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Talk:1944

Layout
I have put a general comment on year layout on my talk page, particularly on the way year by topic is dealt with. There are three different variants and I would like agreement to standardise. This would involve deleting the year by topic from the paragraph list on this page but keeping the box at the topBozMo(talk)

Byron Nelson
A seach on the internet suggests that other sources agree with the Wikipedia article on Nelson - that his 11 consecutive tour wins came in 1945, not 1944 (e.g. CNNSI, GolfDigest. So I'm removing the reference to this from the 1944 article. Average Earthman 12:19, 28 Sep 2004 (UTC)

Births and Deaths
If we were to list every birth and death in 1944, this would end up as an extremely long section. So I think we should be restrained in what we list - only very well-known and respected actors, for example, rather than every actor with some minor roles in a few well known films. So for example Danny DeVito yes, Al Matthews, no. Average Earthman 13:46, 22 Dec 2004 (UTC)
 * Al Matthews, who is alive, wasn't born in 1944. Therefore he should definitely not be on this article. Information yes (talk) 08:52, 21 June 2009 (UTC)
 * Oh yes, absolutely. There is also a discussion in next section where I strongly agree with Mel Etitis. My very best wishes (talk) 19:13, 28 February 2024 (UTC)

Where is the line?
I disagree that dates for certain people should be deleted because their notability may not come up to one person's standards.

If you start removing the connections between dates, names, places, etc. then you lose one of the corner-stones of the internet itself. The research into one thing would not tie into anything else if you removed all links to related information. This reduces the functionality of the internet.

Also, who are we to determine a person's worth? A person's work may not have a significant bearing on your life but it doesn't mean that their influence didn't reach someone else. A little known author could have influenced many people who went on to bigger things.

 * Well, you can disagree, but you're wrong. Haven't you noticed what the problem with the internet is? It's not that the internet doesn't have the information, it is that it is so damn hard to find it (Google didn't get worth so much for nothing you know). So if you choose to fill every article with links to every single person and thing that is conceivably linked to it, you get the same problem - it's now such an overlong and overcomplicated article that it is utterly unwieldy and practically useless. Hence my suggestion for selectivity - if you want an article listing every birth in 1944, create a Births in 1944 article. As for a person's worth - that has been stated on numerous occasions in the votes for deletion and other similar discussions we don't just include everyone. But I'm not talking about deleting articles here, only keeping them in some form of usable state. Average Earthman 18:46, 23 Dec 2004 (UTC)
 * I notice Al Matthews is back on the list again - so I'm asking for comments on what others think of this. Average Earthman 21:07, 24 Jan 2005 (UTC)

I don't really see the problem here. If it's the degree of fame, then there's only one person in that month whose name would be recognised outside a particular country or fan club, and that's Slatkin; otherwise you have a minor U.S. actor, a minor U.K. TV personality, and a minor U.S. politician. If it's that the article is unwieldy — well, four people in a month doesn't seem to me to be excessive (and the comment about listing everyone born in that year is clearly hyperbole of the most hyperbolic order). I've never heard of the man, he's of no interest to me, but I've no doubt that he'll be of interest to some people. If Wikipedia only includes entries on the topics that other encyclopedias have entries on (and editors can't include original research, or anything that can't be backed up by other sources), then what's the point of it? How many people's births do you think should be included per year? I mean, it's not that I disagree with Average Earthman's general point, but I don't see that this is a case of filling the article with links to every single person and thing that's conceivably linked to it. I suppose that there's a case for omitting births from every year-page; after all, leaving aside clairvoyance and celebrity births (such as royal heirs or whatever), it wasn't significant in that year that so-and-so was born. There's more of a case for including deaths, of course. Mel Etitis ( Μελ Ετητης ) 21:52, 24 Jan 2005 (UTC)
 * Oh, I've no problem with there being an article listing the everyone born in 1944 who has a Wikipedia article - it's just that I think that should be Births in 1944 rather than the main 1944 article. Average Earthman 10:22, 25 Jan 2005 (UTC)

 * We've already got long lists of 1944 births and deaths - they're on Category:1944 births and Category:1944 deaths. I've added links to these, jguk 13:47, 25 Jan 2005 (UTC)

Help Me See What Me Do
Chotilovo History See 1944{ and 1744}

Hotilovo,... bombed Narva
aircraft took off from Hotilovo,... of which at least 355 bombed Narva

History of Russia

Al Matthews (again)
OK, I'm commenting on Al Matthews again - but this time for a different reason. Apparently, rumours of his death were greatly exaggerated. So I've removed the entry. Average Earthman 12:17, 21 December 2005 (UTC)

Format
[13-December-2006: See Talk:1950. -Wikid77 12:59, 13 December 2006 (UTC)]

1944 as the title
There are many instances now, wherein 1944 is the sole title of a work. There's now an album, a film, and a song. - Mardus /talk 06:13, 23 February 2016 (UTC)

External links modified
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title: Talk:1944


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Talk:1801

I have put a general comment on year layout on my talk page, particularly on the way year by topic is dealt with. There are three different variants and I would like agreement to standardise.

Here that would just involve putting the year in topic in a top box instead of a paragraph

BozMo(talk) (May 2004)

Format

 * [See: Talk:1850. -Wikid77 01:40, 25 January 2007 (UTC)]

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

title: Talk:1801


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User:Urban angel

urban angel

title: User:Urban angel


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Alexander Mackenzie (composer)

Sir Alexander Campbell Mackenzie KCVO (22 August 1847 – 28 April 1935) was a Scottish composer, conductor and teacher best known for his oratorios, violin and piano pieces, Scottish folk music and works for the stage.

Mackenzie was a member of a musical family and was sent for his musical education to Germany. He had many successes as a composer, producing over 90 compositions, but from 1888 to 1924, he devoted a great part of his energies to running the Royal Academy of Music. Together with Hubert Parry and Charles Villiers Stanford, he was regarded as one of the fathers of the British musical renaissance in the late nineteenth century.

Life and career
Mackenzie was born in Edinburgh, the eldest son of Alexander Mackenzie and his wife, Jessie Watson née Campbell. He was the fourth musician of his family. His great-grandfather was an army bandsman; his grandfather, John Mackenzie, was a violinist in Edinburgh and Aberdeen; his father was also a violinist, the conductor of the orchestra in the Theatre Royal, Edinburgh, and editor of The National Dance Music of Scotland. Mackenzie's musical talent emerged early: at the age of eight he was playing nightly in his father's orchestra. He was sent for his musical education to Germany, living with his teacher, the Stadtmusiker August Bartel, in Schwarzburg-Sondershausen in Thuringia, where he entered the conservatorium under K. W. Ulrich and Eduard Stein, remaining there from 1857 to 1861, when he entered the ducal orchestra as a violinist.

Mackenzie wished to continue his violin studies with the teacher Prosper Sainton, who had taught his father, and in 1862 he successfully applied for admission to the Royal Academy of Music in London, where Sainton taught. His other tutors were the principal, Charles Lucas (harmony), and Frederick Bowen Jewson (piano). Shortly after starting at the Academy, he was awarded a King's Scholarship, the income from which Mackenzie augmented by playing in theatre and music hall pit-bands, as well as in classical concerts under the leading conductor Michael Costa. This sometimes caused him to neglect his academic work, and on one occasion, having failed to prepare a piece by a classical composer for a piano examination, he improvised, "starting off in A minor and taking care to end in the same key", and convinced the examiners that it was a little-known work by Schubert. Recalling this prank in his old age, he added, "I have never ceased to wonder at my escape, and would certainly not advise any student to run a similar risk today." Some of Mackenzie's early compositions were performed at the Academy.

Early career
In 1865 Mackenzie returned to Edinburgh. He undertook a heavy workload of teaching, both privately and in local colleges, and from 1870 he was in charge of music at St George's, Charlotte Square. In 1873 he took on the conductorship of the Scottish Vocal Association. He also played the violin in orchestral concerts both locally and at the Birmingham Festivals from 1864 to 1873, meeting visiting musicians including the conductor Hans von Bülow, who became a firm friend. In 1874 Mackenzie married a local woman, Mary Malina Burnside (d. 1925). They had a daughter, Mary. Mackenzie successfully began composing orchestral music. Bülow conducted his overture Cervantes in 1879, and two of his Scottish rhapsodies were premiered by August Manns in 1880 and 1881.

By this time, Mackenzie's heavy workload as a teacher and player began to undermine his health. Two of Bülow's pupils in Florence, Italy, Giuseppe Buonamici and George F. Hatton, introduced Mackenzie to the musical philanthropists Carl and Jessie Hillebrand. After a few months' rest in their care, Mackenzie began composing full-time. Apart from a year in England (1885), he made Florence his home until 1888. During this period he spent much time in the company of Franz Liszt. He began composing large-scale works, including instrumental, orchestral and choral music and two operas. His cantatas The Bride and Jason were successfully given, and the Carl Rosa Company commissioned his first opera, Colomba, written to a libretto prepared by Francis Hueffer, music critic of The Times. The opera premiered successfully in 1883. A second opera, The Troubadour, produced by the same company in 1886, was less successful, though Liszt thought well enough of the piece to begin work on a piano fantasia based on themes from it. Pablo de Sarasate premiered a violin concerto by Mackenzie at the Birmingham Festival of 1885. For the 1885–86 season, Mackenzie was appointed conductor of Novello's oratorio concerts in London. Liszt paid his final visit to England chiefly to hear his Saint Elisabeth performed under Mackenzie's direction in 1886.

Peak years
In October 1887, the principal of the Royal Academy of Music, Sir George Macfarren, died, and in early 1888 Mackenzie was appointed to succeed him. He held the post for 36 years until his retirement in 1924. At the time, the Academy was overshadowed by its younger rival, the Royal College of Music, and Mackenzie set about reviving its reputation. He was fortunate in enjoying the friendly support of his opposite numbers at the College, George Grove, and, from 1895, Hubert Parry, and the two institutions established a close working relationship of mutual benefit. In addition to overhauling the curriculum and reorganising the faculty, Mackenzie engaged personally with his students by teaching composition and conducting the student orchestra. In 1912 the Academy moved from its old buildings in Mayfair to purpose-built premises in Marylebone. In his later years as principal, Mackenzie became markedly conservative, forbidding his students to play the chamber music of Ravel, which he stigmatised as "a pernicious influence".

Mackenzie was conductor of the Royal Choral Society and the Philharmonic Society Orchestra between 1892 and 1899, giving the British premières of many works, including symphonies by Tchaikovsky and Borodin.

Like his father, Mackenzie took a great interest in folk music and produced several collections of arrangements of traditional Scottish songs. In 1903, interested in investigating Canadian folk-song, he undertook a tour of Canada organised by the Anglo-Canadian musician Charles A.E. Harriss. His visit stimulated the cultural scene and choral festival competitions were held throughout Canada with eleven new choral societies being founded. Mackenzie conducted concerts during the tour, exclusively of British music.

Mackenzie was regarded as a cosmopolitan musician. He spoke fluent German and Italian and was elected to the post of President of the International Musical Society which he held from 1908 to 1912. From his early days playing in orchestras in Edinburgh and Birmingham he had met and become friendly with many leading international musicians, including Clara Schumann, Joseph Joachim, Charles Gounod and Antonín Dvořák. His friendship with Liszt began in Mackenzie's student days in Sondershausen and lasted for the rest of Liszt's life.

Although Mackenzie composed a large number of works, which met with great public success, he found, as had Arthur Sullivan earlier and as did Parry contemporaneously, that running a large musical conservatoire left less time for composition. Both at the Academy and elsewhere, he was a popular lecturer. Among his topics were Verdi's opera Falstaff, the text of his lecture on which was later published in translation in Italy. Outliving his contemporaries Sullivan and Parry, he gave memorial lectures on their lives and works. At a time when Sullivan's reputation in academic musical circles was not high, Mackenzie's tribute was generous and enthusiastic.

In the late nineteenth and early twentieth centuries, Mackenzie's professional prominence brought him many honours from universities and learned societies in Britain and abroad. He was knighted in 1895, and created a Knight Commander of the Royal Victorian Order (KCVO) in 1922, the year of the centenary celebrations of the Royal Academy, in which he was the central figure. On 15 October 1923 the BBC broadcast one of the earliest examples of a one-composer programme, devoting one hour and 45 minutes to performances of Mackenzie's works, conducted by the composer. On his eighty-sixth birthday, over forty distinguished musicians presented him with a silver tray inscribed with facsimiles of their signatures, including Elgar, Delius, Ethel Smyth, Edward German, Henry Wood, and Landon Ronald. He retired from the Academy and from public life in 1924.

Mackenzie died in London in 1935 at the age of 87.

Works
The Oxford Dictionary of National Biography says of Mackenzie's music that it is "cosmopolitan in style and somewhat old-fashioned for its period, displaying influences of French and German composers, including Bizet, Gounod, Schumann, and Wagner." Grove's Dictionary of Music and Musicians says that although Mackenzie's music was eclipsed by the works of later composers, "he and his contemporaries may be regarded as having laid the foundations of the musical renaissance in 19th- and early 20th-century Britain".

During his time teaching in Edinburgh, Mackenzie wrote several works, including a piano trio, a string quartet and a piano quartet, and he maintained a considerable output despite his crowded schedule both then and later. The Times reported that his list of compositions numbered 90, of which 20 were distinctly Scottish.

His orchestral works include the overture Cervantes, performed at Schwarzburg-Sondershausen in 1877, three Scottish Rhapsodies, a violin concerto premiered by Pablo de Sarasate at the Birmingham Festival of 1885, a "Scottish" concerto for piano (1897), a suite, London Day by Day (1902), and a Canadian Rhapsody (1905). He composed incidental music to six dramas, including Ravenswood, and J. M. Barrie's The Little Minister. The funeral march from his music for Henry Irving's production of Coriolanus was played at Irving's funeral in 1905 and at Mackenzie's memorial service at St Paul's Cathedral in 1935. He worked on a symphony but did not complete it.

It was as a composer of vocal music that Mackenzie first achieved national fame. His cantata The Bride was a success at the Three Choirs Festival of 1881. Edward Elgar played in the violins at the première and later remarked that meeting Mackenzie was "the event of my musical life". A second cantata, Jason, for the Bristol festival of 1882, was also well received. His most famous choral work was the oratorio The Rose of Sharon, written for the Norwich festival of 1884. The words were adapted from the Song of Solomon by Joseph Bennett, music critic of The Daily Telegraph, who later provided Sullivan with the text for The Golden Legend. The Dream of Jubal (1889), is an unusual combination of recitation and choral sections, composed for the jubilee of the Liverpool Philharmonic Society in 1889.

Mackenzie's operas began in 1883 with Colomba, first produced by the Carl Rosa Company. It was a success, but his second opera The Troubadour (1886) was not. Francis Hueffer's libretti for both operas were written in an antiquated style that attracted much criticism. Mackenzie's other operas were The Cricket on the Hearth (1914), The Eve of St John (1924), and two almost-complete operas, The Cornish Opera and Le luthier.

Critics observed that Mackenzie's operatic and choral music was generally ill-served by his librettists: "Much of his best work ... is neglected, partly because unlike his contemporaries, Parry and Stanford, Mackenzie went for the texts of his larger vocal works to such librettists as Joseph Bennett and Hueffer, instead of to the vital things of English poetry and literature." "[He] was content with librettos written by hacks according to the current operatic conventions." This even applied to his one excursion into comic opera, His Majesty, a piece in the Gilbert and Sullivan vein, with a libretto by F. C. Burnand and R. C. Lehmann and additional lyrics by Adrian Ross, presented at the Savoy Theatre in 1897. The Times commented, "Mr Burnand's experience as a librettist of comic opera, and Sir Alexander Mackenzie's inexperience in this class of composition might lead the public to expect a brilliant book weighed down by music of too serious and ambitious a type. The exact opposite is the case." Burnand's libretto was judged dull and confused, but Mackenzie's music was "marked by distinction as well as humour."

Mackenzie also wrote books on Giuseppe Verdi (1913) and Franz Liszt (1920). In his memoirs A Musician's Narrative (1927), he described "a lifetime spent, boy and man, in the service of British music".

title: Alexander Mackenzie (composer)


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Ocythoe tuberculata

Ocythoe tuberculata, also known as the tuberculate pelagic octopus or football octopus, is a pelagic octopus. It is the only known species in the family Ocythoidae.

Ocythoe tuberculata is found in warm and temperate seas, especially in the Northern Hemisphere, such as the North Pacific Ocean off California.

Morphology
Ocythoe are one of the few cephalopods to have a swimbladder. In captivity, two specimens were observed controlling their buoyancy and shooting water "forwards, upwards, sideways, and backwards" from the upper channel of the mantle cavity. Ocythoe achieves this by altering the dorso-lateral corners of the mantle opening. The entire swimbladder structure rests on the "visceral mass" and connects to the mantle cavity. It is also innervated and vascular. Juvenile and adult swimbladders exhibit key differences. Juveniles tend to have thicker and "gelatinous" walls with more spherical cells. Adults on the other hand have a less gelatinous appearance and a constitutively open lumen. Dwarf males do not possess swimbladders. Ocythoe is the only cephalopod to possess a proper gas bladder, based on specimens kept in captivity, although the origins of the gas is still an area of research.

Sexual dimorphism
Female and male tuberculate pelagic octopuses have distinct morphological differences. Females exhibit a larger dorsal mantle length upon maturity around 300 millimeters, while males only reach a dorsal mantle length of around 30 millimeters. The females are around 1 m long when full-grown. The males are considerably smaller, around 10 cm. Males also have a well-developed hectocotylus on the third arm. This structure contains the spermatophores and is dislodged and detached in the mantle of the female during mating and remains for an extended period of time for fertilization.

Young females and mature males have been observed residing inside salps, although little is known about this relationship.

Distribution
O. tuberculata have been well known for inhabiting mainly northern hemisphere waters, typically in the Mediterranean Sea, as well as the eastern and western parts of the North Atlantic. O. tuberculata has also been found in the northern Pacific waters, with very few individuals found in the southern hemisphere, either in the Indian or Pacific oceans. O. tuberculata has typically been found in warmer waters. There is some speculation that warm ocean currents moving eastward from the Indian Ocean are responsible for the small sample of specimens found in northern pacific waters, but this has yet to be confirmed or denied.

O. tuberculata is a near-surface dwelling pelagic octopus, living between depths of 100 and 200 meters.

Lifespan and reproduction
Female tuberculate pelagic octopuses are known to have a high fecundity, producing nearly 100,000 eggs. One female specimen caught in May 2003 had a record-breaking 1 million eggs, the most of any Octopoda. Egg size is typically very small, measuring 1.75 mm long and 1.00 mm wide. This has been seen as a trend in other pelagic octopus species. Tuberculate pelagic octopuses is said to be viviparous, meaning their offspring develop with in the body of the parent. However, several different authors dispute exactly how and where this development occurs. The general consensus is the eggs develop in expanded oviducts. Fertilization occurs when the hectocotylus is deposited from the male in the female's mantle cavity.

Diet
The diet of Ocythoe is undocumented, however most octopuses are predatory. It is known that open ocean octopuses typically feed on prawns, fish, or other cephalopods.

Predators
There are a number of known predators that prey on Ocythoe. These are lancet fishes (Alepisaurus borealis and A. ferox), tunas (Thunnus alalunga, T. thunnus, and Germon germon), and Risso's dolphin (Grampus griseus). These predators have a large vertical range, and typically prey on O. tuberculata between 100 and 200 meters.

title: Ocythoe tuberculata


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Talk:Ocythoe tuberculata

Images added to Commons
I've just added 14 images from Auckland Museum to the Ocythoe tuberculata category on Commons; someone might want to incorporate them into this page. — Hugh (talk) 03:13, 20 August 2018 (UTC)

title: Talk:Ocythoe tuberculata


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Maitrayaniya Upanishad

The Maitrayaniya Upanishad (मैत्रायणीय उपनिषद्, ) is an ancient Sanskrit text that is embedded inside the Yajurveda. It is also known as the Maitri Upanishad (मैत्री उपनिषद्, ), and is listed as number 24 in the Muktika canon of 108 Upanishads.

The Maitrayaniya Upanishad is associated with the Maitrayanas school of the Yajurveda. It is a part of the "black" Yajurveda, with the term "black" implying "the un-arranged, motley collection" of content in Yajurveda, in contrast to the "white" (well arranged) Yajurveda where Brihadaranyaka Upanishad and Isha Upanishad are embedded. The chronology of Maitrayaniya Upanishad is contested, but generally accepted to be a late period Upanishadic composition.

The Maitrayaniya Upanishad consists of seven Prapathakas (lessons). The first Prapathaka is introductory, the next three are structured in a question-answer style and discuss metaphysical questions relating to Atman (Self), while the fifth to seventh Prapathaka are supplements. However, several manuscripts discovered in different parts of India contain lesser number of Prapathakas, with a Telugu language version showing just four, and another Burnell version showing just one section. The content and structure of the Upanishad is also different in various manuscript recensions, suggesting that the Upanishad was extensively interpolated and expanded over a period of time. The common kernel of the Upanishad across different recensions, states Max Muller, is a reverence for Self, that can be summarized in a few words as, "(Man) is the Self – the immortal, the fearless, the Brahman".

The Maitri Upanishad is an important ancient text notable, in its expanded version, for its references to theories also found in Buddhism, elements of the Samkhya and Yoga schools of Hinduism, as well as the Ashrama system. The text is also notable for its practice of Anyatrapyuktam (or Ityevam Hyaha), that is being one of the earliest known Sanskrit texts that embedded quotes with credits and frequent citations to more ancient Sanskrit texts.

Etymology
The etymological root of the Maitrayaniya Upanishad are unclear. This has historically led to a variety of names and spellings for this Upanishad.

Maitra (Sanskrit: मैत्र) and Maitri (मैत्री) are related words which literally mean "kindly, benevolent, good will, amity, friend of all creatures". The likely root for the Upanishad is probably the name of an ancient Indian scholar, Maitra, sometimes spelled Maitri or Maitreya, giving the text the alternate name of Maitri or Maitra Upanishad. The ancient scholar is also credited with a school of thought, thus giving the text the name Maitrayaniya Upanishad. Other names for this text include Maitrayani Upanishad (मैत्रायणि उपनिषद्), Maitrayana Upanishad, Maitrayaniya-brahmana Upanishad, Sriyagussakhayam Maitrayaniya-brahmana Upanishad, Maitreyopanishad and Maitrayaniyopanishad.

Chronology
The Maitrayaniya Upanishad offers no firm evidence as to its date. But on various internal criteria such as its passages on yoga and its doctrinal heterogeneity, scholarly consensus places its composition in late 1st millennium BCE or even slightly later, likely after Atharva Veda texts such as the Mundaka Upanishad and Prashna Upanishad. But its precise chronology is unclear and contested. The chronology is difficult to resolve because all opinions rest on scanty evidence, an analysis of archaism, style and repetitions across texts, driven by assumptions about likely evolution of ideas, and on presumptions about which philosophy might have influenced which other Indian philosophies. van Buitenen identified at least five compositional layers in the work, composed at different times by different groups or individuals.

When discussing the chronology of the Upaniṣads, Olivelle did not specifically mention the Maitri Upanishad but noted that the last group of principal Upanishads "cannot be much older than the beginning of the common era." Mahony suggests an earlier date, placing Prashna along with Maitri and Mandukya Upanishads, as texts that probably emerged about early fourth century BCE. Jayatilleke states, "Buddhism is not far removed in time from, though it is prior to, the Maitri Upanishad". Nakamura states that "although Buddhistic influence can be seen in the Maitri Upanishad (from words used), the particular terms and modes of expression of Mahayana Buddhism do not yet appear (in it)".

Phillips, in contrast, lists Maitri Upanishad before and about the time the first Buddhist Pali canonical texts were composed. Ranade posits a view similar to Phillips, placing Maitri's chronological composition in the fifth group of ancient Upanishads and last of the Principal Upanishads. Cowell too considers Maitri Upanishad as late era Upanishad, with its later sections comparatively modern, because of the structural and style differences within texts, inconsistencies in Poona manuscript, Calcutta (Kolkata) manuscript, Eckstein manuscript, Burnell manuscript and other manuscripts, and because some version of the manuscripts insert quotes from Vaishnavism.

Deussen states that the Upanishad is chronologically significant because its author(s) takes for granted the concepts and ideas found in Samkhya and Yoga schools of Hinduism, which must have been established by the time Maitri Upanishad was composed.

Structure
The extant recension of the text consists seven s (lessons), of which several sections are Khilas (appendices, supplements) added later. The last two are called as khila by medieval era Indian scholar Ramatirtha. Others consider the last three sections as supplements and appendices. Other discovered manuscript versions of the Maitri Upanishad present different number of sections, ranging from 1 to 4, without any appendices. There are also differences in style, structure and content among the discovered manuscripts when the text contains the same number of sections.

The text is a prose style Upanishad, with a motley collection of different sized paragraphs. The first section has four paragraphs, the second has seven, the third presents five paragraphs, while the fourth section contains six. As appendices, the fifth lesson has two paragraphs, while the sixth Prapathaka is the longest section with thirty eight paragraphs. The last supplementary section, or the seventh Prapāṭhaka has eleven paragraphs some with many sub-paragraphs.

The Maitrayaniya Upanishad is embedded after the Brahmana text of Yajur Veda, and in its opening passages refers to rituals contained therein. It contextually belongs to the Sannyasa Upanishads corpus. Hume includes it among his list of "Thirteen Principal Upanishads".

Contents
Maitri Upanishad deals with the concept and nature of Atman (Self), the question of "how is joy possible?" and "how one can achieve moksha (liberation)?"; in later sections it offers a debate on possible answers.

Meditation of Self is the essence of religious activity - First Prapathaka
The text begins with the following prelude,

"The performance of all the sacrifices, described in the Maitrayana-Brahmana, is to lead up in the end to a knowledge of Brahman, to prepare a man for meditation. Therefore, let such man, after he has laid those fires, meditate on the Self, to become complete and perfect. But who is to be meditated on?"

- Maitri Upanishad,

The above prelude is followed by an answer, offered as a tale of a king named Brihadratha who renounces his kingdom, lives an austere life and therewith seeks the knowledge of the eternal, the Self. Sage appears before the king. The king admits, "I lack the knowledge of Self, you know the essence of Self", so please teach me. In the resulting reply, the sage first claims that the "seeking the knowledge of Atman" was a practice of the past, it is difficult and not in vogue, then urges the king to ask something else". The king insists, by asking a series of metaphysical questions to the sage.

"In this body infected with passions, anger, greed, delusion, fright, despondency, grudge, separation from what is dear and desirable, attachment to what is not desirable, hunger, thirst, old age, death, illness, sorrow and the rest - how can one experience only joy?

There are other great ones. We see the destruction of Gandharvas, Asuras, Yakshas, Rakshasas, Ganas, snakes and vampires. And what of these? The drying up of great oceans, the crumbling down of the mountains, the instability of the pole-star, the tearing of the wind-chords, the sinking down, the submergence of the earth, the tumbling down of the gods from their place - in a world in which such things occur, how can one experience only joy!"

- Maitrayaniya Upanishad

The sage then shares with the king the philosophy of the Brahman (Universal Self, Cosmic Principle, Ultimate Reality), described in the next lessons. Paul Deussen states that parts of the above questions, on sorrow and frailty of human life is found in the oldest Upanishads of Hinduism, for example in chapters 3.4, 3.5, 3.7, 3.28 and 4.4 of Brihadaranyaka Upanishad, yet its declamation in the question form above in Maitri Upanishad, mirrors those found in Buddhism and Samkhya school of Hinduism. It is likely, states Deussen, that these two philosophies influenced the formulation of these questions in the form presented in Maitri Upanishad.

Every individual has Self, which is serene, the highest light, the cosmic truth - Second Prapathaka
Sakayanya answers the king's question, in verse 2.2 of Maitri Upanishad, by asserting that Atman (Self) exists in every individual, and it is that inmost being which "moves about without moving" (exists everywhere), which dispels darkness of ignorance and error, which is serene, immortal, fearless and soaring for the highest light. The Maitri Upanishad states that this is the message of all Upanishads,

"अथ खल्वियं ब्रह्मविद्या सर्वोपनिषद्विद्या वा राजन्नस्माकं भगवता मैत्रेयेण व्याख्याताहं ते

Now then, O king, this is the Brahman-knowledge, and the knowledge contained in all the Upanishads, which was taught to us by honorable Maitri. I shall tell it to thee."

- Maitri Upanishad 2.3,

Sage Sakayanya thereafter narrates an ancient dialogue between s and Kratu, which is sourced from Rig Veda. The dialogue states that "man was created in the image of its creator, innately has all its powers, and is driven by it". The dialogue raises a series of metaphysical objections and inconsistencies with this premise, and then offers theories to resolve the what, how and why this is so.

The Maitrayaniya Upanishad states that the Prajapati (lord of creatures) divided himself fivefold and entered all creatures of the world. The divided parts are Prana, Apana, Samana, Udana and Vyana. Prana is upward breath, Apana is downward breath (exhale). Vyana holds the Prana and Apana in balance, giving strength to the whole body. Samana is that which carries gross food to Apana and then subtler food throughout the body. Udana is that which delivers food up and down the body from what has been eaten or drunk.

Now the Upamsu-vessel (or prana) depends on the Antaryama-vessel (apana) and the Antaryama-vessel (apana) on the Upamsu-vessel (prana), and between these two the self-resplendent (Self) produced heat. This heat is the purusha(person), and this purusha is Agni Vaisvanara. The Purusha resides within, assumes the nature of Buddhi (intellect, power to reason). However, having divided itself fivefold, its purpose unattained, it impulsively feels, "let me enjoy objects". It is distracted from its purpose, its Self. The Upanishad, thereafter recites the "parable of chariot" found in older Upanishads. Max Muller summarizes it as, "the perceptive organs are his reins, the active organs his horses, the body his chariot, the mind the charioteer, the whip being the temperament (emotions). Driven by that whip, his body goes round and round like a wheel driven by the potter. This body is made intelligent, and he (Atman) is the driver thereof." He experiences the fruits of his Karma, his personality the weaving of the three Guṇas (sattvam, rajas, tamas).

In essence, however, man seeks the true bliss, the immortal happiness, the resplendent contentment, the calm freedom that is his Self, states paragraph 2.7 of Maitri Upanishad. This Self of his is pure, unchanging, unmoving, undefilable, serenely calm constant, the spectator within him, the self-abiding. The Self is inherently good, enjoyer of Ṛta (that which is properly/excellently joined, natural perfection, harmonious, holistic, right, truth).

Human suffering, its causes and the nature of Selfs - Third Prapathaka
The third Prapathaka of Maitri Upanishad presents a theory of Self that is different from the Vedanta school of Hinduism, rather it resonates with its Samkhya school. It enumerates different types of Atman, the three Gunas and how these "qualities of personality" overwhelm him from his essential nature into egoistic life of cravings, the source of evil and sorrow in a man's life, and other terminology from the Samkhya philosophy.

The third Prapathaka opens with the question, "if Self is inherently great, then who is this Self that suffers from the 'bright and dark fruits' of karma, rebirth and is overcome by Dvandva (pairs of opposite such as heat and cold, health and disease, etc)?"

As answer, the Maitrayaniya Upanishad states that there is another, different Self, calling it Bhutatman (the elemental Self), which transmigrates. In paragraph 3.2, the Upanishad presents the "theory of gross elements and subtle elements" which combine to form Sarira (शरीर, body). The "elemental Self" resides in this body, and is overcome by prakrti guna (inner nature of an individual's personality). This, states the text, is cause of confusion, conflicting desires, unsteady behaviors and self-conceit. Man, because of this confusion, binds himself with suffering, just like a bird binds itself inside a net. Human suffering is the result of human actions (Karma) and complex interplay of human psychology (Guṇas). However, the "immortal Self" is, states the text, unaffected by the elemental Self's confusion and drifts. The third Prapathaka explains the two Self and human personalities using the metaphor of "fire, iron and forge" as follows,

"He who acts, is the elemental Self; he who causes to act, is the inner man (immortal Self). Now as even a ball of iron, pervaded by fire, hammered by smiths, becomes manifold forms, thus the elemental Self, pervaded by inner man, hammered by guna (qualities, personality), becomes manifold. And as when the ball of iron is hammered, the fire is not overcome (unaffected), so the inner man is not overcome, only elemental Self is overcome."

- Maitri Upanishad 3.3

The Maitri Upanishad in paragraph 3.4 states that true essence of man is not his body, but his immortal Self. The elemental Self is mere reflection of his Gunas (psychology), a source of his suffering, which manifests itself as quality of Tamas (darkness), such as "confusion, fear, grief, sloth, carelessness, decay, sorrow, hunger, thirst, infidelity, anger, ignorance, cruelty, meanness, envy, shamelessness, pride, folly, dishonesty, arrogance, miserliness". The quality of Rajas too, states the Upanishad, is a result of this interplay of overpowered elemental Self and guna, and lists the manifold manifestation of this as, "greed, covetousness, craving, possessiveness, unkindness, hatred, deceit, restlessness, mania, fickleness, wooing and impressing others, servitude, flattery, hedonism, gluttony, prodigality and peevishness". While the elemental Self is thus affected, the inner Self, the immortal Self, the inner spectator is unaffected, asserts the Upanishad.

Realization of True Self, union with Brahman - Fourth Prapathaka
The fourth Prapathaka begins with the question, "how can the elemental Self obtain union with the true Self"?

The Maitri Upanishad answers that the elemental Self is distracted, intoxicated and attached to numerous things in life, craving for false delights, which prevents its ability to know the true Self. The remedy for elemental Self, in order to realize the true Self, is to acquire the knowledge of the Veda, perform svadharma (one's duty) based on one's age, be part of Rta, devote oneself to Ashrama stage one is in. The Upanishad, in paragraph 4.3 acknowledges the inherent tension between ascetic life of renouncing society for Self-knowledge and the svadharma in each Ashrama stage of life with devotion to society. It calls asceticism qua asceticism wrong, and then immediately calls asceticism right, necessary and praises asceticism for the inner perfection and Self-knowledge it helps bring. The fourth prapathaka does not resolve the inherent conflict it acknowledges. In paragraph 4.4, the Upanishad asserts that meditation, austerities, perseverance and knowledge leads to Brahman state, of bliss that is imperishable, infinite and unchangeable. It is this union of Brahman that frees the true Self unto bliss.

Deity worship can be rewarding, but must be temporary, replaced with meditation and self knowledge - Fourth Prapathaka
In paragraph 4.5, the Maitrayaniya Upanishad presents the question as to which of the gods is best for worship. The text answers that they are merely forms of Brahman, that one should meditate upon, worship, yet ultimately deny them and reject the gods. They are means to man's liberation, which is obtained through Self meditation and in Self-knowledge. This is expounded on, as follows,

"Agni (fire), Vayu (wind) and Aditya (sun), Kala (time), Prana (breath), and Food, Brahma, Rudra and Vishnu - some meditate upon one, some upon another, tell us which one is the best?

These are foremost forms of the supreme, the immortal, the bodiless Brahman. To whichever deity each man is attached, in its world he rejoices. Yet, it is said, this whole world is Brahman. These deities, which are its foremost forms, one should meditate upon, worship, but then deny (reject the gods' individuality). He thus unites with the universal, and attains union with the Self."

- Maitri Upanishad 4.5-4.6

Hume states that the construct of the question above is notable, as it thus incorporates the three triads of thought found in ancient Indian philosophies - the Vedic trinity, the philosophical trinity in different schools of Hinduism, as well as the Brahmanic trinity.

Appendix: Pantheistic Self and Samkhya theory of Gunas - Fifth Prapathaka
The fifth Prapathaka then presents a motley collection of a hymn and various theories, all focussed on the pantheistic premise that everything is manifested form of Cosmic Self, all is One Brahman-Atman.

A hymn, inserted into paragraph 5.1 and called the Kutsayana Hymn, states that the Self is the hidden unchanging reality, the tranquil, the unlimited, the one without beginning or end. The Self, states this pantheistic hymn, is Brahma, Vishnu, Rudra, Prajapati, Agni, Varuna, Vayu, Indra, Moon, Anna (Food), Yama, Earth. All life, all existence is manifold manifestation of the Self. The hymn calls the Self as Prabhu (Lord) of all pleasure and delight.

The paragraph 5.2 of the Upanishad asserts the Guna theory of Samkhya school of Hinduism. The text states that in the beginning the universe was darkness (Tamas) alone. The Brahman impelled Tamas to differentiate, thus arose passion (action qua action, Rajas). The Brahman impelled Rajas to continue differentiating, and thus arose purity (right action, truth, Sattva). These three Gunas reside in everything. The aspect of Brahman that characterizes Tamas is Rudra. The aspect of Brahman that characterizes Rajas is Brahma. The aspect of Brahman that characterizes Sattva is Vishnu. These threefold concepts have differentiated manifold into eightfold, elevenfold, into infinite number of parts, states the Upanishad. These, all creatures, and the Visva (विश्व, world, empirical universe) are manifestations of one Supreme Self, within and without. Self's existence is reflected by the development of goodness (virtues). It is this Self that is reflected in man, just like sun is reflected in different vessels of water, posits paragraph 5.2 of the fifth Prapathaka.

Appendix: Enumeration of Selfs - Sixth Prapathaka
The sixth Prapathaka enumerates Self into two, the one that is within each human being and one without that is in Sun. These correspond to two paths, one inner and one outer. The existence of inner Self can only be inferred, while the outer Self can be perceived. The outer Self is the evidence of the inner Self, and the inner Self is the evidence of the outer Self. In Paragraph 6.1, the Maitri Upanishad refers to more ancient texts of this teaching of Self and its relation to ethical life and introspective behavior, as follows,

"कश्चिद्विद्वानपहतपाप्माऽक्षाध्यक्षोऽवदातमनास्तन्निष्ठ आवृत्तचक्षुः सो अन्तरात्म

Every man who knows, free of evil, master of his senses, purified in mind, steadfast in his Self, introspective, is He (Self, Atman)."

- Maitri Upanishad 6.1

Just like in time (kala), the solar fire ultimately consumes all beings and the outer world as food, asserts the Upanishad, it is the man's Self that consumes inner food. The outer Self and inner Self are, assuredly, states the Upanishad, one and same thing. Man should meditate on both these Selfs with the symbol Om (ॐ), revere them through Vyahrtis and the Savitri verse, asserts paragraph 6.2 of the text.

Appendix: The symbol Om and its significance - Sixth Prapathaka
Om represents Brahman-Atman. The three roots (or three-footed nature) of the word are A + U + M. The sound is the body of Self, and it manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and psyche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.

The world is Om, its light is Sun and the Sun is also the light of the syllable Om. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Self).

Savitri prayer and meditation with the rising sun, a means to Self worship

Anyone who loves his Self, states paragraph 6.7 of the Upanishad, loves the Savitri – literally, that which "vivifies, ray of light that enlivens knowledge". The Sun is Savitri, and thus one who loves his Self, loves the splendor of the Sun. The text thereafter explains the meaning of Savitri verse from Rig Veda 3.62.10, its emphasis on "may the Sun inspire our thoughts, stimulate our thoughts". To think is to meditate, states paragraph 6.7 of Maitri Upanishad. To worship Sun, is to worship Self.

The sixth Prapathaka includes etymologies of six Sanskrit words, stating that these are all related to stimulating Self-knowledge. It is this Self, this Self that is the immortal inside man, the perceiver, thinker, goer, doer, evacuator, begetter, speaker, taster, smeller, seer, hearer, toucher and all-prevader. The Self underlies the senses yet is more than the sensory capabilities of man, it is pristine unity beyond cause, effect and action.

Appendix: Types of knowledge, all gods are nothing but Self, that Self is within each human being - Sixth Prapathaka
Knowledge is of two types, asserts the Maitri Upanishad: subjective and objective. The subjective knowledge is about the external world dependent on the person, the objective knowledge is about the Self and inner, hidden principles of the world. It is the Self of man that comes to know subjective and objective knowledge.

The Self of man is identical with various gods and powers, it is the deities Isana, Sambhu, Bhava, Rudra, Prajapati, Visvarij, Hiranyagarbha, Satyam, Prana, Hamsa, Sastri, Vishnu, Narayana, Arka, Savitri, Dhatri, Vidhatri, Samraj, Indra, Indu and Sun. It is this Self that is to be thought after, sought after. Man should find this Self within him.

Appendix: The metaphorical theory of food, of time - Sixth Prapathaka
Sections 6.9 through 6.17 of the Maitri Upanishad is motley collection of three parts, all relating to the metaphysical interpretation of food. This is connected with the much older metaphorical discussion of "food" in chapter 5 of the Chandogya Upanishad. Everything is food to everything else, and taking of food is described by the Upanishad as a form of worship, a sacrifice offered by the Self to the Self.

In the first part of discussing food, the section discusses the feeding of one's own body as a form of religious ritual, and includes a hymn that is "food prayer" and that urges Atman to gratify the reciter as well as gratify all creatures in the universe. In the second part, the Upanishad calls apparent form of Brahman as food, then differentiates between food and the eater of food, and metaphorically maps food all to the nature of existence, of Prakrti (nature) and Purusha (consciousness).

"Out of food, creatures are born, All those, who are on earth, through food they live, into it, they enter at last."

- Maitri Upanishad 6.11

In the third part, in paragraphs 6.11 to 6.17, the text states that food is the cause of all that is in space and hidden principles, then expands the idea to include time by calling Kala (Time) is the cause of food, and then celebrates Time as Brahman. Food, states the sixth Prapathaka, is the source of the world, Time is the origin of food, and Sun is the origin of Time. It symbolically maps the Time and Timeless as changing reality and the unchanging Brahman, respectively.

There is a motley collection of ideas in the discussion of Kala (Time), within the sixth Prapathaka of the Upanishad. For example, in section 6.14, it sets out to prove Time exists, acknowledges the difficulty in proving Time exists by Pramana (epistemology in Indian philosophy), then inserts a theory of inductive inference for epistemological proof as follows,

"On account of subtleness of Time, this is the proof of its reality; On account of it the Time is demonstrated.

Because without proof, the assumption which is to be proved, is not admissible; But, that which is itself to be proved or demonstrated, when one comprehends it in its parts, becomes the ground of proof, through which it brings itself into consciousness (in the inductive way)."

- Maitri Upanishad 6.14

The section includes the concept of Time and non-Time, calling these as two forms of Brahman, mirroring the Upanishad's earlier discussion of Material and non-Material universe. It defines non-Time as "what was there before the appearance of Sun", and Time as "what began with the appearance of Sun". Non-Time is indivisible, Time is divisible. Year is the Murti (idol) of time. Time ripens everything, asserts the Upanishad. Sun is the foundation for Time, Sun is the Self (the Atman) of Brahman. The Brahman is the eternal, the boundless, the unborn, the immeasurable, the infinite, that which existed before Time, the light in the Sun, the colors in the smokeless fire, and all are only that one, one alone.

Appendix: Yoga, Samkhya and Vaishnava doctrines - Sixth Prapathaka
Sections 6.18 through 6.30 of the Maitri Upanishad is another motley collection of various theories. The supplementary section starts with the theory of Yoga, as the way by which the highest human goal of Self-knowledge can be attained. Paul Deussen states that this highest goal is the knowledge of Atman (Self, one's inmost being), and with that knowledge realized, becoming one with the Atman. Along with Katha Upanishad and Shvetashvatara Upanishad, the Maitri Upanishad offers one of the oldest known descriptions of Yoga theory. The sixth Prapathaka enumerates six limbs, a shorter list than the eight limbs of Patanjali's Yogasutra. The identified Yoga steps for Self-knowledge in Maitrayaniya Upanishad are: Pranayama (regulation of breath), Pratyahara (withdrawal of senses inwards), Dhyana (meditation), Dharana (concentration of mind on one idea), Tarka (creative, contemplation of idea), Samadhi (absorption with the idea, a state of being one with the idea).

After enumerating the sixfold yoga, the Upanishad states that the path to Self-knowledge is yogic meditating on Self and Brahman. This meditation leads to the state that "unites everything in the eternal, highest Atman". The one who thus knows Atman, asserts the text, becomes innately one of goodness, liberated, limitless, blissful.

"As birds and deer do not approach a burning mountain, so faults never approach those who know Brahman."

- Maitri Upanishad 6.18

"Through tranquility of his thought, Karma, good and evil, he destroys, with Self serene, residing in his Self, Joy eternal he enjoys."

- Maitri Upanishad 6.20

In section 6.23, the Upanishad re-asserts that Brahman is the syllable Om, and then adds that Brahman is manifested in the name of Vishnu, recommending the worship of both. In section 6.30, the Maitri Upanishad acknowledges a debate, based on the Samkhya theories, whether it is the Prakrti or Purusha who attains moksha. The text asserts that it is Purusha, because man by default is controlled by his senses and mind, all emotions such as fear and bashfulness are products of a mind in bondage; man is what his mind is, and for freedom (moksha) man needs to recognize and know his Self.

Appendix: Self exists, it is everywhere - Sixth Prapathaka
In section 6.31, the Maitri Upanishad acknowledges concepts, such as Sūnya (voidness) found in Buddhism, in a form that suggests a challenge to its premise, as follows, "कतम आत्मेति योऽयं शुद्धः पूतः शून्यः शान्ता...

You ask: Which of them is Atman? (Answer:) He who has been described as pure, clean, void, quite..."

- Maitri Upanishad 6.31

The text answers that Self exists, that reason, steadfastness, recollection, consciousness are related to Self, as plants are related to seeds, as smoke is related to flame and sparks to fire. The Self (Atman), states the Upanishad, is the source of all life-forces, all worlds, all the Vedas, all gods, all beings, all knowledge, all nature, all literature, all sciences, all explanations, all commentaries, it is in everything. The Upanishad (secret meaning) of the Self is that "it is the Reality of the realities".

Appendix: What a man thinks, that he becomes - Sixth Prapathaka
The goal of meditation, states Maitri Upanishad in section 6.34, is to reach liberation and tranquility of mind through Self-realization. This liberation is achieved through one's mind, by refining one's thoughts, through knowing Atman. The text includes a hymn, which in abridged form expresses these ideas as follows, "चित्तमेव हि संसारम्त त्प्रयत्नेन शोधयेत्य च्चित्तस्तन्मयो भवति गुह्यमेतत्सनातनम्

Mind alone is the Saṁsāra, man should strive to purify his thoughts, what a man thinks that he becomes, this is the eternal mystery."

- Maitri Upanishad 6.34

The mind of man, states the Upanishad, is the cause of his bondage and his freedom. The one whose mind is controlled by objects of sense is unfree, the one whose mind is guided by his Self is free (mukti).

Appendix: Self is unlimited and there is Oneness in the whole world - Seventh Prapathaka
The seventh Prapathaka of Maitrayaniya Upanishad states that the Self is "the inmost being of everything", it is unlimited and it is manifestation of one Brahman. It is Self, it is deep, it is pure, it is brilliant. The Self is tranquil, it is fearless, it is sorrowless, it is indescribable joy. It is intelligent, it is patient, it is truth, it is harmony. It is self-dependent, it is steadfast, it is immortal, it is without limits. It is Vishnu, it is Shiva, it is Aditya, it is Indra. It is everywhere, it is in creatures, it is in nature, it is in music. It is in gods, it is in seasons, it is in planets, it is in hymns. It is the Self, it is the Lord, it manifests in many, they are all one and the same.

Appendix: Beware of false teachers and non-Vedic doctrines; seek your own truth - Seventh Prapathaka
The final supplement of the Maitri Upanishad is a polemic against philosophies that declared antagonism to the Vedic teachings and its doctrine of Self. The section does not name any specific philosophy, but scholars have included Carvakas and Buddhism among the likely candidates. Paul Deussen states that the description though probable, is not concrete enough to prove that this section targets Buddhism. Max Muller expresses stronger doubts that the target was Buddhism. Jayatilleke, on the other hand, states that Buddhism is the likely target.

The paragraph eight of seventh Prapathaka opens by stating that there are hindrances to knowledge, and it is false teaching by those who continually beg, preach hedonism, wear red robes, ear rings and skulls, rogues as religious mendicants, who "for a price, offer that they can remove the evil influences of spirits, demons, ghosts, goblins and the like". In this group of false teachers, are others who misrepresent Vedas, have developed the strategy of deceptive circular arguments, false claims, faulty reasoning and irrational examples against the Vedic literature. All false teachers declare good to be evil, evil to be good, knowledge to be ignorance, and ignorance to be knowledge. They compel a dharma that destroys Vedas and other Sastras (scriptures, sacred books). One must not associate with these people, states the text, because they are robbers and love to oppress the believers in the Veda. The text quotes a passage to express its sentiment as follows,

"By the jugglery of a doctrine that denies the Self, By false comparisons and proofs, Disturbed, the world does not discern, What is the difference between knowledge and ignorance."

- Maitri Upanishad 7.8

In sections 7.9 and 7.10, the Upanishad refers to Katha Upanishad, and recommends that man should seek to know both knowledge and non-knowledge, the real and the delusion, the truth and untruth. Don't be "like blind men led by one who is himself blind", states the Maitri Upanishad.

Similarities and differences with Buddhist teachings
The Maitri Upanishad shows signs of influence, or at least awareness of Buddhist teachings. Rhys Davis, about a 100 years ago, stated that Maitri Upanishad is the earliest Sanskrit literary usage of the term 'samadhi', a word also found in early texts of Buddhism. However, the concept of meditation and union is far older than the known literally use of the term Samadhi. The idea of "union", expressed with terms such Samadhi-root or related words, occur in Brihadaranyaka Upanishad, the oldest and longest Upanishad of the Hinduism. There are many other words and ideas that are shared between Maitri Upanishad and earliest known Buddhist texts.

Maitri Upanishad explicitly mentions, in seventh Prapathaka, a sect of thought whose teachers wear "reddish robe" (kasaya–), who deny the "existence of Self" premise (nairatmyavada–), preach a "dharma destructive of Vedas and Upanishads" (vedadisastra himsaka dharmabhidhyanam–) and whose goal is hedonistic "attainment of pleasure" (ratimatram phalam asya–). This sect reference could potentially be Carvakas, Ajivakas, Buddhism, Jainism or another unknown sect of thought that existed in ancient India. Jayatilleke states that this reference in Maitri Upanishad is likely to be to the Buddhists since, Jayatilleke additionally notes that there are many words as well as ideas such as the contemplation of the organic substances of the body and brahma-kosa theory in the sixth Prapathaka of this Upanishad that has "a Buddhist flavor".
 * 1) Ajivikas or Jainism upheld the belief in Self, which the Buddhists explicitly rejected
 * 2) Carvakas did not value dharma, while Buddhists were referred to as dharmavadin by opposing schools of thought.
 * 3) Buddhists were strongly accused of being hedonists at this time.
 * 4) Dhammapada seems to regard red robes as a distinct attire of Buddhist monks.

Despite the similarities in words and some ideas, the teachings in the Upanishads of Hinduism, including Maitrayaniya Upanishad, however, are founded on the premise that "the Self and Brahman exists", and these texts discuss the paths to know, realize one's Self and Brahman. This makes the fundamental premise of Maitrayaniya and other Upanishads of Hinduism distinctly different from Buddhism's key premise that there is "no Self, no Soul".

Anatman and Niratman
The term niratman appears in the Maitrayaniya Upanishad such as in verses 6.20, 6.21 and 7.4. Niratman literally means "selfless". The verses 6.22 and 6.23 discuss sound-Brahman (Om, sabda-brahman, lower Brahman) and soundless-Brahman (empty, asabda-brahman, higher Brahman), then teaches that both should be known. The niratman concept has been interpreted to be analogous to anatta doctrine (anatman) of Buddhism. The ontological teachings, however, are different. In the Upanishad, states Thomas Wood, numerous positive and negative descriptions of various states – such as niratman and sarvasyatman (the self of all) – are used in Maitrayaniya Upanishad to explain the nondual concept of the "highest Self". According to Ramatirtha, states Paul Deussen, the niratman state discussion is referring to stopping the recognition of oneself as an individual Self, and reaching the awareness of universal Self or the metaphysical Brahman.

Reception
The Maitri Upanishad is oft cited text in comparative studies of Buddhism and Hinduism, as well as the likely influence of one on the other. Monier-Williams referred to Maitrayaniya Upanishad, among other Vedic literature, in his review of the relationship between Hinduism and Buddhism.

In studies on the earliest discussion of Yoga theory, Maitri Upanishad is among the most referred to.

title: Maitrayaniya Upanishad


text:
Timeline of Sunderland

Following is a list of dates in the history of Sunderland, the ancient city in North East England. Facts and figures, important dates in Sunderland's history.

Sunderland was famous for ship building

Early times

 * 674 CE – Building of St. Peter's Church.
 * 1069 – Edgar Ætheling sailed for Scotland from Wearmouth.
 * 1183 – Bishop Hugh du Puiset's charter creates the first Borough of Sunderland
 * 1346
 * Thomas Menvil authorised to build ships at Hendon
 * The first recorded shipbuilding on the River Wear

17th & 18th centuries

 * 1634 – Bishop Morton's Charter created Sunderland's first Mayor and Corporation.
 * 1698 – Formation of Sunderland Company of Glassmakers
 * 1669 – Letters patent permitted the erection of a pier and lighthouse.
 * 1719 – Sunderland Parish's Holy Trinity Church opened
 * 1793 – Philip and John Laing established a shipyard on Monkwearmouth Shore. (The oldest surviving shipbuilding firm in Sunderland when it was absorbed into Sunderland Shipbuilders Ltd.)
 * 1795 – Birth of Sir Henry Havelock at Ford Hall in Bishopwearmouth.
 * 1796 – Wearmouth Bridge opened.

19th century

 * 1822 – Opening of the railway line from Hetton to Sunderland coal staithes, one of the earliest uses of locomotive power. The engineer was George Stephenson.
 * 1826 – Sinking of Wearmouth Colliery
 * 1826 – (15 June) Birth of Harry Watts, a Sunderland diver who rescued over 40 people from drowning – and assisted in the rescue of another 120 people.
 * 1831 – (October); the first UK outbreak of cholera occurred in Sunderland – 200 people died.
 * 1832 – Sunderland became a parliamentary borough under the Reform Act, returning two members of Parliament.
 * 1835 – St Mary's Church, Sunderland completed.
 * 1835/6 – Establishment of the modern Borough Council, with the first modern Mayor
 * 1850 – Opening of the South Docks by George Hudson MP
 * 1856 – Birth of Sir William Mills, (1856 – 1932) inventor of the WW1 Mills bomb
 * 1858
 * The tongue of 'Big Ben' was forged at Hopper's foundry, Houghton
 * Wearmouth Bridge widened under the direction of Robert Stephenson.
 * 1873 – Foundation of the Sunderland Echo
 * 1875 – A record of 64 days was set for the run to Australia by the Wear built sailing vessel The Torrens. Launched in 1875, the novelist Joseph Conrad served on her for a time as mate
 * 1879
 * Sunderland A.F.C. was founded by Thomas Allen as Sunderland and District Teachers Association Football Club
 * Sunderland station opened.
 * 1888 – Sunderland granted County Borough status
 * 1890 – Sunderland Town Hall opened.
 * 1891 – Population: 131,686.
 * 1892 – Sunderland A.F.C. win the Football League Championship
 * 1893 – Sunderland A.F.C. win the Football League Championship
 * 1895 – Sunderland A.F.C. win the Football League Championship
 * 1900 – Sunderland Corporation Tramways started.

20th century

 * 1901 – Population: 146,077.
 * 1902 – Sunderland A.F.C. win the Football League Championship
 * 1903 – Roker Pier – the harbour's northern breakwater is opened at 2,790 feet long.
 * 1909 – The then heaviest bridge in Britain was opened. The Queen Alexandra Bridge carried road and rail traffic, the railway deck remained in use for barely 12 years
 * 1913 – Sunderland AFC win the Football League Championship
 * 1923 – Police Boxes, model for the TARDIS pioneered by Chief Constable Frederick Crawley
 * 1936 – Sunderland A.F.C. win the Football League Championship
 * 1937 – Sunderland A.F.C. win the FA Cup
 * 1954 – Sunderland Corporation Tramways closed.
 * 1964 – Washington designated as a New Town
 * 1967 – Ryhope, Silksworth, Tunstall, East & Middle Herrington, South Hylton, part of Offerton, Castletown and Whitburn South Bents added to the County Borough of Sunderland
 * 1969 – Sunderland Technical & Art Colleges merged to form Sunderland Polytechnic (now the University of Sunderland)
 * 1970 – Opening of new Basil Spence-designed Sunderland Civic Centre by the Princess Margaret
 * 1971 – Sunderland Town Hall demolished.
 * 1973 – Sunderland A.F.C. win the FA Cup for the second time
 * 1974 – Washington, Hetton-le-Hole and Houghton-le-Spring become part of the new Borough of Sunderland
 * 1978 – First Wearside Jack hoax letter sent to West Yorkshire Police
 * 1984 – Nissan chose Sunderland for their new European manufacturing base
 * 1986 – Abolition of Tyne and Wear County Council increases Sunderland Council's powers and duties
 * 1988 – Announcement of closure of the shipyards on Wearside
 * 1992 – The City of Sunderland was created a by the Queen on 23 March
 * 1993 – The Queen and the Duke of Edinburgh visit Sunderland to unveil the city's new coat of arms
 * 1997 – Stadium of Light opens

21st century

 * 2001 – The entire council housing stock of 39,000 homes is transferred to private landlord Gentoo after a referendum of tenants found 95% support in favour of the move
 * 2008 – Sunderland Aquatic Centre opens, the only Olympic-sized pool between Glasgow and Leeds, on a site adjacent to the Stadium of Light

title: Timeline of Sunderland


text:
Compton Mackenzie

Sir Edward Montague Compton Mackenzie, (17 January 1883 – 30 November 1972) was a Scottish writer of fiction, biography, histories and a memoir, as well as a cultural commentator, raconteur and lifelong Scottish nationalist. He was one of the co-founders in 1928 of the National Party of Scotland along with Hugh MacDiarmid, R. B. Cunninghame Graham and John MacCormick. He was knighted in 1952.

Background
Edward Montague Compton Mackenzie was born in West Hartlepool, County Durham, England, into a theatrical family of Mackenzies, many of whose members used Compton as their stage surname, starting with his English grandfather Henry Compton, a well-known Shakespearean actor of the Victorian era. His father, Edward Compton Mackenzie, and mother, Virginia Frances Bateman, were actors and theatre company managers; his sister, Fay Compton (whose son was Anthony Pelissier, Compton's nephew), starred in many of J. M. Barrie's plays, including Peter Pan. He was educated at St Paul's School, London, and Magdalen College, Oxford, from where he graduated with a degree in Modern History.

Writing
Mackenzie is perhaps best known for two comic novels set in Scotland: Whisky Galore (1947) set in the Hebrides, and The Monarch of the Glen (1941) set in the Scottish Highlands. They were the sources of a successful film and a television series respectively. He published almost a hundred books on different subjects, including ten volumes of autobiography: My Life and Times (1883–71). He wrote history (on the Battle of Marathon and the Battle of Salamis), biography (Mr Roosevelt, a 1943 biography of FDR), literary criticism, satires, apologia (Sublime Tobacco 1957), children's stories, poetry and so on. Of his fiction, The Four Winds of Love is sometimes considered his magnum opus. He was admired by F. Scott Fitzgerald, whose first book, This Side of Paradise, was written under the literary influence of Compton.

Sinister Street, his lengthy 1913–14 Bildungsroman, influenced George Orwell and Cyril Connolly, who both read it as schoolboys. Max Beerbohm praised Mackenzie's writing for vividness and emotional reality. Frank Swinnerton, a literary critic, comments on Mackenzie's "detail and wealth of reference". Sir John Betjeman said of it, "This has always seemed to me one of the best novels of the best period in English novel writing." Henry James thought it to be the most remarkable book written by a young author in his lifetime. After his conversion to Roman Catholicism in 1914, Mackenzie explored religious themes in a trilogy of novels, The Altar Steps (1922), The Parson's Progress (1923) and The Heavenly Ladder (1924).

In 1922, Robin Legge, chief music critic of The Daily Telegraph, encouraged Mackenzie to write some of the earliest gramophone record reviews. In 1923 he and his brother-in-law Christopher Stone founded Gramophone, the still-influential classical music magazine. Mackenzie continued to edit the magazine until 1961. He was also the literary critic for the London-based national newspaper Daily Mail.

Following his time on Capri, socialising with the gay exiles there, he treated the homosexuality of a politician sensitively in Thin Ice (1956). The Lunatic Republic (1959) is a political satire. For the version of English spoken by the inhabitants of Lunamania on the far side of the Moon, Mackenzie invented over 150 new words.

Greek Memories
Mackenzie worked as an actor, political activist and broadcaster. He served with British Intelligence in the Eastern Mediterranean during the First World War, later publishing four books on his experiences. According to these books, he was commissioned in the Royal Marines, rising to the rank of captain. His ill-health making front-line service impractical, he was assigned counter-espionage work during the Gallipoli campaign, and in 1916 built up a considerable counter-intelligence network in Athens, Greece then being neutral. He is alleged to have taken part in an attempt to assassinate the King by poison in August 1916, during which the royal palace was to be surrounded by fire to prevent him escaping. While his secret service work seems to have been valued highly by his superiors, including Sir Mansfield Smith-Cumming, his passionate political views, especially his support for the Venizelists, made him a controversial figure and he was expelled from Athens following the Noemvriana.

In 1917, he founded the Aegean Intelligence Service, and enjoyed considerable autonomy for some months as its director. He was offered the Presidency of the Republic of Cerigo, which was briefly independent while Greece was split between Royalists and Venizelists, but declined the office. He was recalled in September 1917. Smith-Cumming considered appointing him as his deputy, but withdrew the suggestion after opposition from within his own service, and Mackenzie played no further active role in the war. In 1919, he was appointed an Officer of the Order of the British Empire (OBE), and was also honoured with the French Legion of Honour, the Serbian Order of the White Eagle, and the Greek Order of the Redeemer.

After the publication of his Greek Memories in 1932, he was prosecuted the following year at the Old Bailey under the Official Secrets Act for quoting from supposedly secret documents. His account of the trial, vividly described, is in Octave Seven (1931–38) of his autobiography: the result was a fine of £100 and (prosecution) costs of £100. His own costs were over £1,000. Mackenzie states that a plea-bargain (described in the text as "an arrangement") had been reached with the judge prior to the trial: in exchange for his pleading guilty, he would be fined £500 with £500 costs. However Sir Thomas Inskip, then attorney general who prosecuted the case, succeeded in annoying the trial judge to such an extent that he then reduced the penalties to a token amount. Even so, the costs of his defence and the withdrawal from sale of Greek Memories left Mackenzie out of pocket and an attempt was made to ask the authorities exactly which passages in the book they objected to so it could be re-issued with the offending material removed. This approach was rebuffed. In Octave Eight, covering the years 1939–45, Mackenzie recounts that the matter was raised in Parliament and a new version of Greek Memories was eventually published in 1939. However, in spite of the withdrawal of the 1st edition a copy had already been deposited at the British Museum (which then contained what is now the independent British Library) but was not given a general catalogue reference making it effectively impossible to access. In 1994 The Guardian newspaper published an article about this anomaly The muzzling of Compton Mackenzie – 62 years on. Following this the 1932 edition was entered in the British Library's public catalogue. In 2011 Biteback published the original 1932 edition of Greek Memories, including the Secret Intelligence Service memo detailing the offending passages of the book.

He was president of the Croquet Association from 1953 to 1966. He was president of the Siamese Cat Club. He was the subject of This Is Your Life in 1956 when he was surprised by Eamonn Andrews at the King's Theatre, Hammersmith, London.

A strong supporter of Edward VIII, Mackenzie was a leading member of the Octavians, a minor society that campaigned in support of Edward VIII and for his return to the UK after he became the Duke of Windsor. According to a 1938 Time article Mackenzie had intended to write a book in support of Edward but abandoned the plan when the Duke asked him not to publish.

Capri
Between 1913 and 1920 he lived with his wife, Faith, on Capri at Villa Solitaria, and returned to visit in later years. This Italian island near Sorrento was known to be tolerant not just of foreigners in general, but of artists and homosexuals in particular. He became friends with the writer Somerset Maugham, a frequent visitor to the island. Faith had an affair with the Italian pianist Renata Borgatti, who was connected to Romaine Brooks.

Compton Mackenzie's observations on the local life of the Italian islanders and foreign residents led to at least two novels, Vestal Fire (1927) and Extraordinary Women (1928). The latter, a roman à clef about a group of lesbians arriving on the island of Sirene, a fictional version of Capri, was published in Britain in the same year as two other ground-breaking novels with lesbian themes, Virginia Woolf's love letter to Vita Sackville-West, Orlando, and Radclyffe Hall's controversial polemic, The Well of Loneliness, but Mackenzie's satire did not attract legal attention. He was a friend of Axel Munthe, who built Villa San Michele, and Edwin Cerio, who later became mayor of Capri.

Scottish identity
Mackenzie went to great lengths to trace the steps of his ancestors back to his spiritual home in the Highlands, and displayed a deep and tenacious attachment to Gaelic culture throughout his long and very colourful life. As his biographer, Andro Linklater, commented, "Mackenzie wasn't born a Scot, and he didn't sound like a Scot. But nevertheless his imagination was truly Scottish." He was an ardent Jacobite, the third Governor-General of the Royal Stuart Society, and a co-founder of the National Party of Scotland. He became a member of the Scottish Arts Club in 1929. He was rector of University of Glasgow from 1931 to 1934, defeating Oswald Mosley, who later led the British Union of Fascists, in his bid for the job.

From 1920 to 1923 Mackenzie was the Tenant of Herm and Jethou. He built a house on Barra, in the Western Isles (Outer Hebrides) of Scotland, in the 1930s. On Barra, he gained inspiration and found creative solitude, and befriended a great number of people that he described as "the aristocrats of democracy".

He was a founding member of the short-lived secret organisation Clann Albain.

Private life
Mackenzie was married three times. On 30 November 1905 (aged 22), he married Faith Stone in St Saviour's, Pimlico: they remained married for more than 50 years, until her death. In 1962 (aged 79), he married Christina MacSween, who died the following year. Lastly, he married his deceased wife's sister, Lilian MacSween in 1965 (aged 82). (died 2009)

Mackenzie was a supporter of West Bromwich Albion F.C. Although from the north east of England, he "was influenced in the choice of Albion as 'my' team by the fact that their ground was romantically called The Hawthorns and that they were nicknamed the Throstles".

He was also a fan of snooker, and gave an account of the origin of the game's name in The Billiard Player magazine of 1939, describing how young lieutenant Neville Chamberlain (not the former British Prime Minister) was experimenting on the officers' mess table with the existing game of "Black Pool" featuring 15 red balls and a black. He presented the World Championship trophy to Joe Davis at the 1939 Championships.

After his retirement, Mackenzie sold the entire copyright in 20 of his books for a lump sum of £10,000 arguing that this was a capital receipt and not the proceeds of the business. The Court of Appeal held that this was assessable income as part of the proceeds of his business: Mackenzie v Arnold (1952) 33 TC 363.

Mackenzie died on 30 November 1972, aged 89, in Edinburgh and was interred in St Barr's churchyard cemetery at Eoligarry on the Isle of Barra.

Select bibliography
A list based on Kenneth Young's Compton Mackenzie, 1968:

Verse

 * Poems (1907)
 * Kensington Rhymes (1912)

Plays

 * The Gentleman in Grey (1907)
 * Columbine (1920)
 * The Lost Cause (1931)

Novels and romances

 * The Passionate Elopement (1911), a revision of the play The Gentleman in Grey
 * Carnival (1912), an early best-seller, filmed as The Ballet Girl (1916), Dance Pretty Lady (1932) and Carnival (1946)
 * Sinister Street (1914), 2 volumes, a Bildungsroman
 * Guy and Pauline (1915), a sequel to Sinister Street, also published as Plashers Mead
 * The Early Life and Adventures of Sylvia Scarlett (1918), a sequel to Sinister Street, filmed in 1935 as Sylvia Scarlett
 * Sylvia and Michael (1919), a sequel to Sylvia Scarlett
 * Poor Relations (1919)
 * The Vanity Girl (1920)
 * Rich Relatives (1921)
 * The Altar Steps (1922)
 * The Seven Ages of Woman (1923)
 * The Parson's Progress (1923), a sequel to The Altar Steps
 * The Heavenly Ladder (1924), a sequel to The Parson's Progress
 * The Old Men of the Sea (1924)
 * Coral (1925), a sequel to Carnival
 * Fairy Gold (1926)
 * Rogues and Vagabonds (1927)
 * Vestal Fire (1927)
 * Extremes Meet (1928)
 * Extraordinary Women (1928)
 * The Three Couriers (1929)
 * April Fools (1930), a sequel to Poor Relations
 * Buttercups and Daisies (1931)
 * Our Street  (1931)
 * Water on the Brain (1933), an absurdist spy novel parody
 * The Darkening Green (1934)
 * Figure of Eight (1936)
 * The Four Winds of Love (6 volumes 1937–45)
 * The Red Tapeworm (1941)
 * The Monarch of the Glen (1941)
 * Keep the Home Guard Turning (1943)
 * Whisky Galore (1947), filmed in 1948 as Whisky Galore!
 * Hunting the Fairies (1949)
 * The Rival Monster (1952)
 * Ben Nevis Goes East (1954)
 * Thin Ice (1956)
 * Rockets Galore (1957), a sequel, filmed in 1958 as Rockets Galore!
 * The Lunatic Republic (1959)
 * Mezzotint (1961)
 * The Stolen Soprano (1965)
 * Paper Lives (1966), a sequel to The Red Tapeworm

History and biography

 * Gallipoli Memories (1929)
 * First Athenian Memories (1931)
 * Greek Memories (1932), a continuation of First Athenian Memories
 * Prince Charlie (1932), biography
 * Marathon and Salamis (1934), history
 * Prince Charlie and His Ladies (1934), history
 * Catholicism and Scotland (1934), history
 * The Book of Barra (1936), (with J.L. Campbell)
 * Pericles (1937), history
 * The Windsor Tapestry Being a study of the life, heritage and abdication of HRH The Duke of Windsor (1938)
 * Aegean Memories (1940)
 * Calvary (with F.C. Mackenzie) (1942)
 * Wind of Freedom: The history of the invasion of Greece by the Axis powers, 1940–1941 (1943)
 * Mr Roosevelt (1943), biography
 * Brockhouse (1944), history
 * Dr Benes (1946), biography
 * The Vital Flame (1946) (on the gas industry)
 * All over the Place (1949), diary
 * Eastern Epic, an account of the part played by the Indian Army in the Second World War, Vol. I (1951)
 * I Took a Journey ... A tour of the National Trust Properties (1951)
 * The House of Coalport 1750–1950 (1951), history
 * The Queen's House. A history of Buckingham Palace (1953), history
 * Realms of Silver. One Hundred Years of Banking in the East (1954), a history of the Chartered Bank of India, Australia and China.
 * The Savoy of London (1953), history
 * My Record of Music (1955), musical autobiography
 * Sublime Tobacco (1957)
 * Cats' Company (1960) with photos by Harrison Marks
 * Greece in My Life (1960), essays
 * Catmint (1961), imaginary conversations
 * Look at Cats (1964)
 * Little Cat Lost (1965)

Essays and criticism

 * Gramophone Nights (1923), (with Archibald Marshall)
 * Unconsidered Trifles (1932), collected essays.
 * Literature in My Time (1933), criticism
 * Reaped and Bound (1933), collected essays
 * A Musical Chair (1939), essays
 * Echoes (1954), broadcast talks
 * On Moral Courage (1962)

Children's stories

 * Santa Claus in Summer (1924)
 * Told (1930), tales and verses
 * Little Cat Lost (1965)
 * The Stairs That Kept Going Down (1967)
 * The Strongest Man on Earth (1967), mythology for young people

Autobiography

 * My Life and Times in ten "Octave" volumes each intended to cover eight years, published as:
 * Octave One (1883–1891)
 * Octave Two (1891–1900)
 * Octave Three (1900-1907)
 * Octave Four (1907-1915)
 * Octave Five (1915-1923)
 * Octave Six (1923-1930)
 * Octave Seven (1931-1938)
 * Octave Eight (1939-1946)
 * Octave Nine (1946-1953)
 * Octave Ten (1953–1963)

Biographies

 * Linklater, Andro Compton Mackenzie: A Life The Hogarth Press (1992, London)
 * Mackenzie, Lady Faith Compton More than I should, Collins (1940)

title: Compton Mackenzie


text: Talk:Tremoctopus

title: Talk:Tremoctopus


text:
Glass octopus

Vitreledonella richardi, also known as the glass octopus, is an incirrate octopus. It is in the genus Vitreledonella and of the family Amphitretidae.

Description
Vitreledonella richardi, also known as the glass octopus, is a transparent, gelatinous, and almost colorless meso- to bathypelagic octopod found worldwide in tropical and subtropical seas. Because this octopus mostly lives in deep ocean waters, there have been very few observations of it in the wild. One of the most recent sightings of the glass octopus occurred in 2021, when marine scientists from Boston University captured video of two glass octopuses while aboard the Falkor research vessel. It has a mantle length up to 11 cm and a total length up to 45 cm in adults. The upper three pairs of arms are subequal in length; in juveniles about as long as the mantle, in adults two to three times mantle length. The fourth, ventral pair is slightly shorter. Suckers are small, widely separated, and in a single series. Male glass octopuses have a hectocotlylized third left arm. This refers to when the male is ready to mate with a female, the arm can detach and release sperm to impregnate the female octopus. The large ampulla and the elongate accessory gland lie out among the internal reproductive organs, notable among mature males alongside its reproductive anatomical counterparts. Seen from the side, its eyes are rectangular. This cylindrical design, with the lens centered, results in a restricted horizontal field of vision, but is thought to be an adaptation that reduces the eye's silhouette when viewed from below as part of the animal's method of camouflage. The radula is heterodont, also known as heteroglossan, in which the middle or rhachidian tooth in each array has multiple cusps and the lateral teeth are unicuspid.

Mating
Vitreledonella richardi is ovoviviparous. The female broods her eggs, of which hundreds are within the mantle cavity. Each egg measures about 4 mm in length. Newborn larvae have a mantle length around 2.2 mm. The young paralarvae are left to fend for themselves as the mother quickly dies after their birth.

Researchers at Central Marine Fisheries Research Institute conducted an experiment that later concluded young paralarvae beaks change as they get older, along with the depth of water which they want to live in. Younger paralarvae have stronger beaks to tear prey's flesh off since that was all they ate. Once they got older, they lose that beak and form a faint, less developed one to eat softer-bodied prey. With their diet changing, they are predicted to move up from deeper levels (between 310 and 440, but can be as far as 1000 m) to the subsurface (between 110 and 300 m) as they get older.

Ecology
Found mostly in the tropic and subtropic regions of seas worldwide, the glass octopus is prey to the feeding ecology of Northern bottlenose whales. More specifically noted is that of Tåsinge whale.

title: Glass octopus


text:
Bruce Robinson

Bruce Robinson (born 2 May 1946) is an English actor, director, screenwriter and novelist. He wrote and directed Withnail and I (1987), a film with comic and tragic elements set in London in the late 1960s, which drew on his experiences as a struggling actor, living in poverty in Camden Town.

As an actor, he has worked with Franco Zeffirelli, Ken Russell and François Truffaut.

Early life
Bruce Robinson was born in London. He grew up in Broadstairs, Kent, where he attended the Charles Dickens Secondary Modern School. His parents were Mabel Robinson and American lawyer Carl Casriel, who had a short-term relationship during World War II. His father was a Lithuanian Jew. As a child, Robinson was constantly brutally abused by his stepfather Rob (an ex RAF navigator and a wholesale newsagent), who knew the boy was not his son. He had an elder sister Elly, whom he asked to teach him some French.

Film career
In his youth, Robinson aspired to be an actor and was admitted to the Central School of Speech and Drama in London. His first film role was as Benvolio in Franco Zeffirelli's film adaptation of Romeo and Juliet (1968). He then appeared in Ken Russell's The Music Lovers (1970), Barney Platts-Mills's Private Road (1971) and François Truffaut's The Story of Adèle H. (1975). After spending several years out of work and living on social security payments, he became disenchanted and began writing screenplays. He was soon commissioned by David Puttnam to write the screenplay for Roland Joffé's The Killing Fields (1984). Robinson was nominated for an Academy Award and won a BAFTA for his work. In 1989, Robinson wrote again for Joffé on Fat Man and Little Boy. He returned to acting briefly in 1998, taking a role in the film Still Crazy.

He is perhaps best known as the creative force behind the loosely autobiographical film Withnail and I (1987) which he based on his time as a struggling out-of-work actor. The character 'Withnail' is reportedly based on his friend, Vivian MacKerrell, the character 'I' (Marwood), on himself. Though unsuccessful at the box office, because of its success on video it has since been described as "one of Britain's biggest cult films". The film also launched the acting career of Richard E. Grant.

Robinson's next two outings as a director (How to Get Ahead in Advertising, teaming him again with Richard E. Grant, and Jennifer 8, a Hollywood thriller) were not as well received. Robinson became disillusioned with the restrictive film-making practices of Hollywood and stopped directing to concentrate solely on writing. He wrote the screenplays for the films Return to Paradise (1998) and In Dreams (1999), but both were altered drastically by their producers, leaving Robinson once again disappointed.

Robinson eventually returned to directing with an adaptation of Hunter S. Thompson's novel The Rum Diary, with the main role performed by Johnny Depp. With Aaron Eckhart and Richard Jenkins also on board, filming started on 25 March 2009 in Puerto Rico. It was released in 2011. In 2012, Robinson's comic novella Paranoia in the Launderette was substantially filled out and adapted for the screen as A Fantastic Fear of Everything starring Simon Pegg. Robinson has completed a screenplay for his novel The Peculiar Memories of Thomas Penman and a book on Jack the Ripper, titled They All Love Jack.

Author
Robinson is also a successful author. His first published work was the semi-autobiographical novel The Peculiar Memories of Thomas Penman in 1998, based on his own childhood growing up in Broadstairs, Kent. In 2000, Smoking in Bed: Conversations with Bruce Robinson, edited by Alistair Owen, was published, made up of a selection of interviews given by Robinson. Meanwhile, since becoming a father, Robinson has also written two children's books, The Obvious Elephant (2000) and Harold and the Duck (2005), both illustrated by his wife. The former is also available as an audiobook edition (2003), read by Lorelei King and Michael Maloney. He spent about 15 years collecting and researching the materials on the mystery of Jack the Ripper, which later became his book They All Love Jack: Busting the Ripper (2015). Robinson identified songwriter Michael Maybrick as his prime suspect for the killings.

Personal life
Robinson married artist Sophie Windham in 1984, and they live in England. They have a daughter, Lily, and a son, Willoughby.

Robinson claimed to have been the target of unwanted sexual advances by Franco Zeffirelli during the filming of Romeo and Juliet, in which Robinson played Benvolio. Robinson says that the lecherous character of Uncle Monty in the film Withnail and I was influenced by Zeffirelli.

Actor

 * Romeo and Juliet (1968) as Benvolio
 * The Other People (1968) as Colin
 * Baby Love (1969) as Man in Nightclub (uncredited)
 * Tam-Lin (1970) as Alan
 * The Music Lovers (1971) as Alexei Sofronov
 * Private Road (1971) as Peter Morrissey
 * The Story of Adèle H. (1975) as Lt Albert Pinson
 * Los viajes escolares (1976) as Óscar
 * The Brute (1977) as Mark
 * Kleinhoff Hotel (1977) as Karl Axel
 * Harry's War (1981) as IRS Agent #2
 * How to Get Ahead in Advertising (1989) as The Boil (voice, uncredited)
 * Still Crazy (1998) as Brian Lovell

Books

 * Paranoia in the Launderette (1998)
 * The Peculiar Memories of Thomas Penman (1998)
 * The Obvious Elephant (2000)
 * Smoking in Bed: Conversations With Bruce Robinson (edited by Alastair Owen) (2001)
 * Harold and the Duck (2005)
 * They All Love Jack: Busting the Ripper (2015)

Plays

 * Withnail and I (2024)

title: Bruce Robinson


text:
Talk:Glass octopus

Potential Revisions
Hello, my team and I are doing research on the Glass Octopus for a class project at Texas A & M Corpus Christi University. As a group, we have decided we would like to break up the large description paragraphs into different sub-headings. Such as "Mating Process" and "Anatomy" to break it down and make information more clear about what that specific sub-heading will be about. It'll help the audience locate information easier and have structure. Colbycoker (talk) 19:19, 28 March 2022 (UTC)

Media coverage

 * https://nypost.com/2021/07/16/rare-glass-octopus-filmed-in-remote-corner-of-pacific-ocean/
 * https://www.foxnews.com/science/translucent-glass-octopus-sighted-by-marine-scientists-in-pacific-ocean
 * https://www.hindustantimes.com/trending/glass-octopus-with-transparent-skin-captured-on-camera-rare-video-goes-viral-101626009379632.html

External link candidates

 * https://www.youtube.com/watch?v=IJeUQohw4D8 (original video published by Live Science)
 * https://www.youtube.com/watch?v=FIe2zG_I4ro (supercut showing just the octopus footage)

Wiki Education assignment: ENGL-122
— Assignment last updated by Bendoncaramel (talk) 01:52, 19 April 2023 (UTC)

Wiki Education assignment: Deep-Sea Biology
— Assignment last updated by HeatherOlins (talk) 14:51, 11 March 2024 (UTC)

title: Talk:Glass octopus