known me longer than that while( if I've told them) will know I eventually accumulated all that Stuff into an AU, which I go by calling Roseverse these days.

But, Well! You don't really need to know all that,

Because, you see, this OCverse ( working name is Fading Edge after one of my first Tumblr usernames HA) started out as me OC-fying that AU, but now after a few weeks in incubation it's becoming it's own thing.

And...well....look...I have my friends, but the ones I'm talking to about this right now to try and develop it are, well Busy. So I'm reaching a branch out to you good folks on Tumblr....please, if anyone's interested, help me write!

To let this not turn into a giant ramble ...let me just put down the Qualifications(LOL) that you need to get ON THIS WAGON!;

--Uh, please be tolerant of LGBT/Queer stuff. I know this is Tumblr but one can never be too safe. I'm, like, bi, so if you hate me we can't really make this a good partnership man.

-- Not required but if you're Indian as well, Hi! I am too and most likely the majority of the OCs or atleast the main ones will be so we may have an easier time with that aspect due to our shared background, maybe. The MCs are of Tamil descent if it matters.

-- Also not required but if you have previous knowledge of the game I mentioned AKA Smile For Me or S4M as it is shortened, just the canon is enough, I think we could, with some explaining, work out more on how certain character interpretations or general ideas can translate to original work without being the exact same. If you don't know or care though that's fine we can just talk OC stuff.

-- Read my pinned before you message me or send an ask about this to me! Please I don't want drama.

-- Very likely any writing partnership we form will be longterm because uh. I want to work on this for LIFE. I hope it's not as intense as it sounds, I just need a comfort to fall back on during hard times at the core of it. And...telling a story, my own. You know. And uh....this is for fun so.....hey...we may become friends!! Do you want friends?? I can try to be yours, this is seriously not a professional endeavour.

OK, let's stop the list before THAT drags on too.

I think the last general thing you gotta know is that my writing is by no means a set of structured written stories but instead I prefer it to be a dialogue between me and a friend where I'll send memes, make shitty jokes, good jokes, a lot of jokes really, try for character introspection, connect the dots together and have really satisfying moments when they click, probably get Writing Blocked, have large bouts of anxiety, make lots of art, just fucking. Goof around and get over emotional ( i WILL cry) in general and maybe if the dear sun shines upoun us I will produce writings and such things of varying quality.

So...I think that's it....uhhh..bottom line>

Please if anyone's interested to write with me about my OCverse, send ask or DM-- read pinned first

( Plaintext: Please if anyone's interested to write with me about my OCverse, send ask or DM-- read pinned first)

And the rest of you, who are just passing this by, hey, uh, help a guy out and REBLOG THIS FOR REACH....If You Want To. No pressure!

( Plaintext: And the rest of you, who are just passing this by, hey, uh, help a guy out and REBLOG THIS FOR REACH....If You Want To. No pressure!)

Alternate title: Local Anxiety Sufferer Explains Himself About Fake Little Blorbos Too Much Once Again

Sighhhh...oh yeah and my names Haider.

[beetrootbug]

Stop putting human racism on mermaids

*sighs* I'm getting really sick of explaining to people that it's not wrong to cast a coloured person to play a white character and then they retort with "Well if you can make a white character black, then you can make a black character white, because it's the same."

It really isn't. I'm going to explain this as simply as I can, so follow along:

POCs are not on the same playing field as white people when it comes to media rep, so how could you ever say it's the same?

You are refusing to read between the lines, you're refusing to understand the nuance.

There will always be white people in the media, they will always be there, they will never have to fight to be there. They will simply just have their place. POCs, on the other hand, it's not that simple

We either have to fit beauty standards of the white OR let these white behind use us as an excuse to make fun of our culture and use us a shield. We just have to shut up and be okay with it.

and if you think that one day white people will have to fight for media rep, remember this:

For every show/ movie with a primarily POC cast, there will be 20 more with a primarily white cast.

I think the bigger issue we should be talking about is the objectification of POCs in these movie reboots. A lot are simply casting coloured people not because of their skill or what that perspective will add to the story, but because its easier than writing a coloured character and allows them to turn skin tone into a marketing strat. Just capitalism being capitalism.

So while I believe Ariel being black isn't a bad thing, it's just really lazy representation. But obviously, us POCs will eat this shit up, because we are starved from this kind of rep. We will literally defend the bare minimum because we have so little proper rep. We also end up loving characters that are kinda racist because it's our attempt at reclaiming that representation

I'm Singhalese/ Tamil mixed, I will literally never see a character like me in Western media, and that's just something I've accepted. I have no characters to relate to, no mainstream actors to root for. I don't have that.

I don't even need to talk about the amount of white actors there are.

So yeah, tell me again, how is it the same? Oh right, it's the same because you refuse to humanise either "side" and look at them as just that: two options, black and white thinking. And yet you call yourself a centrist. You aren't looking at grey area, you're just refusing to make a choice because it's too hard. You have look at grey area to help you make a decision when two options seem equally matched. It helps you understand that one side is not on an equal playing field to the other.

It's equity not equality, dipshit. We gotta give one side more support because they have been lacking in support for a long time. The "other side" so to speak, already has all the support: THEY DON'T NEED ANYMORE!

Also, to all the people who say it's historically inaccurate to have POCs in historical media, again, it's all about that grey area. There's nothing wrong with POCs in plays and musicals, it has a lot more leeway. Movies and shows, it really depends. We often think the past was entirely white, and of course we do, the white cis straight neurotypical men made sure we look at it that way. But reality isn't like that. Fun fact, most cowboys were black! And there were brown people who where wealthy enough to get pretty portraits of themselves painted back in the 1800s, it wasn't just the white people. Also this whole historical thing doesn't work with the little mermaid because it wasn't really based at a specific time AND Ariel herself is technically a marine species, so obviously the racial issues aren't gonna be the same, so the "black mermaids" aren't gonna be oppressed by the "white mermaids" because they don't have a concept of that, to them it's just colouration and not a big deal.

So just shut up and stop putting our human racism on mermaids, especially considering the fact that humans and mermaids have been separated and so therefore wouldn't even understand our human racism.

[somsesh]

"And, without a doubt, that is the kindest thing you can say about life. It’s not nothing."

_

The Seven Moons of Maali Almeida by Shehan Karunatilaka

Just finished reading Shehan Karunatilaka's Booker Prize-winning book, and while it started with a style of writing that had the voice of a cynic trying too hard to establish itself, it eventually eases out, embraces the character well, and we get to see Sheha's Lanka in its beautiful honesty. I have recently been shooting again on film, so the protagonist being a photographer shooting on film in the 80s added a balmy touch for me. The book captures the politics, and its people, and mixes them with the supernatural in such a living, materialistic way, that you don't realise when you are with a living and when you are not.

Also, kudos to the author for never losing sight of the whodunnit angle. Shehan has gambled like a professional, serving cards in a way that would keep you guessing, and tugging at your heart just like the way Maali did at his Nikon 3ST (tried looking up this model, but I guess it's a fictitious one, but it must be a rangefinder with leaf shutter because it hardly makes a sound when taking a photo).

Lastly, ​I always love a book with plenty of quote-worthy lines, and this book does so without trying to dish out a sermon. Shehan's book is definitely an ace at that. Sharing some of the lines that I highlighted while reading.

_

"All stories are recycled and all stories are unfair."

_

"‘We are educated Colombo Tamils. We must be careful and not attract attention. You understand, no?’ You think of the lottery of birth and how everything else is mythology, stories the ego tells itself to justify fortune or explain away injustice. You wonder if you should hold your tongue." 

_

"‘Because people are OK if bad things happen to people who aren’t them.’"

_

"‘Why is Sri Lanka number one in suicides?’ asks the girl, peering through thick glasses. Are we that much more sadder or violent than the rest of the world?’ ‘Who the fuck cares?’ says the hunched figure, as a lady in pigtails does her high jump over the edge. ‘It’s because we have just the right amount of education to understand that the world is cruel,’ says the schoolgirl. ‘And just enough corruption and inequality to feel powerless against it.’"

_

"‘God’s gift,’ the warden said, ‘His violence... God loves violence. You understand that, don’t you?... Why else would there be so much of it? It’s in us. It comes out of us. It is what we do more naturally than we breathe. There is no moral order at all. There is only this – can my violence conquer yours?’ Dennis Lehane, Shutter Island" 

This one is not by Shehan but it makes so much sense when it appears in the book.

_

"‘You know why the battle of good vs evil is so one-sided, Malin? Because evil is better organised, better equipped and better paid. It is not monsters or yakas or demons we should fear. Organised collectives of evil doers who think they are performing the work of the righteous. That is what should make us shudder.’"

_

"Even on the sad days, when you have to process young children or those leaving lovers behind, you come to realise that every death is significant, even when every life appears not to be."

_

Ending with two shots I had taken during my trip to Colombo back in 2010. You can read more about it on my old blog.