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Daksha

In Hinduism, Daksha (दक्ष, ) is one of the prajapati, the agents of creation, as well as a divine king-rishi. His iconography depicts him as a man with a stocky body and a handsome face or the head of a goat.

In the Rigveda, Daksha is an aditya and is associated with priestly skills. In the epics and Puranic scriptures, he is a son of the creator-god Brahma and the father of many children, who became the progenitors of various creatures. According to one legend, a resentful Daksha conducted a yajna (fire-sacrifice), and deliberately did not invite his youngest daughter Sati and her husband Shiva. In the Linga Purana, for insulting Shiva during this event, which caused Sati to self-immolate in fury, he was beheaded by Virabhadra, an attendant of Shiva. He was later resurrected with the head of a goat. Many Puranas state that Daksha was reborn to Prachetas in another Manvantara (age of Manu).

Etymology and textual history
The meaning of the word "Daksha" (दक्ष) is "able", "expert", "skillful" or "honest". According to the Bhagavata Purana, Daksha got this name as he was expert in begetting children. The word also means "fit", "energetic" and "fire". Daksha also has another name "Kan".

Daksha finds mentions in the ancient scripture Rigveda (2nd millennium BCE), where he is described as an Aditya ('son of the goddess Aditi') and specifically associated with the skilled actions of sacrificers. Later in the Brahmanas (900 BCE - 700 BCE), he is identified with the creator deity Prajapati. Key elements of Daksha including his yajna and ram head, which later became a key feature in the Puranic iconography, are first found in the Taittariya Samhita. The epics—the Ramayana and the Mahabharata—also mention Daksha. Most of the stories about Daksha are found in the Puranas (3rd - 10th century CE).

Birth
The epic Mahabharata describes Daksha and his wife emerging from the right and left thumbs of the creator god Brahma respectively. According to Matsya Purana, Daksha, Dharma, Kamadeva, and Agni were born from Brahma's right thumb, chest, heart and eyebrows, respectively. According to many texts including the Bhagavata Purana, Daksha is born twice—First as a Manasaputra (mind-created son) of Brahma and later, as a son of Prachetas and Marisha. In contrast to the later Puranic myths, the Rig Veda states that Daksha and the goddess Aditi emerge from one another, thus he is both her son and father.

Consorts and children
According to many Puranic scriptures, Daksha married Prasuti in his first birth and Asikni in his second birth. Prasuti is described to be a daughter of Svayambhuva Manu, with whom Daksha had 16, 24 or 60 daughters (depending upon the scriptural source). Asikni (also referred to as Panchajani and Virani) is the daughter of another Prajapati named Virana (or Panchajana). Daksha was delegated by Brahma to inhabit the world; he went on to create Gods, Sages, Asuras, Yakshas and Rakhashas from the mind but failed to be further successful. Upon a successful penance at the Vindhyas, the god Vishnu granted Asikni as his wife and urged him to engage in sexual union.

Sons
According to the Puranas, Daksha and Asikni first produced five thousand sons, who were known as Haryashvas. They were interested in populating the Earth but upon the advice of Narada, took to discovering worldly affairs instead and never returned. Brahma to have consoled a grievous Daksa after this loss. Daksha and Asikni again produced another thousand sons (Shabalashvas), who had similar intentions but were persuaded by Narada to the same results. An angry Daksha cursed Narada to be a perpetual wanderer.

Daughters
The Puranic scriptures differ in the number of Daksha's daughters. They were married to different deities, sages and kings, and became the progenitors of various kinds of creatures.

According to the Mahabharata (Harivamsa), the Devi Bhagavata Purana, Brahma Vaivarta Purana and the Vishnu Purana, Daksha fathered 60 daughters from Asikni: • 10 of those daughters—Maruvati, Vasu, Jami, Lamba, Bhanu, Urjja, Sankalp, Mahurath, Sadhya, Vishva—were married to Dharmadeva, the god of Dharma

• 13 daughters—Aditi, Diti, Danu, Arishta, Surasa, Surabhi, Vinata, Tamra, Krodhavasha, Ira, Kadru, Vishva, Muni—were married to sage Kashyapa

• 27 daughters—Ashvini, Bharani, Krttika, Rohini, Mrigashira, Tarakam or Ardra, Punarvasu, Pushya, Ashlesha, Janakam or Magha, Phalguni, Uttarphalguni, Hasta, Chitra, Svati, Vishakha, Anuradha, Jyestha, Mula, Purvashadha, Uttarasadha, Srona or Shravana, Dhanistha or Shatabhisha, Abhijit or Prachetas, Purvabhadrapada, Uttarabhadrapada and Revati—were married to Chandra, the god of the Moon and vegetation

• 4 were married to sage Arishtanemi

• 2 were married to sage Bahuputra

• 2 married sage Angiras

• 2 were married to Krisasva

The number of Daksha's daughters from Prasuti varies—24 daughters are mentioned in the Vishnu Purana, while the Linga Purana and Padma Purana list 60 daughters. All of Prasuti's daughters represent the virtues of mind and body. The names of these daughters and their spouse, according to the Vishnu Purana, are: • Sraddha, Lakshmi, Dhriti, Thushti, Pushti, Medha, Kriya, Buddhi, Lajja, Vapu, Shanti, Siddhi and Kirti married the god Dharmadeva

• Khyati married sage Bhrigu

• Sambhuti married sage Marichi

• Smriti married sage Angiras

• Priti married sage Pulastya

• Kshama married to sage Pulaha

• Sannati married sage Kratu

• Anasuya married sage Atri

• Urjja married sage Vashishtha

• Svaha married Agni, the god of fire

• Svadha married Kavi, a member of the class of Pitrs

• Sati married Shiva Along with these daughters, the goddess of love, Rati, is also considered an offspring of Daksha. The Shiva Purana and Kalika Purana narrate that she emerged from the sweat of Daksha after he was asked by Brahma to present a wife to the love god Kama.

Cursing Chandra
The Puranas portray Daksha as being responsible for the waning and waxing of the Moon. The moon god Chandra married twenty-seven daughters of Daksha, who represents the twenty-seven Nakshatras (or constellations). Among them, Chandra favoured Rohini and spent most of his time with her. The other 26 sisters became jealous and complained to their father. Daksha initially tried to persuade Chandra, but after seeing his efforts fruitless, he cursed the lunar deity to become ill and lose his brightness. Since Chandra was also the god of vegetation, the vegetation began to die. The devas pacified Daksha, and upon their request, he told Chandra that he would suffer from his illness each fortnight and recover from it gradually. This leads to the waning and waxing of the moon each month. In another version, it was the god Shiva (Sati's husband) who partially cured Chandra's illness.

Daksha Yajna

The Daksha Yajna is regarded as an important turning point in the creation and development of a number of sects in Hinduism. The story describes the circumstances that replaced Sati with Parvati as Shiva's consort and later led to the story of Ganesha and Kartikeya.

One of the daughters of Daksha, often said to be the youngest, was Sati, who had always wished to marry Shiva. Daksha forbade it, but later reluctantly allowed her and she married Shiva.

Once, Daksha organised the Brihaspatistava Yajna and intentionally did not invite Shiva and Sati. Even though discouraged by Shiva, who told her not to go to a ceremony performed by Daksha where her husband and she were not invited, the parental bond made Sati ignore social etiquette and her husband's wishes. Sati went to the ceremony alone. She was snubbed by Daksha and insulted by him in front of the guests. Sati, unable to bear further insult, ran into the sacrificial fire and immolated herself. Shiva, upon learning about the terrible incident, in his wrath invoked Virabhadra and Bhadrakali by plucking a lock of hair and thrashing it on the ground. Virabhadra and the bhutaganas marched south and destroyed all the premises. Daksha was decapitated, and the site of the ritual was devastated during the rampage. Bhrigu, the chief priest of the Yajna, invoked the Ribhus to fight the Ganas, but the former was tied to a pillar and his beard was forcibly plucked off. According to Horace Hayman Wilson, Vahni's hands were cut, Bhaga's eyes were plucked out, Pusha had broken teeth, Yama's mace was broken, Goddesses' noses were cut, Soma was pummelled, while Yajneshwara, the Indra of Swayambhuva Manvantara, tried to escape in the form of a deer, but was decapitated. Daksha also tried to escape, but Virabhadra held him and cut off his head (some legends say that he plucked off Daksha's head with his own hands). The head was thrown to the fire, and Virabhadra returned to Kailasa, along with his hordes.

Later, Shiva was pacified. He forgave Daksha and resurrected him, but with a goat's head. Bhrigu and the others were restored their respective parts. With Vishnu as the chief priest, Daksha offered a share of the oblations to Shiva, and the sacrifice was successfully completed.

title: Daksha


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Prasuti

Prasuti (प्रसूति, Prasūti) is the consort of Daksha and mother of many daughters by him, including the goddess Sati. Prasuti is the daughter of Svayambhuva Manu and Shatarupa.

Marriage and children
According to the Vishnu Purana, the Linga Purana and the Padma Purana, Daksha and his wife Prasuti had many daughters (the numbers vary from 16 to 60, but most scholars consider it 24 — Shraddha, Bhakti, Dhriti, Thushti, Pushti, Medha, Kriya, Buddhika, Lajja Gauri, Vapu, Santi, Siddhika, Kirtti, Khyati, Sambhuti, Smriti, Priti, Kshama, Sannati, Urjja, Svaha, Svadha, and Sati. The Padma Purana records that Daksha felt that 24 daughters were not enough and produced more 60 maidens, though these sixty daughters are mentioned as the offsprings of Asikni in other texts.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

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Prajapati

Prajapati (प्रजापति, ) is a Vedic deity of Hinduism.

In later literature, Prajapati is identified with the creator-god Brahma, but the term also connotes many different gods depending on the Hindu scriptures, ranging from being the creator god Brahma to being the same as the following: Vishvakarma, Agni, Indra, Daksha, and many others, reflecting the diverse Hindu cosmology. In classical and medieval era literature, Prajapati is equated to the metaphysical concept called Brahman as Prajapati-Brahman (Svayambhu Brahman), or alternatively Brahman is described as one who existed before Prajapati.

Etymology
Prajapati (Sanskrit: प्रजापति) is a compound of "praja" (creation, procreative powers) and "pati" (lord, master). The term means "lord of creatures", or "lord of all born beings". In the later Vedic texts, Prajapati is a distinct Vedic deity, but whose significance diminishes. Later, the term is synonymous with other gods, particularly Brahma. Still later, the term evolves to mean any divine, semi-divine or human sages who create something new.

Origins
The origins of Prajapati are unclear. He appears late in the Vedic layer of texts, and the hymns that mention him provide different cosmological theories in different chapters. He is missing from the Samhita layer of Vedic literature, conceived in the Brahmana layer, states Jan Gonda. Prajapati is younger than Savitr, and the word was originally an epithet for the sun. His profile gradually rises in the Vedas, peaking within the Brahmanas. Scholars such as Renou, Keith and Bhattacharji posit Prajapati originated as an abstract or semi-abstract deity in the later Vedic milieu as speculations evolved from the archaic to more learned speculations.

Similarity with other Indo-European deities
A possible connection between Prajapati (and related figures in Hindu mythology) and Protogonos, (Πρωτογόνος, literally "first-born") of the Greek Orphic tradition has been proposed:

"Protogonos is the Orphic mythology equivalent of the Vedic Prajapati in several ways: he is the first god born from a cosmic egg, he is the creator of the universe, and in the figure of Dionysus— a direct descendant of Protogonos — worshippers participate in his death, and rebirth"

- Kate Alsobrook

According to Robert Graves, the name of /PRA-JĀ[N]-pati/ ('progeny-potentate') is etymologically equivalent to that of the oracular god Phanes at Colophon (according to Makrobios ), namely /prōtogonos/. The cosmic egg concept linked to Prajapati and Protogonos is common in many parts of the world, states David Leeming, which appears in later Orphic cult in Greece.

Texts
Prajapati is described in many ways and inconsistently in Hindu texts, both in the Vedas and in the post-Vedic texts. These range from being the creator god Brahma to being same as one of the following: Agni, Indra, Vishvakarma, Daksha and many others.

Vedas
His role varies within the Vedic texts such as being one who created heaven and earth, all of water and beings, the chief, the father of gods, the creator of devas and asuras the cosmic egg and the Purusha. His role peaked in the Brahmanas layer of Vedic texts, then declined to being a group of helpers in the creation process. In some Brahmana texts, his role remains ambiguous since he co-creates with the creator goddess Vāc.

In the Rigveda, Prajapati appears as an epithet for Savitr, Soma, Agni and Indra, who are all praised as equal, same and lord of creatures. Elsewhere, in hymn 10.121 of the Rigveda, is described Hiranyagarbha (golden embryo) that was born from the waters containing everything, which produced Prajapati. It then created manas (mind), kama (desire) and tapas (heat). However this Prajapati is a metaphor, one of many Hindu cosmology theories, and there is no supreme deity in the Rigveda. One of the striking features about the Hindu Prajapati myths, states Jan Gonda, is the idea that work of creation is a gradual process, completed in stages of trial and improvement.

In the Shatapatha Brahmana, embedded inside the Yajurveda, Prajapati emanated from Purusha (cosmic spirit) and Prajapati co-creates the world with Vāc It also includes the "golden cosmic egg" mythology, wherein Prajapati is stated to be born from a golden egg in primeval sea after the egg was incubated for a year. His sounds became the sky, the earth and the seasons. When he inhaled, he created the devas, fire, and light. When he exhaled, he created the asuras, and darkness. Then, together with Vāc, he created all beings and time. In Chapter 10 of the Shatapatha Brahmana, as well as chapter 13 of Pancavimsa Brahmana, is presented another myth wherein he, Prajapati is a mother, who becomes self-pregnant with all living creatures self-generated, then Mrtyu seizes these beings within his/her womb, but because these beings are part of the eternal Prajapati they desire to live long like him.

The Aitareya Brahmana offers a different myth, wherein Prajapati, having created the gods, turns into a stag and approaches his daughter Ushas who was in the form of a doe, to produce other earthly beings. The gods were horrified by the incest, and joined forces to produce the angry destructive Rudra to punish Prajapati for "doing what is not done". Prajapati was killed by Rudra. The Kausitaki Brahmana tells another myth, wherein Prajapati created Agni, Surya, Chandra, Vayu, Ushas and all deities released their energies and created the universe

In section 2.266 of Jaiminiya Brahmana, Prajapati is presented as a spiritual teacher. His student Varuna lives with him for 100 years, studying the art and duties of being the "father-like king of gods".

Upanishads
Prajapati appears in early Upanishads, among the most influential texts in Hinduism. He is described in the Upanishads in diverse ways. For example, in different Upanishads, he is presented as the personification of creative power after Brahman, the same as the wandering eternal soul, as symbolism for unmanifest obscure first born, as manifest procreative sexual powers, the knower particularly of Atman (soul, self), and a spiritual teacher that is within each person. The Chandogya Upanishad, as an illustration, presents him as follows:

"The self (atman) that is free from evils, free from old age and death, free from sorrow, free from hunger and thirst; the self whose desires and intentions are real – that is the self that you should try to discover, that is the self that you should seek to perceive. When someone discovers that self and perceives it, he obtains all the worlds, and all his desires are fulfilled, so said Prajapati."

- Chandogya Upanishad 8.7.1 In Chandogya Upanishad 1.2.1, Prajapati appears as the creator of all devas and asuras. "The gods and goddesses and the demons are both children of Prajapati, yet they fought among themselves." (देवासुरा ह वै यत्र संयेतिरे उभये प्राजापत्यास्तद्ध, ).

Post-Vedic texts
In the Mahabharata, Brahma is declared to be a Prajapati who creates many males and females, and imbues them with desire and anger, the former to drive them into reproducing themselves and the latter to prevent them from being like gods. Other chapters of the epics and Puranas declare Vishnu or Shiva to be Prajapati.

The Bhagavad Gita uses the epithet Prajapati to describe Krishna, along with many other epithets.

The Grhyasutras include Prajapati as among the deities invoked during wedding ceremonies and prayed to for blessings of prosperous progeny, and harmony between husband and wife.

Prajapati is identified with the personifications of Time, Fire, the Sun, etc. He is also identified with various mythical progenitors, especially (Manusmriti 1.34) the ten lords created beings first created by Brahma: Marichi, Atri, Angiras, Pulastya, Pulaha, Kratu, Vasishtha, Daksha, Bhrigu and Narada.

In the Puranas, there are groups of Prajapatis called Prajapatayah who were rishis (sages) from whom all of the world is created, followed by a Prajapatis list that widely varies in number and name between different texts. According to George Williams, the inconsistent, varying and evolving Prajapati concept in Hindu mythology reflects the diverse Hindu cosmology.

The Mahabharata and the genre of Puranas call various gods and sages as Prajapati. Some illustrations, states Roshen Dalal, include Agni, Bharata, Shashabindu, Shukra, Havirdhaman, Indra, Kapila, Kshupa, Prithu, Chandra, Svishtakrita, Tvashtr, Vishvakarma and Virana.

In the medieval era texts of Hinduism, Prajapati refers to legendary agents of creation, working as gods or sages, who appear in every cycle of creation-maintenance-destruction (manvantaras). Their numbers vary between seven, ten, sixteen or twenty-one.

A list of twenty one includes found in the Mahabharata includes:

 * 1) Rudra
 * 2) Manu
 * 3) Daksha
 * 4) Bhrigu
 * 5) Dharma
 * 6) Tapa
 * 7) Yama
 * 8) Marici
 * 9) Angiras
 * 10) Atri
 * 11) Pulastya
 * 12) Pulaha
 * 13) Kratu
 * 14) Vasishtha
 * 15) Parameshti
 * 16) Surya
 * 17) Chandra
 * 18) Kardama
 * 19) Krodha
 * 20) Vikrita.

A list of sixteen found in the Ramayana includes:

 * 1) Angiras
 * 2) Arishtanemi
 * 3) Atri
 * 4) Daksha
 * 5) Kardama
 * 6) Kashyapa
 * 7) Kratu
 * 8) Marichi
 * 9) Prachetas
 * 10) Pulaha
 * 11) Pulastya
 * 12) Samshraya
 * 13) Shesha
 * 14) Surya.

A list of ten in Hindu scriptures includes:

 * 1) Marichi
 * 2) Angiras
 * 3) Atri
 * 4) Pulastya
 * 5) Pulaha
 * 6) Kratu
 * 7) Vasishtha
 * 8) Daksha
 * 9) Bhrigu
 * 10) Narada.

Their creative role varies. Pulaha, for example, is the Mānasaputra of Brahma and Sarasvati is a great rishi. As one of the Prajapatis, he creates animals and plants.

Balinese Hinduism
Hindu temples in Bali Indonesia called Pura Prajapati, also called Pura Mrajapati, are common. They are most associated with funeral rituals and the Ngaben (cremation) ceremony for the dead.

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Rishi

In Indian religions, a rishi (ऋषि ) is an accomplished and enlightened person. They find mentions in various Vedic texts. Rishis are believed to have composed hymns of the Vedas. The Post-Vedic tradition of Hinduism regards the rishis as "great yogis" or "sages" who after intense meditation (tapas) realized the supreme truth and eternal knowledge, which they composed into hymns. The term appears in Pali literature as Ishi; in Buddhism they can be either Buddhas, Paccekabuddhas, Arahats or a monk of high rank.

Etymology
According to Indian tradition, the word may be derived from two different meanings of the root 'rsh'. Sanskrit grammarians derive this word from the second meaning: "to go, to move". V. S. Apte gives this particular meaning and derivation, and Monier-Williams also gives the same, with some qualification.

Another form of this root means "to flow, to move near by flowing". (All the meanings and derivations cited above are based upon Sanskrit English Dictionary of Monier-Williams). Monier-Williams also quotes Tārānātha who compiled the great (Sanskrit-to-Sanskrit) dictionary named "ṛṣati jñānena saṃsāra-pāram" (i.e., "one who reaches beyond this mundane world by means of spiritual knowledge").

Before Monier-Williams' work was published, Yāska suggested it came from "drish" and quotes Aupamanyava to support his opinion.

However, the root has a close Avestan cognate ərəšiš "an ecstatic" (see also Yurodivy, Vates). Yet the Indo-European dictionary of Julius Pokorny connects the word to a PIE root  meaning "rise, protrude", in the sense of "excellent" and thus cognate with Ṛta and right and Asha. In Sanskrit, forms of the root rish become arsh- in many words, (e.g., arsh)

Modern etymological explanations such as by Manfred Mayrhofer in his Etymological Dictionary leave the case open, and do not prefer a connection to ' "pour, flow" (PIE '), rather one with German rasen "to be ecstatic, be in a different state of mind" (and perhaps Lithuanian aršus).

In Hindu texts
In the Vedas, the word denotes an inspired poet of Vedic hymns. In particular, Ṛṣi refers to the authors of the hymns of the Rigveda. Some of the earliest lists of Rishi are found in Jaiminiya Brahmana verse 2.218 and Brihadaranyaka Upanishad verse 2.2.4.

Post-Vedic tradition regards the Rishis as "sages" or saints, constituting a peculiar class of divine human beings in the early mythical system, as distinct from Asuras, Devas and mortal men. Swami Vivekananda described "Rishi"s as Mantra-drashtas or "the seers of thought". He told— "The truth came to the Rishis of India — the Mantra-drashtâs, the seers of thought — and will come to all Rishis in the future, not to talkers, not to book-swallowers, not to scholars, not to philologists, but to seers of thought."

The Rig Veda mentions female rishikas such as Romasha, Lopamudra, Apala, Kadru, Visvavara, Ghosha, Juhu, Vagambhrini, Paulomi, Yami, Indrani, Savitri and Devayani. The Sama Veda adds Nodha, Akrishtabhasha, Sikatanivavari and Gaupayana.

In Mahabharata 12, on the other hand, there is the post-Vedic list of Marīci, Atri, Angiras, Pulaha, Kratu, Pulastya and Vashista. The Mahābhārata list explicitly refers to the saptarshis of the first manvantara and not to those of the present manvantara. Each manvantara had a unique set of saptarshi. In Harivamsha 417ff, the names of the Rishis of each manvantara are enumerated.

In addition to the Sapta, there are other classifications of sages. In descending order of precedence, they are Brahmarshi, Maharshi, Rajarshi. Deva, Param, Shruta and Kānda are added in Manusmriti iv-94 and xi-236 and in two dramas of Kālidasa.

The Chaturvarga-Chintāmani of Hemādri puts '' at the seventh place in the eightfold division of Brāhmanas. Amarakosha (the famous Sanskrit synonym lexicon compiled by Amarasimha) mentions seven types of s : Shrutarshi, Kāndarshi, Paramarshi, Maharshi, Rājarshi, Brahmarshi and Devarshi. Amarakosha strictly distinguishes Rishi from other types of sages, such as sanyāsi,, parivrājaka, tapasvi, muni, brahmachāri, yati, etc.

In Buddhist texts
The term Rishi found mentions throughout the Buddhist texts. In Pali, they are known as "Isi"s. A Rishi can also be called a Buddha, Paccekabuddha, Arhat or monk of high rank. In Buddhist Pali literature, Buddha is called many times as "Mahesi"(Pali; Sanskrit: Maharṣi; meaning the greatest sage). The Isigili Sutta in Pali Canon, mentions the name of Five hundred Rishis (Paccekabuddhas). The Buddhist text, Mahamayuri Tantra, written during 1–3rd centuries CE, mentions Rishis throughout Jambudvipa (modern day India, Pakistan, Afghanistan, Bangladesh, Nepal) and invokes them for the protection of the Buddhadharma.

Many Jatakas also mentions various Rishis. The Naḷinikā Jātaka (Jā 526) introduces a past life of the Buddha, a Rishi(Isi), living alone in the Himālayas. His son, who was also a Rishi, was named Isisiṅga (Pali; Sanskrit:Ṛṣyaśṛṅga). The Agastya Jataka (Sanskrit; Pali: Akitta Jataka) story, mentions Bodhisattva, named Agastya(Sanskrit; Pali: Akkhata) as Rishi.

Rishi in Indonesia
Most medieval era Hindu temples of Java, Indonesia show Rishi Agastya statues or reliefs, usually guarding the southern side of Shaivite temples. Some examples include Candi Sambisari and the Prambanan temple near Yogyakarta.

Ruesi in Cambodia, Thailand, Myanmar and Laos
Ruesi (Sanskrit: ṛṣi, តាឥសី, ฤๅษี, ລືສີ) is a hermit sage, the equivalent of Rishi in India. In Myanmar, there are some known as ရေသ့ Rase. Rishi Akkhata(Pali; Sanskrit: Agastya), known as Phra Reusi Akkhot in Thailand, is an important Ruesi in Southeast Asia, as in the Buddhist Jataka scriptures, this Ruesi is mentioned as the bodhisatta and practiced his ascetism in Sri Lanka and Southeast Asia. Veneration of Ruesis is a notable practice in Southeast Asian Buddhism. The name "Rishi" (pronounced "ruesi") is also the basis of one of the letters of the Thai alphabet, so reu-si (ษ ฤๅษี).

Other uses
Rishi is also a male given name, and less commonly a Brahmin last name.

In Carnatic music, "Rishi" is the seventh chakra (group) of Melakarta ragas. The names of chakras are based on the numbers associated with each name. In this case, there are seven rishis and hence the 7th chakra is "Rishi".

The descendant families of these Rishis, refer to their ancestral lineage through their family "gotra". This is a common practice among the Brahmin sects of the current Hindu society.

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Vritra

Vritra (वृत्र,, ) is a danava in Hinduism. He serves as the personification of drought, and is an adversary of the king of the devas, Indra. As a danava, he belongs to the race of the asuras. Vritra is also known in the Vedas as Ahi (अहि ). He appears as a human-like serpent blocking the course of the Rigvedic rivers, and is slain by Indra with his newly-forged vajra.

Etymology
Vritra literally means "cover, obstacle", in reference of him holding back the waters. It stems from Proto-Indo-Iranian *wr̥trás, from the Proto-Indo-European root *wer- "to cover, to obstruct". The Indo-Iranian word is also found in Avestan as vərəθraγna (Vedic vṛtraghná), literally "(one who) slays obstacles". Functionally, he is related to Jörmungandr of Norse myth, Typhon of Greek myth, and Veles of Slavic myth.

Vedas
According to the Rig Veda, Vritra kept the waters of the world captive until he was killed by Indra, who destroyed all the 99 fortresses of Vritra (although the fortresses are sometimes attributed to Sambara) before liberating the imprisoned rivers. The combat began soon after Indra was born, and he consumed a large volume of Soma at Tvashtri's house to empower him before facing Vritra. Tvashtri fashioned the thunderbolt (Vajrayudha) for Indra, and Vishnu, when asked to do so by Indra, made space for the battle by taking the three great strides, for which Vishnu became famous, and was later adapted in his legend of Vamana.

Vritra broke Indra's two jaws during the battle, but was then thrown down by Indra and, in falling, crushed the fortresses that had already been shattered. For this feat, Indra became known as "Vṛtrahan" (lit. "Slayer of Vritra" and also as "slayer of the first-born of dragons"). Vritra's mother, Danu, who was also the mother of the danava race of asuras, was then attacked and defeated by Indra with his thunderbolt. In one of the versions of the story, three devas – Varuna, Soma, and Agni – were coaxed by Indra into aiding him in the fight against Vritra, whereas before they had been on the side of Vritra (whom they called "Father").

Hymn 18 of Mandala IV provides the most elaborate account of the Vedic version. The verses describe the events and circumstances leading up to the battle between Indra and Vritra, the battle itself, and the outcome of the battle.

Puranas
As told in the narration given to King Yudhishthira in the Mahabharata, Vritra was an asura created by the artisan god Tvashtri to avenge the killing of his son by Indra, known as Triśiras or Viśvarūpa. Vritra won the battle and swallowed Indra, but the other deities forced him to vomit Indra out. The battle continued and Indra was eventually forced to flee. Vishnu and the rishis (sages) brokered a truce, with Indra swearing that he would not attack Vritra with anything made of metal, wood or stone, nor anything that was dry or wet, or during the day or the night. Indra used the foam (which Vishnu had entered to ensure victory) from the waves of the ocean to kill him at twilight.

The Srimad Bhagavatam recognizes Vritra as a bhakta (devotee) of Vishnu who was slain only due to his failure to live piously and without aggression. This story runs thus:

SB 6.9.11: After Visvarupa was killed, his father, Tvashta, performed ritualistic ceremonies to kill Indra. He offered oblations in the sacrificial fire, saying, "O enemy of Indra, flourish to kill your enemy without delay."

SB 6.9.12: Thereafter, from the southern side of the sacrificial fire known as Anvaharya came a fearful personality who looked like the destroyer of the entire creation at the end of the millennium.

SB 6.9.13-17: Like arrows released in the four directions, the demon's body grew, day after day. Tall and blackish, he appeared like a burnt hill and was as lustrous as a bright array of clouds in the evening. The hair on the demon's body and his beard and moustache were the colour of melted copper, and his eyes were piercing like the midday sun. He appeared unconquerable as if holding the three worlds on the points of his blazing trident. Dancing and shouting with a loud voice, he made the entire surface of the earth tremble as if from an earthquake. As he yawned, again and again, he seemed to be trying to swallow the whole sky with his mouth, which was as deep as a cave. He seemed to be licking up all the stars in the sky with his tongue and eating the entire universe with his long, sharp teeth. Seeing this gigantic demon, everyone, in great fear, ran here and there in all directions.

SB 6.9.18: That very fearful demon, who was actually the son of Tvashta, covered all the planetary systems by dint of austerity. Therefore, he was named Vritra, or one who covers everything.

Vritra became the head of the asuras (portrayed as inherently malicious here, as opposed to the Vedic version, in which they may be benevolent or malevolent). He renounced his dharma – duty – to do good unto others and turned to violence, battling with the devas. Eventually, he gained the upper hand, and the devas were frightened of his evil might. Led by Indra, they approached Vishnu for help. He told them that Vritra could not be destroyed by ordinary means, revealing that only a weapon made from the bones of a sage could slay him. When the deities revealed their doubts about the likelihood of any ascetic donating his body, Vishnu directed them to approach the rishi Dadhichi. When approached by the deities, Dadhichi gladly gave up his bones for the cause of the good, stating that it would be better for his bones to help them attain victory than to rot in the ground. The devas collected the bones and Indra crafted the Vajrayudha from them. When they engaged Vritra again, the battle lasted for 360 days before Vritra breathed his last.

In Vaishnavism, Vritra is depicted to be a devotee of Vishnu. In the Srimad Bhagavatam, when the vajra-armed Indra and the devas battle against Vritra and his asuras, the Vritra proclaims that were he to fall in battle, he would be blessed, since the vajra was imbued with the power of Vishnu and Dadhichi. During the single combat between Indra and Vritra, the former drops his vajra when he is struck on the cheek. Even as the devas gasp, Vritra merely advises him to pick up his weapon, since life and death are the same for him, as he believes that they are all instruments of Vishnu. Indra marvels at the asura's devotion to the preserver deity. When the king of the devas succeeds in slicing both of his opponent's arms, the latter swallows him whole, along with Airavata. Protected by Vishnu, Indra cuts open the belly of Vritra and escapes, finally beheading him with the vajra. Vritra ascends to Vaikuntha upon his death.

According to the Puranas, the terrible anthropomorphic personification of Brāhmanahatya (Brahmanicide) chased Indra and forced him into hiding for his sin, and Nahusha was invited to take his place.

Buddhism
In the Pali Canon, Vritra is alluded to when the Buddha addresses Śakra with the title "Vatrabhū."

title: Vritra


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Trisiras

Trishiras (त्रिशिरस्), also referred to as Vishvarupa, was the three-headed son of the craftsman god Tvashta. He was killed by Indra, the king of the devas. To avenge his death, Tvashta later created the demon Vritra.

Vedic
In the Rigveda, Vishvarupa is the son of the god Tvashta and the guardian of cows. He is an enemy of Indra, the king of the gods, who comes into conflict with him. Indra is victorious in the conflict and Aptya (an ally of Indra) kills Vishvarupa and is later beheaded by Indra. Another verse states that Indra stole Vishvarupa's cattle and released them. The Brihaddevata narrates that Vishvarupa is the son of Tvashta and his asura wife, and the twin of Saranyu. He is sent by the demons to become the priest of the devas, desiring to destroy them. Indra suspected his intentions and beheaded him. His three heads turn into three different birds. Furious by the demise of his son, Tvashtr creates a demon called Vritra to avenge his death.

Epic and Puranic
According to the Udyoga Parva of the epic Mahabharata and the Devi Bhagavata Purana, Tvashta had a conflict with Indra and wanted to dethrone him. With his wife Virocana (or Rechana), who was the daughter of Prahlada and belonged to Asura race, Tvashta had Trishiras, who was born with three heads. His three heads were each named Somapītha, Surāpītha, and Annāda as each head consumed Soma, Sura, and food, respectively. It is also told that one head was responsible for drinking; with another head, he observed his surroundings; and with his last head, he read the Vedas. Trishiras grew powerful and performed penance to become more powerful. Indra became frightened of him, and sent Apsaras (nymphs) to seduce him and break his penance. However, Trisharas was unaffected and Indra went to him and killed him using his thunderbolt. He was concerned about the possibility of Trishiras reviving, so he sent a carpenter to cut off each of his heads. From the head that chanted Vedic mantras rose the Kapiñjala birds; from the head used for drinking soma rose the Kalapiṅga birds and from the third head rose the Tittiri birds. Tvashta performed a yajna, from which Vritra emerged to avenge Trishiras's death.

The Shanti Parva of the Mahabharata, Bhagavata Purana, Brahmavaivarta Purana narrates a different myth about Vishvarupa and portray him as a guru or priest of Indra. According to this version, Brihaspati, the guru of the devas (gods), refused to perform yajna (sacrifice) after he was insulted by Indra. This led the devas to lose to their enemies, the Asuras. On the advice of the creator god Brahma, Indra appointed Vishvarupa, the son of Tvashta and Rechana, as the new priest of the sacrifice. However, Vishvarupa was also related to the Asuras through his mother and didn't perform the sacrifice appropriately. Indra suspected his allegiance and beheaded Vishvarupa.

These texts state that Indra sinned Brahmanahatya (murder of a Brahman) for killing Trishiras, who was both a Brahama and his guru. The Brahmavaivarta Purana also attests that Vishvarupa had a son named Sutapa.

title: Trisiras


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Blueprint

A blueprint is a reproduction of a technical drawing or engineering drawing using a contact print process on light-sensitive sheets introduced by Sir John Herschel in 1842. The process allowed rapid and accurate production of an unlimited number of copies. It was widely used for over a century for the reproduction of specification drawings used in construction and industry. Blueprints were characterized by white lines on a blue background, a negative of the original. Color or shades of grey could not be reproduced.

The process is obsolete, largely displaced by the diazo whiteprint process, and later by large-format xerographic photocopiers. It has almost entirely been superseded by digital computer-aided construction drawings.

The term blueprint continues to be used informally to refer to any floor plan (and by analogy, any type of plan). Practising engineers, architects, and drafters often call them "drawings", "prints", or "plans".

The blueprint process

The blueprint process is based on a photosensitive ferric compound. The best known is a process using ammonium ferric citrate and potassium ferricyanide. The paper is impregnated with a solution of ammonium ferric citrate and dried. When the paper is illuminated, a photoreaction turns the trivalent ferric iron into divalent ferrous iron. The image is then developed using a solution of potassium ferricyanide forming insoluble ferroferricyanide (Prussian blue or Turnbull's blue) with the divalent iron. Excess ammonium ferric citrate and potassium ferricyanide are then washed away. The process is also known as cyanotype.

This is a simple process for the reproduction of any light transmitting document. Engineers and architects drew their designs on cartridge paper; these were then traced on to tracing paper using India ink for reproduction whenever needed. The tracing paper drawing is placed on top of the sensitized paper, and both are clamped under glass, in a daylight exposure frame, which is similar to a picture frame. The frame is put out into daylight, requiring a minute or two under a bright sun, or about ten minutes under an overcast sky to complete the exposure. Where ultra-violet light is transmitted through the tracing paper, the light-sensitive coating converts to a stable blue or black dye. Where the India ink blocks the ultra-violet light the coating does not convert and remains soluble. The image can be seen forming. When a strong image is seen the frame is brought indoors to stop the process. The unconverted coating is washed away, and the paper is then dried. The result is a copy of the original image with the clear background area rendered dark blue and the image reproduced as a white line.

This process has several features: • the image is stable

• as it is a contact process, no large-field optical system is required

• the reproduced document will have the same scale as the original

• the paper is soaked in liquid during processing, and minor distortions can occur

• the dark blue background makes it difficult to alter, thus preserving• the approved drawing during use

• a record of the approved specifications

• the history of alterations recorded on the sheet

• the references to other drawings

Introduction of the blueprint process eliminated the expense of photolithographic reproduction or of hand-tracing of original drawings. By the later 1890s in American architectural offices, a blueprint was one-tenth the cost of a hand-traced reproduction. The blueprint process is still used for special artistic and photographic effects, on paper and fabrics.

Various base materials have been used for blueprints. Paper was a common choice; for more durable prints linen was sometimes used, but with time, the linen prints would shrink slightly. To combat this problem, printing on imitation vellum and, later, polyester film (Mylar) was implemented.

Whiteprints
Traditional blueprints became obsolete when less expensive printing methods and digital displays became available.

In the early 1940s, cyanotype blueprint began to be supplanted by diazo prints, also known as whiteprints. This technique produces blue lines on a white background. The drawings are also called blue-lines or bluelines. Other comparable dye-based prints were known as blacklines. Diazo prints remained in use until they were replaced by xerographic print processes.

Xerography is standard copy machine technology using toner on bond paper. When large size xerography machines became available, c. 1975, they replaced the older printing methods. As computer-aided design techniques came into use, the designs were printed directly using a computer printer or plotter.

Digital
In most computer-aided design of parts to be machined, paper is avoided altogether, and the finished design is an image on the computer display. The computer-aided design program generates a computer numerical control sequence from the approved design. The sequence is a computer file which will control the operation of the machine tools used to make the part.

In the case of construction plans, such as road work or erecting a building, the supervising workers may view the "blueprints" directly on displays, rather than using printed paper sheets. These displays include mobile devices, such as smartphones or tablets. Software allows users to view and annotate electronic drawing files. Construction crews use software in the field to edit, share, and view blueprint documents in real-time.

Many of the original paper blueprints are archived since they are still in use. In many situations their conversion to digital form is prohibitively expensive. Most buildings and roads constructed before c. 1990 will only have paper blueprints, not digital. These originals have significant importance to the repair and alteration of constructions still in use, e.g. bridges, buildings, sewer systems, roads, railroads, etc., and sometimes in legal matters concerning the determination of, for example, property boundaries, or who owns (and/or is responsible for) a boundary wall.

title: Blueprint


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Talk:Princes in the Tower

Edit request
Can someone add the Big Finish play The Kingmaker to the "In popular culture" section? I'm surprised it's not already mentioned given how heavily the Princes are involved in the plot. 64.228.66.90 (talk) 23:18, 16 January 2024 (UTC)

title: Talk:Princes in the Tower


text:
Talk:K-Meleon

Maintenance
K-Meleon has drifted into maintenance mode within the past year. It is stuck on an older version of Goanna with backported security patches and bugfixes. It's missing out on things like Web Components and bigint variables that Pale Moon introduced. The main dev also maintains a browser called Serpent, which has the current Pale Moon web engine, the user interface from Firefox 56, and patches to run on Windows XP/Windows Vista/ReactOS. This is somewhat significant, but all WP:OR until somebody reports on it, Rjjiii  (talk) 04:08, 14 February 2024 (UTC)

title: Talk:K-Meleon


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Talk:Xenon

Xenon and dopping
The inhalation of xenon induces the Hypoxia-inducible factor 1, alpha subunit and down stream activates the production of erythropoietin. This method is used as a general method to improve the abilities of athletes.

Pronunciation is...
zen-on? zee-non? I've always used the former but suspect it's the latter. Thoughts? 2.98.216.91 (talk) 18:15, 9 June 2017 (UTC)
 * Both are fine. Double sharp (talk) 05:07, 10 June 2017 (UTC)

Xeon 124 dexay
124Xe decay has been observed. Bubba73 You talkin' to me? 19:42, 24 April 2019 (UTC)

Oxidation states
I have changed the infobox OS to read:
 * from:
 * 0, +1, +2, +4, +6, +8 (rarely non-0, a weakly acidic oxide)
 * 0, +1, +2, +4, +6, +8 (rarely non-0, a weakly acidic oxide)

It now aligns with. See also navbox Xenon compounds, and.

 * It is unclear why Xe(0) would be the (only) main OS, bolded. Xe(II) "... is always used as a precursor to other organoxenon compounds". Xe(IV) is also an Organoxenon.
 * The List of OS table has this source for Xe(II): "Xe(I) has been reported in xenon hexafluoroplatinate and xenon hexafluororhodate (see ), however these compounds were later found to contain Xe(II)."
 * Or are there other grounds to classify as "main"? -DePiep (talk) 10:35, 5 November 2019 (UTC)
 * Because 0 is the most stable oxidation state and the one you will usually find Xe in, i.e. as the free element. The table in List of oxidation states of the elements for obvious reasons only shows 0 when it occurs in a compound (as otherwise every element would have 0). Double sharp (talk) 13:37, 5 November 2019 (UTC)

Splitting proposal
I propose that the compounds section be split into Xenon compounds - the section is rather long, and it conforms with the other compounds articles. Thanks,  141 Pr  {contribs} 20:11, 2 January 2024 (UTC)

 * Sounds good to me. Ideally, you’ll leave a paragraph-length summary and hat note here. YBG (talk) 01:16, 3 January 2024 (UTC)

title: Talk:Xenon


text:
Wile E. Coyote and the Road Runner

Wile E. Coyote and the Road Runner are a duo of cartoon characters from the Looney Tunes and Merrie Melodies series of animated cartoons, first appearing in 1949 in the theatrical short Fast and Furry-ous. In each episode, the cunning, devious and constantly hungry coyote repeatedly attempts to catch and eat the roadrunner, but is humorously unsuccessful. Instead of using animal instinct, the coyote deploys absurdly complex contraptions (à la Rube Goldberg machines) to try to catch his prey. They comically backfire, with the coyote often getting injured in slapstick fashion. Many of the items for these contrivances are mail-ordered from a variety of companies implied to be part of the Acme Corporation. TV Guide included Wile E. Coyote in its 2013 list of "The 60 Nastiest Villains of All Time".

The characters were created for Warner Bros. in 1948 by animation director Chuck Jones and writer Michael Maltese, with Maltese also setting the template for their adventures. The characters star in a long-running series of theatrical cartoon shorts (the first 16 of which were written by Maltese) and occasional made-for-television cartoons. Originally meant to parody chase-cartoon characters such as Tom and Jerry, they became popular in their own right.

The coyote appears separately as an occasional antagonist of Bugs Bunny in five shorts from 1952 to 1963: Operation: Rabbit, To Hare Is Human, Rabbit's Feat, Compressed Hare, and Hare-Breadth Hurry. While he is generally silent in the Wile E. Coyote – Road Runner shorts, he speaks with a refined accent in these solo outings (except for Hare-Breadth Hurry), beginning with 1952's Operation: Rabbit, introducing himself as "Wile E. Coyote, (Super) Genius", voiced by Mel Blanc. Wile E. Coyote additionally speaks in the 1965 short Zip Zip Hooray!, where he explains his desire to eat the Road Runner. The Road Runner vocalizes only with his signature "beep, beep" sound, recorded by Paul Julian and an accompanying "popping-cork" tongue sound. By 2014, 49 cartoons had been made featuring the characters (including the four CGI shorts), the majority by creator Chuck Jones.

Creation
Jones based the coyote on Mark Twain's book Roughing It, in which Twain described the coyote as "a long, slim, sick and sorry-looking skeleton" that is "a living, breathing allegory of Want. He is always hungry." Jones said he created the Wile E. Coyote-Road Runner cartoons as a parody of traditional "cat and mouse" cartoons such as MGM's Tom and Jerry. He also cites Frank Tashlin's 1941 adaptation of The Fox and the Grapes as inspiration due to its use of blackout gags. Jones modelled the coyote's appearance on fellow animator Ken Harris.

The coyote's name of Wile E. is a pun of the word "wily". The "E" stands for "Ethelbert" in one issue of a Looney Tunes comic book. The coyote's surname is routinely pronounced with a long "e", but in one cartoon short, To Hare Is Human, Wile E. is heard pronouncing it with a diphthong. Early model sheets for the character prior to his initial appearance (in Fast and Furry-ous) identified him as "Don Coyote", a pun on Don Quixote.

The Road Runner's "beep, beep" sound was inspired by background artist Paul Julian's imitation of a car horn. Julian voiced the various recordings of the phrase used throughout the Road Runner cartoons, although on-screen he was uncredited for his work. According to animation historian Michael Barrier, Julian's preferred spelling of the sound effect was either "hmeep hmeep" or "mweep, mweep."

List of cartoons
The series consists of:
 * 49 shorts, mostly about six to nine minutes long, but including four web cartoons which are "three-minute, three-dimensional cartoons in widescreen (scope)".
 * One half-hour special released theatrically (26 minutes).
 * One feature-length film that combines live action and animation.

1 Re-edited from Adventures of the Road Runner by Chuck Jones and with new music direction from Bill Lava 2 Re-edited from Adventures of the Road Runner by DePatie–Freleng Enterprises 3 These cartoons were each shown with a feature-length film. Chariots of Fur was shown with Richie Rich, Coyote Falls was shown with Cats & Dogs: The Revenge of Kitty Galore, Fur of Flying was shown with Legend of the Guardians: The Owls of Ga'Hoole, and Rabid Rider was shown with Yogi Bear. Flash in the Pain was shown at the Annecy International Animated Film Festival on June 10, 2014.

Scenery
The desert scenery in the first three Road Runner cartoons, Fast and Furry-ous (1949), Beep, Beep (1952), and Going! Going! Gosh! (also 1952), was designed by Robert Gribbroek and was quite realistic. In most later cartoons, the scenery was designed by Maurice Noble and was far more abstract. It is based on the deserts of the Southwestern United States.

Acme Corporation
Wile E. Coyote often obtains various complex and ludicrous devices from a mail-order company, the fictitious Acme Corporation, which he hopes will help him catch the Road Runner. The devices invariably fail in improbable and spectacular fashion.

In August, September and October 1982, the National Lampoon published a three-part series chronicling the lawsuit Wile E. filed against the Acme Corporation over the faulty items they sold him in his pursuit of the Road Runner. Even though the Road Runner appeared as a witness for the plaintiff, the coyote still lost the suit.

Laws and rules
In his book Chuck Amuck: The Life and Times of an Animated Cartoonist, Chuck Jones claimed that he and the artists behind the Road Runner and Wile E. Coyote cartoons adhered to some simple but strict rules:
 * 1) "The Road Runner cannot harm the Coyote except by going 'Beep-Beep!'"
 * 2) "No outside force can harm the Coyote — only his own ineptitude or the failure of the Acme products."
 * 3) "The Coyote could stop anytime — if he were not a fanatic. (Repeat: 'A fanatic is one who redoubles his effort when he has forgotten his aim.' — George Santayana)."
 * 4) "No dialogue ever, except 'Beep-Beep!'"
 * 5) "The Road Runner must stay on the road — otherwise, logically, he would not be called a Road Runner."
 * 6) "All action must be confined to the natural environment of the two characters — the southwest American desert."
 * 7) "All materials tools, weapons, or mechanical conveniences must be obtained from the Acme Corporation."
 * 8) "Whenever possible, make gravity the Coyote's greatest enemy."
 * 9) "The Coyote is always more humiliated than harmed by his failures."

These rules were not always followed, and in an interview years after the series was made, principal writer of the original 16 episodes Michael Maltese stated he had never heard of these or any "rules" and dismissed them as "post production observation".

Running gags
One running gag involves the coyote trying, in vain, to shield himself with a little parasol against a great falling boulder that is about to crush him. Another involves him falling from high cliffs, after momentarily being suspended in midair, as if the fall is delayed until he realizes that there is nothing below him. The rest of the scene, shot from a bird's-eye view, shows him falling into a canyon so deep that his figure is eventually lost to sight, with only a small puff of dust indicating his impact. The coyote is notably a brilliant artist, capable of quickly painting incredibly lifelike renderings of such things as tunnels and roadside scenes, in further (and equally futile) attempts to deceive the bird.

Later cartoons
The original Chuck Jones productions ended in 1963 after Jack L. Warner closed the Warner Bros. animation studio. War and Pieces, the last Wile E. Coyote/Road Runner short directed by Jones, was released on June 6, 1964. By that time, David H. DePatie and director Friz Freleng had formed DePatie–Freleng Enterprises, moved into the facility just emptied by Warner, and signed a license with Warner Bros. to produce cartoons for the big studio to distribute.

The first DePatie–Freleng cartoon to feature the Road Runner was The Wild Chase, directed by Freleng in 1965. The premise was a race between the bird and "the fastest mouse in all México", Speedy Gonzales, with the Coyote and Sylvester the Cat each trying to make a meal out of their respective usual targets. Much of the material was animation rotoscoped from earlier Road Runner and Speedy Gonzales shorts, with the other characters added in.

In total, DePatie-Freleng produced 14 Road Runner cartoons, two of which were directed by Robert McKimson (Rushing Roulette (1965) and Sugar and Spies (1966)). Eleven of these shorts, directed by Rudy Larriva (often referred to as the "Larriva Eleven"), were subcontracted to Format Films and suffered from severe budget cuts; due to a significant drop in the number of frames used per second in animation, the "Larriva Eleven" were somewhat cheap-looking and jerky. The music was also of poorer quality than the older features; this was a by-product of music director Bill Lava (who had replaced the recently deceased Milt Franklyn three years prior) being relegated to the use of pre-composed music cues - due to the previously mentioned budget cuts - rather than a proper score, as heard with The Wild Chase, Rushing Roulette, and Run Run, Sweet Road Runner (the third being the only one of the "Larriva Eleven" to have a proper score). These 11 shorts have been considered inferior to the other Golden Age shorts, garnering mixed to poor reviews from critics. In Of Mice and Magic, Leonard Maltin calls the series "witless in every sense of the word". In addition, except for the planet Earth scene at the tail end of "Highway Runnery", there was only one clip of the Coyote's fall to the ground, used over and over again. Jones' previously described "laws" for the characters were not followed with any significant fidelity, nor were Latin phrases used when introducing the characters.

Spin-offs
In another series of Warner Bros. Looney Tunes cartoons, Chuck Jones used the character design (model sheets and personality) of Wile E. Coyote as "Ralph Wolf". In this series, Ralph continually attempts to steal sheep from a flock being guarded by the eternally vigilant Sam Sheepdog. As with the Road Runner and Wile E. Coyote series, Ralph Wolf uses all sorts of wild inventions and schemes to steal the sheep, but he is continually foiled by the sheepdog. In a move seen by many as a self-referential gag, Ralph Wolf continually tries to steal the sheep not because he is a fanatic (as Wile E. Coyote was), but because it is his job. In every cartoon, he and Sam Sheepdog punch a timeclock and exchange pleasantries, go to work, stop what they are doing to take a lunch break, go back to work and pick up right where they left off, and clock out to go home for the day and exchange pleasantries again, all according to a factory-like blowing whistle. The most obvious difference between the coyote and the wolf, aside from their locales, is that Wile E. has a black nose and Ralph has a red nose.

Comic books
Wile E. Coyote was called Kelsey Coyote in his comic book debut, a Henery Hawk story in Looney Tunes and Merrie Melodies #91 (May 1949). He only made a couple of other appearances at this time and did not have his official name yet, as it was not used until 1952 (in Operation: Rabbit, his second appearance).

The first appearance of the Road Runner in a comic book was in Bugs Bunny Vacation Funnies #8 (August 1958) published by Dell Comics. The feature is titled "Beep Beep the Road Runner" and the story "Desert Dessert". It presents itself as the first meeting between Beep Beep and Wile E. (whose mailbox reads "Wile E. Coyote, Inventor and Genius"), and introduces the Road Runner's wife, Matilda, and their three newly hatched sons (though Matilda soon disappeared from the comics). This story established the convention that the Road Runner family talked in rhyme, a convention that also appeared in early children's book adaptations of the cartoons.

Dell initially published a dedicated "Beep Beep the Road Runner" comic as part of Four Color Comics #918, 1008, and 1046 before launching a separate series for the character numbered #4–14 (1960–1962), with the three try-out issues counted as the first three numbers. After a hiatus, Gold Key Comics took over the character with issues #1–88 (1966–1984). During the 1960s, the artwork was done by Pete Alvarado and Phil DeLara, from 1966 to 1969, the Gold Key issues consisted of Dell reprints. Afterward, new stories began to appear, initially drawn by Alvarado and De Lara before Jack Manning became the main artist for the title. New and reprinted Beep Beep stories also appeared in Golden Comics Digest and Gold Key's revival of Looney Tunes in the 1970s. During this period, Wile E.'s middle name was revealed to be "Ethelbert" in the story "The Greatest of E's" in issue #53 (cover-dated September 1975) of Gold Key Comics' licensed comic book Beep Beep the Road Runner.

The Road Runner and Wile E. Coyote also make appearances in the DC Comics Looney Tunes title. Wile E. was able to speak in some of his appearances in the DC comics.

In 2017, DC Comics featured a Looney Tunes and DC Comics crossovers that reimagined the characters in a darker style. The Road Runner and Wile E. Coyote had a crossover with the intergalactic bounty hunter Lobo in Lobo/Road Runner Special #1. In this version, the Road Runner, Wile E., and other Looney Tunes characters are reimagined as standard animals who were experimented upon with alien DNA at Acme to transform them into their cartoon forms. In the back-up story, done in more traditional cartoon style, Lobo tries to hunt down the Road Runner, but is limited by Bugs to be more kid-friendly in his language and approach.

Television
The Road Runner and the Coyote appeared on Saturday mornings as the stars of their own TV series, The Road Runner Show, from September 1966 to September 1968, on CBS. At this time it was merged with The Bugs Bunny Show to become The Bugs Bunny and Road Runner Show, running from 1968 to 1985. The show was later seen on ABC until 2000, and on Global until 2001.

In the 1970s, Chuck Jones directed some Wile E. Coyote/Road Runner short films for the educational children's TV series The Electric Company. These short cartoons used the Coyote and the Road Runner to display words for children to read.

In 1979, Freeze Frame, in which Jones moved the chase from the desert to snow-covered mountains, was seen as part of Bugs Bunny's Looney Christmas Tales.

At the end of Bugs Bunny's Portrait of the Artist as a Young Bunny (the initial sequence of Chuck Jones' TV special Bugs Bunny's Bustin' Out All Over), Bugs mentions to the audience that he and Elmer Fudd may have been the first pair of characters to have chase scenes in these cartoons, but then a pint-sized baby Wile E. Coyote (wearing a diaper and holding a small knife and fork) runs right in front of Bugs, chasing a gold-colored, mostly unhatched (except for the tail, which is sticking out) Road Runner egg, which is running rapidly while some high-pitched "Beep, beep" noises can be heard. This was followed by the full-fledged Road Runner/Wile E. Coyote short Soup or Sonic. Earlier in that story, while kid Elmer was falling from a cliff, Wile E. Coyote's adult self tells him to move over and leave falling to people who know how to do it and then he falls, followed by Elmer.

In the 1980s, ABC began showing many Warner Bros. shorts, but in highly edited form. Many scenes integral to the stories were taken out, including scenes in which Wile E. Coyote landed at the bottom of the canyon after falling from a cliff, or had a boulder or anvil actually make contact with him. In almost all WB animated features, scenes where a character's face was burnt and black, some thought resembling blackface, were removed, as were animated characters smoking cigarettes. Some cigar-smoking scenes were left in. The unedited versions of these shorts (with the exception of ones with blackface) were not seen again until Cartoon Network, and later Boomerang, began showing them again in the 1990s and early 2000s. Since the release of the WB library of cartoons on DVD, the cartoons gradually disappeared from television, presumably to increase sales of the DVDs. However, Cartoon Network began to air them again in 2011, coinciding with the premiere of The Looney Tunes Show (2011), and the shorts were afterward moved to Boomerang, where they have remained to this day.

Wile E. Coyote and the Road Runner appeared in several episodes of Tiny Toon Adventures. In this series, Wile E. (voiced in the Jim Reardon episode "Piece of Mind" by Joe Alaskey) was the dean of Acme Looniversity and the mentor of Calamity Coyote. The Road Runner's protégé in this series was Little Beeper. In the episode "Piece of Mind", Wile E. narrates the life story of Calamity while Calamity is falling from the top of a tall skyscraper. In the direct-to-video film Tiny Toon Adventures: How I Spent My Vacation, the Road Runner finally gets a taste of humiliation by getting run over by a mail truck that "brakes for coyotes".

The two were also seen in cameos in Animaniacs. They were together in two Slappy Squirrel cartoons: "Bumbie's Mom" and "Little Old Slappy from Pasadena". In the latter, the Road Runner gets another taste of humiliation when he is out-run by Slappy's car, and holds up a sign saying "I quit" — immediately afterward, Buttons, who was launched into the air during a previous gag, lands squarely on top of him. Wile E. appears without the bird in a The Wizard of Oz parody, dressed in his batsuit from one short, in a twister (tornado) funnel in "Buttons in Ows" Also, in the beginning of one episode, an artist is seen drawing the Road Runner.

The Road Runner appears in an episode of the 1991 series Taz-Mania, in which Taz grabs him by the leg and gets ready to eat him, until the two gators are ready to capture Taz, so he lets the Road Runner go. In another episode of Taz-Mania, the Road Runner cartoons are parodied, with Taz dressed as the Road Runner and the character Willy Wombat dressed as Wile E. Coyote. Willy tries to catch Taz with Acme Roller Skates but fails, and Taz even says "Beep, beep."

Wile E. and the Road Runner appeared in their toddler versions in Baby Looney Tunes, but only in songs. However, they both had made a cameo in the episode "Are We There Yet?", where the Road Runner was seen out the window of Floyd's car with Wile E. chasing him.

Wile E. Coyote had a cameo as the true identity of an alien hunter (a parody of Predator) in the Duck Dodgers episode "K-9 Quarry", voiced by Dee Bradley Baker. In that episode, he was hunting Martian Commander X-2 and K-9. He is also temporary as a member of Agent Roboto's Legion of Duck Doom from the previous season in another episode.

In Loonatics Unleashed, Wile E. Coyote and the Road Runner's 28th century descendants are Tech E. Coyote (voiced by Kevin Michael Richardson) and Rev Runner (voiced by Rob Paulsen). Tech E. Coyote was the tech expert of the Loonatics (influenced by the past cartoons with many of the machines ordered by Wile E. from Acme), and has magnetic hands and the ability to molecularly regenerate himself (influenced by the many times in which Wile E. painfully failed to capture the Road Runner and then was shown to have miraculously recovered). Tech E. Coyote speaks, but does not have a British accent as Wile E. Coyote did. Rev Runner is also able to talk, though extremely rapidly, and can fly without the use of jet packs, which are used by other members of the Loonatics. He also has sonic speed, also a take-off of the Road Runner. The pair get on rather well, despite the number of gadgets Tech designs in order to stop Rev from talking, also they have their moments where they do not get along. When friendship is shown it is often only from Rev to Tech, not the other way around, this could, however, be attributed to the fact that Tech has only the barest minimum of social skills. They are both portrayed as smart, but Tech is the better inventor and at times Rev is shown doing stupid things. References to their ancestors' past are seen in the episode "Family Business" where the other Road Runners are wary of Tech and Tech relives the famous falling gags done in the Wile E. Coyote/Road Runner shorts.

The Road Runner and Wile E. Coyote feature in 3D computer-animated cartoons or cartoon animation in the Cartoon Network TV series The Looney Tunes Show. The CGI shorts were only included in Season 1, but Wile E. and the Road Runner still appeared throughout the series in 2D animation.

Wile E. Coyote also appears in the TV series Wabbit, voiced by J. P. Karliak, in a similar vein to his previous pairings with Bugs Bunny. He appears as Bugs' annoying know-it-all neighbor who always uses his inventions to compete with Bugs. The Road Runner began making appearances when the series was renamed New Looney Tunes in 2017.

Wile E. Coyote and the Road Runner both appear in their own cartoon shorts in the HBO Max streaming series Looney Tunes Cartoons.

Wile E. Coyote and the Road Runner make occasional appearances in the preschool educational series Bugs Bunny Builders. Wile E. (voiced by Keith Ferguson) has a minor supporting role in the series in which he often helps the Looney Builders out with their plans, often using some of his inventions. In the episode "Looney Science", Wile E. has the Looney Builders build him a science museum to show off his inventions, but the Road Runner keeps constantly distracting him.

Wile E. Coyote and the Road Runner appear in the Tiny Toon Adventures reboot, Tiny Toons Looniversity, as well as their protégés from the original series Calamity Coyote and Little Beeper. In this series Wile E. is the science professor at Acme Looniversity rather than the dean. In the episode "General Hogspital", Wile E. develops a potion that makes toons lose their looney DNA to try and finally catch the Road Runner, only for it to backfire and pollute the campus water supply.

Wile E. Coyote was also in an episode of Night Court (Season 7, Episode 22: Sill Another Day in the Life) in which Judge Harold T. Stone (Harry Anderson) found him guilty of harassment and told him to leave the poor bird alone.

3-D shorts
The characters appeared in seven 3-D shorts attached to Warner Bros. features. Three have been screened with features, while the rest serve as segments in season 1 of The Looney Tunes Show. A short called Flash in the Pain was shown on the web in 2014, but was not shown in theaters until 2016, when the movie Storks premiered.

Coyote vs. Acme
In late 2018, it was announced that Warner Bros. Pictures were developing a live-action animated film centered on Wile E. Coyote titled Coyote vs. Acme, produced by Warner Animation Group, with The Lego Batman Movie director Chris McKay on board to produce. The film is said to be based on The New Yorker short story "Coyote v. Acme" by author Ian Frazier. Published in 1990, the piece imagined a lawsuit brought about by Wile E. Coyote against the Acme Company who provided him with various devices and tools to aid in his pursuit of the Road Runner. The devices frequently malfunctioned, leading to the humorous failures, injuries, and sight gags the Road Runner cartoons are known for. Jon and Josh Silberman were originally set to write the screenplay. On December 18, 2019, it was reported that Dave Green would direct the project. It was also reported that the project was looking for a new writer, with Jon and Josh Silberman instead co-producing the film alongside McKay, however, by December 2020, McKay departed the project while Jon and Josh Silberman left their roles as producers and resumed their screenwriting roles, with Samy Burch, Jeremy Slater, and James Gunn scheduled to write its screenplay. Gunn would've also co-produced the project alongside Chris DeFaria. It was later announced that the film was scheduled to be released on July 21, 2023.

In February 2022, it was announced that professional wrestler John Cena would star in the film. In March 2022, Will Forte and Lana Condor were added to the cast. On April 26, 2022, it was taken off the release schedule with Barbie taking over its original release date. Despite its completion by November 9, 2023, it was announced that its theatrical and public release would be cancelled, with the company taking an approximately US$30 million tax write-off for the film. Consistent with its long-term production issues and delays, Green later expressed his views on the decision:

"I am beyond proud of the final product, and beyond devastated by WB's decision. But in the spirit of Wile E. Coyote, resilience and persistence win the day."

However, four days later, the decision was reversed. Later that day, it was reported that Warner Bros would instead allow the crew behind Coyote vs. Acme to shop out the film to other possible distributors, with Apple TV+, Netflix, and Amazon MGM Studios being among its potential buyers. Due to the company's handling of the matter, U.S. Congressman Joaquin Castro called for a federal investigation regarding the film's initial cancellation and tax-write off plan, stemming from possible violations of antitrust guidelines.

On December 8, it was reported that the film had been screened to Paramount Pictures, Netflix, Apple, Amazon, and Sony Pictures. So far, two of these studios, Netflix and Paramount, have made bids for the rights to the film, with the latter planning to release it theatrically. Amazon is still considering about making a formal bid, while Sony and Apple have declined the offer to bid.

On December 31, Eric Bauza unveiled an official screenshot of the film on social media, depicting Wile E. Coyote and his lawyer seated in the courtroom, all while the film continued to search for a new distributor.

Wile E. Coyote

 * Mel Blanc (1952–1989)
 * Paul Julian (imitating the Road Runner in Zipping Along, Ready, Set, Zoom!, The Road Runner Show bumper and Road Runner's Death Valley Rally)
 * Joe Alaskey (Tiny Toon Adventures, Judge Granny )
 * Keith Scott (Spectacular Light and Show Illuminanza, The Looney Tunes Radio Show )
 * Bob Bergen (Bugs Bunny's Learning Adventures)
 * Seth MacFarlane (Family Guy, Seth MacFarlane's Cavalcade of Cartoon Comedy)
 * Dee Bradley Baker (Duck Dodgers)
 * Maurice LaMarche (Looney Tunes: Cartoon Conductor)
 * Jess Harnell (The Drawn Together Movie: The Movie!)
 * James Arnold Taylor (Scooby Doo and Looney Tunes: Cartoon Universe)
 * JP Karliak (New Looney Tunes, Tooned Out)
 * Martin Starr (Robot Chicken)
 * Eric Bauza (Looney Tunes: World of Mayhem)
 * Keith Ferguson (Bugs Bunny Builders)

The Road Runner
The voice artist Paul Julian originated the character's voice. Before and after his death, his voice was appearing in various media through archive recordings, for example, in TV series, shorts, and video games, such as 2014's Looney Tunes Dash. In addition, other voice actors have replaced him. These voice actors are:

 * Mel Blanc (1964 Greeting Card Record, The New Adventures of Bugs Bunny (1973), Four More Adventures of Bugs Bunny (1974), one beep in Bugs Bunny's Magic World, Mel Blanc Voice Watches, Looney Tunes Talking Character Wall Clock  )
 * Seth MacFarlane (grunting in Family Guy, beeping in The Cleveland Show)
 * Keith Scott (Road Runner Roller Coaster commercial, The Looney Tunes Radio Show )
 * Joe Alaskey (Looney Tunes: Cartoon Conductor)
 * James Arnold Taylor (The Drawn Together Movie: The Movie!)
 * Kevin Shinick (Mad)
 * Seth Green (Robot Chicken)
 * Eric Bauza (Looney Tunes: World of Mayhem, Acme Fools)

Video games
Many Wile E. Coyote and the Road Runner-themed video games have been produced:

 * Road Runner (arcade game by Atari Games)
 * Electronic Road Runner (self-contained LCD game from Tiger Electronics released in 1990)
 * Looney Tunes (Game Boy game by Sunsoft)
 * The Bugs Bunny Crazy Castle (NES/Game Boy game by Kemco)
 * The Bugs Bunny Crazy Castle 2 (Game Boy game by Kemco)
 * The Bugs Bunny Birthday Blowout (NES game by Kemco)
 * Road Runner's Death Valley Rally (Super NES game by Sunsoft)
 * Wile E. Coyote's Revenge (Super NES game by Sunsoft)
 * Desert Speedtrap (Game Gear and Master System game by Sega/Probe Software)
 * Bugs Bunny: Crazy Castle 3 (Game Boy game by Kemco)
 * Desert Demolition (Mega Drive/Genesis game by Sega/BlueSky Software)
 * Sheep, Dog, 'n' Wolf (for the original PlayStation and published by Infogrames, actually based on the Ralph Wolf and Sam Sheepdog cartoons, but the Road Runner does make two cameo appearances)
 * Looney Tunes B-Ball (Wile E. is a playable character)
 * Space Jam
 * Looney Tunes Racing (Wile E. is a playable character. The Road Runner is also seen in the game as a non-playable character.)
 * Taz Express (Nintendo 64) game published by Infogrames (Wile E is an antagonist)
 * Taz: Wanted (Wile E. appears)
 * Looney Tunes: Back in Action (published by Electronic Arts)
 * Looney Tunes Double Pack (published by Majesco Entertainment, developed by WayForward Technologies, where "Acme Antics" is the Wile E. Coyote and the Road Runner half of the double pack)
 * Looney Tunes: Space Race (Wile E. is a playable character)
 * Looney Tunes Acme Arsenal (Wile E. has his own level in the PS2 version)
 * Looney Tunes: Cartoon Conductor
 * Looney Tunes Dash (iOS and Android game)
 * Looney Tunes: World of Mayhem (iOS and Android game)

In popular culture

There are two scenes in Stanley Kubrick's 1980 adaptation of The Shining where Danny Torrance and his mother, Wendy Torrance, are watching the cartoons.

Wile E. Coyote and the Road Runner appeared in the 1988 Touchstone/Amblin film Who Framed Roger Rabbit. They are first seen silhouetted by the elevator doors in Toontown, and then in full in the ACME Factory during the final scene with other characters.

The 1979 Western comedy film The Villain is a tribute to the cartoons, reconstructing several famous gags in live action.

In the Fraidy Cat episode "Choo Choo Fraidy", Fraidy Cat meets a coyote named Smile E. Coyote who prefers to not eat Fraidy and instead goes after an overweight jogging roadrunner, clearly parodying the iconic duo.

In the 1992 film Under Siege, "Road Runner" is the code name of the renegade former CIA operative William Strannix, played by Tommy Lee Jones, in a reference to the fact that the character is never captured.

Wile E. Coyote has appeared twice in Family Guy: his first episode, "I Never Met the Dead Man", depicts him riding in a car with Peter Griffin, when Peter runs over the Road Runner and asks if he hit "that ostrich", Wile E. tells him to keep going. His second appearance was in "PTV", in which Wile E. attempts to get a refund for a giant-sized slingshot at an ACME retailer where Peter works.

Wile E. Coyote and the Road Runner appeared in Seth MacFarlane's Cavalcade of Cartoon Comedy in the short "Die, Sweet Roadrunner, Die". In this short, Wile E. crushes the Road Runner with a large boulder and eats him, but then struggles to find purpose in life, having not trained for anything else other than chasing the Road Runner. Ultimately, after a short-lived job as a waiter in a local diner, and a suicide attempt (by way of catapulting himself into a mountain at close range), Wile E. finally realizes what he is to do with his life, and reveals he is now an advocate for Christianity.

The Road Runner appeared in the pilot episode of The Cleveland Show in which Peter Griffin straps a rocket to his back in a similar fashion of Wile E. Coyote and attempts to catch the Road Runner, only to wreck Cleveland Brown's house again, prompting Cleveland to finally decide to leave Quahog.

Both Wile E. Coyote and the Road Runner have appeared in Robot Chicken on multiple occasions. One sketch sees Wile E. faking his own suicide and then torching the Road Runner with a flamethrower when he shows up at Wile E.'s "funeral". Another sketch shows Wile E. teaching a college course on how to get away with murder, using the Road Runner's murder as an example, the students trace the mail orders for the ACME products used to commit the murder to Wile E., who is executed by electric chair for the crime. Another sketch sees Wile E. presenting his iconic "fake tunnel" at an art auction, and another reveals why Wile E.'s ACME products always fail - the ACME Corporation is run by multiple Road Runners.

Wile E. Coyote appeared during the couch gag in The Simpsons episode "Smoke on the Daughter" in which he paints a fake couch on the living room wall which the Simpson family run into. Maggie Simpson then zooms in and imitates the Road Runner's "beep, beep" noise. The Road Runner appeared in the episode "Crystal Blue-Haired Persuasion" during a dream sequence in which he is attacked and eaten by the Space Coyote.

Guitarist Mark Knopfler recorded a song called "Coyote" in homage to the cartoon shows of Wile E. Coyote and the Road Runner on the 2002 album The Ragpicker's Dream. The Tom Smith song "Operation: Desert Storm", which won a Pegasus award for Best Fool Song in 1999, is about the different ways the coyote's plans fail.

The music videos for Twisted Sister's signature songs "We're Not Gonna Take It" and "I Wanna Rock" were based heavily on the cartoon.

Humorist Ian Frazier created the mock-legal prose piece "Coyote v. Acme", which is included in a book of the same name.

During a scene in The Drawn Together Movie: The Movie!, the Drawn Together cast accidentally run over and kill the Road Runner with Foxxy Love's van. Upon noticing this, Wile E. Coyote runs up to the Road Runner's corpse and declares "Without you, my life really has no meaning," before shooting himself with a "Bang!" flag gun.

Wile E. Coyote and the Road Runner appear in the Teen Titans Go! episode, "Warner Bros. 100th Anniversary". They are among the Looney Tunes characters as guests for the Warner Bros. centennial celebration.

title: Wile E. Coyote and the Road Runner