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Talk:Behçet's disease

Treatment section does not reflect the actual practice
There's too much emphasis on the anti TNF drugs, which are now only experimental and only used as a last resort in severe refractory uveitis. They have yet not proven effective for any other manifestation of Behcet's. Current treatment approach in Behcet's now has a basic paradigm as to whether the disease is organ/life threatening or not. For life threatening or organ threatening disease, high dose corticosteroids, cyclophosphamide, cyclosporine or azathioprine are used. Refractory uveitis is treated with interferon or infliximab if necessary. Otherwise colchicine, low dose corticostreroids in short courses or nonsteroidal antiinflammatory drugs are used for skin and mucosa diseasea or arthritis. —Preceding unsigned comment added by Ekoraytascilar (talk • contribs) 11:48, 29 April 2008 (UTC)

Is
Is Morbus Behçet Latin for 'Behçet's disease' ? -- PFHLai 03:36, 30 May 2004 (UTC)
 * It's the same thing with a Latin name. A pubmed search for the term only brings up German language articles. Zyryab 14:04, 17 February 2006 (UTC)

Adamantiades-Behçet's disease
I reverted a complicated cut & paste move done by on 10 April. No discussion took place, and the edit histories were messed up. I'm aware the disease presently favours the Turkish protagonist (compare Crohn's disease), but unless strong Google evidence can be provided that the compound name is more popular I'd be strongly opposed to using this as per WP:NC. JFW | T@lk  02:36, 12 May 2006 (UTC)

 * I reverted it again for the same reasons. Also all of the resources linked to in the infobox refer to it as Behçet's disease or syndrome and none as Adamantiades-Behçet's disease. --WS 11:30, 10 October 2006 (UTC)

Hey guys they even changed the name of the associations in external links to fit to that. I have reverted it What a joke. The same redirect also has been done in German. Any German speaking Wikian please correct this. MKS 15:47, 13 December 2006 (UTC)

Under Causes
I found that under causes it states that Behcets disease is not hereditary. That, however is not true at all. How would the disease be passed on? It is genetic and is prevalent amoung those in the mediteranean. More than likely the disease is provoked by another strong illness. Actually, I am not trying to prove a point by saying this, I just realize that saying it is absolutly not hereditary is not true.

Imput on this would be helpful. Thanks

---Stephen

 * Behcet disease is associated with HLA-B51. For more details see the OMIM entry. --WS 11:34, 10 October 2006 (UTC)

Removing ankylosing spondylitis
I don't understand why there is a discussion of the cause of ankylosing spondylitis on the page, as it is 1) not 'fact' but debatable and 2) has nothing to do with Behçet Disease. If no-one objects I will remove this part.

I was wondering the same thing, it wanders off at a tangent and is largely incomprehensible anyway. Would support removal. Brianpie (talk) 11:30, 5 January 2008 (UTC)

I agree. While I don't know much about ankylosing spondylitis, I was very surprised to see the claim that it "is" caused by cross-reaction against a particular infection. Checking the wikipedia entry on AS, it's pretty plain that this is just a hypothesis - most diseases have seen dozens of hypotheses come and go. -Eric J. Johnson

I also Agree.. This ankylosing spondylitis discussion has no proven basis, and there's no evidence that the same applies for Behcet's. -Koray Tascilar

I removed the anklosing spondylitis. The individual who posted this drowned both the HLA-B and HLA-B27 page with this stuff. I have inserted information about HLA-B51 that links (after 2-years as a red-link) to a page I created HLA-B51, (snorting). Also I put a pretty little picture on the page of a B51 molecule. I should note this page has alot of problems with unreferenced information. I cut a whole swath of the AS stuff out.

As far as the proven basis is concerned, I use the word, associated, B51 alleles are linked closely to other genes and these other genes that evolved after the linkage was formed could cause disease, associated means one is close to and may be at the locus/allele that causes increased incidence.PB666 yap 19:42, 2 August 2008 (UTC)

"Neuro Behcet's"
There's no separate article on this in Wikipedia, though I see all kinds of googles for it....is it the same disease, but with the lesions etc. on the nerves only. My sister's son has it and his behaviour is now getting out of control; the extended care programs in our public medical services plan sent him home from long-term care and it's impacted her life severely, as well as of course his. I realize this isn't the place for expert opinion, I'll take it to the Reference Desk; but just wondering about the absence of an article on the disease, or if maybe this article shouldn't have a section on it (if it's related).Skookum1 (talk) 13:07, 28 March 2009 (UTC)

 * It is exactly the same disease. Some people use the term Neuro Behcet's (or similar) to refer to patients who have significant neurological symptoms. —Preceding unsigned comment added by 86.129.184.82 (talk) 16:54, 22 May 2009 (UTC)

 * I disagree - Neuro-Behcet's is a distinct classification of Behcet's, but is not in fact the "same" disease. I have tested negative for N-BD through MRI's of my brain and lumbar punctures, but am a patient with Behcet's. (If it was the same disease, I could not be both negative and positive.) This is actually related to the first edit I wanted to do on the article - the part in the intro paragraph which claims that Behcet's is a fatal disease. Clarification should be given that Neuro-Behcet's is typically the condition with associated morbidity (although it can rarely occur otherwise.)
 * Just some feedback from someone who has personally dealt with Behcet's every day for years. Thanks.
 * Graced105 (talk) 03:29, 18 January 2011 (UTC)Graced105

 * Many diseases have different manifestations (including severity) in different people, or at different times in the same person. Wikipedia is no place for description of personal experience.  Enhancement of the article's coverage of neurological manifestations sounds like a good idea.  -- Scray (talk) 04:28, 18 January 2011 (UTC)

Direct URL presentation
Since users to edit seem restricted, I just would like to point out that direct presentation of URL occasionally results in abnormal display on the Firefox browser. For instance, URL in "Triolo et. al. (2002)." It may be included in brackets or, in this case, embedding PMID seems appropriate.

--Tossh_eng (talk) 06:35, 1 May 2009 (UTC)

Incorrect reference on neuro-Behcet's
The article claims that neuro-Behcet's disease was first described in 1991. But look at this reference from PubMed:

Neuro-Behçet's disease: report of three cases with a review of the literature. Su SL, Way LJ, Lin RT, Peng MJ, Wu SC. Gaoxiong Yi Xue Ke Xue Za Zhi. 1990 Mar;6(3):155-62. Review.

129.78.64.102 (talk) 04:23, 22 June 2009 (UTC)

Behcet's Disease of the Optic Nerve
The article Behcet's Disease of the Optic Nerve was recently created, and seems like a merger candidate. Rd232 talk 11:47, 19 September 2009 (UTC)

 * I just noticed that (a year and a half late) and tagged it for a merge into this article.  B.Rossow ·  talk  05:43, 28 February 2011 (UTC)

 * support merge as proposed. -- Scray (talk) 12:35, 28 February 2011 (UTC)

 * support merger. Lurkmolsner (talk) 18:03, 8 July 2011 (UTC)

Under "Diagnosis"
It would make sense to me that within the "Diagnosis" section - after the criteria for determining BD - there would be a subsection entitled "Differential Diagnosis" where there would be info pertaining to the many diseases that are clinically similar to manifestations of Behcet's. Graced105 (talk) 03:37, 18 January 2011 (UTC)Graced105

Ambiguous conjunctions
Some of the ands and ors in this article are a bit ambiguous due to lack of commas, so it would be great if someone who knows something about this disease could clarify them. 97.115.133.7 (talk) 07:57, 27 February 2011 (UTC)

Diagnosis seen in a House episode
season 8 episode 14. love is blind. Avkrules (talk) 22:26, 22 March 2012 (UTC)

Synonym?
Oculo-oral-genital syndrome redirects here, but the term is not described as a synonym in the article. I found this source which states that "This oculo-urogenital syndrome now bears his name: 'Behçet's disease'." I'm not sure this is a true synonym, so I leave this here on the talk page for someone else hopefully with better knowledge of this topic to clarify. Lesion ( talk ) 13:14, 13 July 2013 (UTC)

Edit of 18 dec 2013
This appears to be a good faith edit by an IP, however overall since it is the lead we should need a source for this content please. Thank you. Lesion ( talk ) 14:14, 18 December 2013 (UTC)

Proposed merge with Neuro-Behçet's disease
This article describes a particular type or variation of Behçet's disease, not a distinct condition that merits its own article.  B.Rossow ·  talk  20:29, 9 January 2014 (UTC)

 * Agree with that analysis. Lesion  ( talk ) 20:31, 9 January 2014 (UTC)

 * Absoultely not.They are distinct illness' and this proposal may confuse medical officials in diagnosis as there is different types of neuro.These are two kinds of headaches – primary and secondary. In the secondary type, the headache is adjudged to be due solely to a process of disease within the brain. Headache often accompanies the neurological complications that may occur in Behçet’s disease, of which there are three main types: inflammation within the brain (meningoencephalitis), inflammation of the lining of the brain (meningitis) and a disturbance of blood drainage from the brain leading to an increased pressure in the brain (intracranial venous sinus thrombosis)u
 * This merge and proposal may cause particular problems for both neuro and non behcets patients. 90.215.106.230 (talk) 23:13, 19 January 2014 (UTC)

 * I don't believe too many medical professionals are relying on Wikipedia to provide diagnoses, and those who are shouldn't be trusted to diagnose the common cold, let alone a complicated disease like Behçet's. Even the link you posted as a reference at the end of your comment doesn't mention "Neuro-Behçet's disease" by name but instead discusses headaches related to BD. In fact, on the entire BSS site, the only mention of Neuro-Behçet's is in the title of three journal articles (among dozens) on the Clinical Papers page. Mayo Clinic doesn't distinguish it as separate from BD; indeed, their studies only refer to it to describe a particular manifestation of BD symptoms (for example, here, where the subjects are clearly referred to as BD patients). I don't see any problem, either real or potential, arising from such a merge. Splitting this off will only cause confusion and water down any effort to provide and maintain accurate BD info for lay people, the primary audience of Wikipedia.  B.Rossow ·  talk  22:23, 20 January 2014 (TC)

 * Oppose one is a subpage of the other. Doc James  (talk · contribs · email) 23:04, 20 December 2014 (UTC)

unhelpful illustrations
While colourful, I do not think the illustrations of a normal ocular fundus and a normal pupillary light reflex contribute in a meaningful way to this article. Bart (talk) 13:40, 28 January 2014 (UTC)
 * Yes these 2 images seem to show the normal appearance rather than signs associated with Behcet's. Lesion  ( talk ) 15:29, 28 January 2014 (UTC)

Visual quip.
The inflamed eye image in the article makes the article very difficult to read. Regardless of whether such a situation is common or rare, I think that for the sake of readability, it should be left out of the article. --Agamemnus (talk) 19:07, 1 August 2015 (UTC)

 * Pls explain, how does the image make the article less readable? Matthew Ferguson (talk) 19:48, 1 August 2015 (UTC)
 * To me, it's disturbing to view, even on the periphery. I am sure I am not the only one. I'd like to be able to read articles without having to see such images. --Agamemnus (talk) 00:20, 2 August 2015 (UTC)
 * Check this mini-essay out. It's another way to describe my thoughts on the subject: Disturbing_or_upsetting_content. --Agamemnus (talk) 01:19, 2 August 2015 (UTC)
 * This section may provide some guidance as to the way forward Manual_of_Style/Medicine-related_articles. I'll post this on WTMED to get some more opinions. Matthew Ferguson (talk) 06:21, 2 August 2015 (UTC)
 * Yes diseases can be bad. There is a way to turn off images on Wikipedia. I disagree with removing images just because some people find them disturbing. Doc James  (talk · contribs · email) 13:15, 2 August 2015 (UTC)
 * Agree with James. I also want to add a reader comes to this article to be informed or a certain subject matter and we can only describe something so much. Pictures such as the one in question allow us to illustrate certain subject matter better than we otherwise would. Peter.C  •  talk  •  contribs  16:49, 2 August 2015 (UTC)
 * I agree as well that the image should stay. The disease can have disturbing consequences. I understand the image can be a bit jarring to some, but the facts are the facts and it's important that people know what Behcet's disease entails. Many people find images of diseased eyes to be repulsive, but does that mean we shouldn't show representative images of important diseases of the eye? In my view, such images are still warranted., is there perhaps a way to warn readers at the top of the article that certain images within the article may be disturbing to readers? Something akin to a disclaimer/warning so readers sensitive to this kind of thing can at least brace themselves or choose to risk it anyway? TylerDurden8823 (talk) 17:28, 2 August 2015 (UTC)
 * I recall there was an RFC proposing to add collapsible sections for disturbing images in medical articles. The result was against. Matthew Ferguson (talk) 17:38, 2 August 2015 (UTC)
 * Not exactly what I had in mind, but I do remember seeing some kind of discussion like that in the past as well. TylerDurden8823 (talk) 18:01, 2 August 2015 (UTC)
 * A google search shows disturbing images without warnings. Doc James  (talk · contribs · email) 13:29, 3 August 2015 (UTC)
 * True, but Wikipedia is an encyclopedia and google is a search engine. I don't feel strongly about a warning or not since the eye stuff doesn't bother me ;) TylerDurden8823 (talk) 15:26, 3 August 2015 (UTC)
 * I just want to read about it instead of having nightmares. I guess you could say that I have a pretty ability for certain recollection, so that makes these things not so easily forgettable. Not everyone who looks up the article is a med student or in some way needs to see these images. So that is basically the difference: nightmares... Besides, there is Wikimedia Commons and google search, as you suggested. For me, such images hurt more than help. But, let's assume that these images are helpful. I notice that many editors like inserting the most shocking images in Wikipedia despite that they may not be representative. So then the question becomes is the image representative of the most common forms of the disease, and considering that people would most likely be treated for it? Before you answer that, as a contrast, consider whether (easily treatable) diseases on Wikipedia would warrant or do already have images of extremely diseased body parts. --Agamemnus (talk) 08:52, 11 August 2015 (UTC)
 * We could easily swap the order of the two eye images in that section. That would make it slightly less dominant (if you were distracted by it, then you could read more of the ocular section while keeping it 'below the scroll') with zero loss of encyclopedic content.  I'll go do that.  WhatamIdoing (talk) 17:36, 4 August 2015 (UTC)
 * That does help a small amount.. kind of leads in to it now... thanks...--Agamemnus (talk) 08:52, 11 August 2015 (UTC)
 * I cover up images on some articles.. It reminds me of Frank Furedi's 2016 book What's Happened To The University, describing trigger warnings thusly: "Upon studying Robert Lowell's poem 'For the Union of the Dead', we were warned that the poem contained a racial slur and that we could leave the room before it was read out or cover it up on the page." Jimw338 (talk) 05:47, 21 January 2017 (UTC)

"Spontaneous remission over time is common for individuals with Behçet’s syndrome."
This is what the ref says here. There is no 2018 version? So reverted. Doc James (talk · contribs · email) 11:43, 13 February 2018 (UTC)
 * User:CuriousOliver did you read this bit? Do you feel it says something different? Doc James  (talk · contribs · email) 21:34, 2 April 2019 (UTC)

89.241.198.105 (talk) 09:14, 28 June 2021 (UTC)== Pronunciation ==

Could someone add an authoritatively-sourced indication of how it's pronounced? Presumably the cedilla makes the "C" soft so it's "Bersays" or "Baysays"? Till I noticed the cedilla I'd thought perhaps "Behcheys"? Hmm. Pam D  23:50, 6 November 2019 (UTC)

Although I can't give any written links (hence putting here), I can tell you that having the disease I can state that Professor Kevin Davies, who diagnosed me and is one of the leading experts here in the UK, plus the Dr at The Royal Sussex County Hospital who reviews my condition and a consultant at the Sussex Eye Hospital who reviews my eye condition all state that it is pronounced as if it were spelt "Betchet's". That is to say the 1st syllable is as in the word "bet" and the second as in "ratchet". I have also asked 2 Turkish people who have confirmed this.89.241.198.105 (talk) 09:14, 28 June 2021 (UTC)

Adding ‘Fatigue’ as a symptom
https://pubmed.ncbi.nlm.nih.gov/30299243/ and other references HillsideAuspex (talk) 07:33, 18 August 2021 (UTC)

I zoomed into the Behçets UK conference “ Medicine and Me:Living with Behçet’s” back in April. Directors of all 3 UK Behçets Centres of Excellence attended and fatigue was high on the agenda as one of the most life-affecting aspects of Behçets. Over the past 5 years I have filled in several research questionnaires on fatigue while attending Behçets clinics as a patient. It would be good if the Wikipedia page could reflect the outcomes of this research. I have not edited Wikipedia before so please be gentle with me! HillsideAuspex (talk) 07:55, 18 August 2021 (UTC)

The lupus page has a paragraph ‘Systemic’ under symptoms, where fatigue is included. On the rheumatoid arthritis page it is included under ‘constitutional symptoms’. HillsideAuspex (talk) 08:01, 18 August 2021 (UTC)

On the NHS UK website it says: General symptoms

It's also common for people with Behçet's disease to experience more general symptoms as a result of the condition, including periods of extreme physical or mental tiredness (fatigue). This can affect a person's ability to perform any sort of activity. HillsideAuspex (talk) 08:04, 18 August 2021 (UTC)

Copyright problem removed
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title: Talk:Behçet's disease


text:
Committee for the Prevention of Destruction of Antiquities on the Temple Mount

The Committee for the Prevention of Destruction of Antiquities on the Temple Mount is a group of archaeologists, intellectuals and other prominent individuals in Israel formed in response to concerns about damage to antiquities from excavations at the Temple Mount and alleged attempts by the Jerusalem Waqf to remove archaeological evidence of a Jewish Temple at the Temple Mount.

History
The committee was founded in January 2000 by archaeologists Eilat Mazar of Hebrew University, Gabriel Barkay, and other prominent individuals in response to a protruding bulge discovered in 2000 in the Temple Mount's southwest corner.

The committee has alleged that the Jerusalem Waqf attempted to remove archaeological evidence that a Jewish temple ever stood at the Temple Mount by opening a mosque at Solomon's Stables in 1999. To monitor the Waqf's construction at the site in the early 2000s, the committee hired aircraft to take aerial photos and monitor for construction progress. For decades, the committee pushed for efforts to analyze dirt and rubble dug up during Muslim construction at the Temple Mount site, which Muslim and Jordanian authorities have rejected. Between 2004 and 2017, volunteers associated with the committee went through the dirt removed by the Waqf from the site during construction, discovering half a million pieces of rubble from the First Temple and Second Temple eras. The committee filed a petition to the Israel Supreme Court in 2004 to prevent the Israeli government and Jerusalem Waqf from removing 3,000 tons of dirt from the Temple Mount site. Justice Jacob Turkel granted the group's petition. In 2005, the group publicly criticized the Israeli government for not stopping Waqf construction on the Temple Mount.

In 2018, Zachi Dvira, on behalf of the committee, shared video footage of a multi-date "beautification project" by Muslim volunteers removing earth and stones from atop the Temple Mount, which he claimed were dumped by the Waqf during unauthorized excavations since the early 2000s. Archaeologists had been prevented by Israeli and Muslim authorities from examining the contents.

Members come from a broad swath of Israeli society, from archaeologists to members of the security establishment and politicians. These include former mayor of Jerusalem Teddy Kollek, poet Haim Gouri, and the novelists Amos Oz and A. B. Yehoshua.

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


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User:Michaeltoe

Yay, this is my dumb little page!

 * Born: June 20th 1984
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John of Nikiû

John of Nikiû (fl. 680-690) was an Egyptian Coptic bishop of Nikiû (Pashati) in the Nile Delta and general administrator of the monasteries of Upper Egypt in 696. He is the author of a Chronicle extending from Adam to the end of the Muslim conquest of Egypt. John of Nikiû's Chronicle contains important historical details otherwise unknown.

Life
There are two main sources for John's life. The first is the History of the Patriarchs by Severus, Bishop of Al-Ashmunyn (Heliopolis). This draws on two originally independent biographies that mention John: those of Pope Isaac of Alexandria (690-692 CE) and Pope Simeon I of Alexandria (692-700 CE). The second source is the Life of Isaac of Alexandria composed by John's successor as bishop of Nikiu, Mena of Nikiu, between 697 and 700 CE.

According to the History of the Patriarchs, John lived under the Patriarchs John III, Isaac, and Simeon. The Patriarch Simeon removed John from office, for having disciplined a monk guilty of some moral offence so severely that the monk died ten days later.

Chronicle
The original editor of this text, Zotenberg, argued that John of Nikiû's Chronicle was originally written mostly in Greek, theorising that some of the name forms indicate that John wrote the sections concerning Egypt in Coptic. Scholarly opinion has shifted, however, to the belief that this chronicle was probably written in Coptic. The work survives only in a Ge'ez translation. In 1602, an Arabic translation of the original was made. Sections of the text are obviously corrupted with accidental omissions. Most notably, a passage covering thirty years (from 610 to 640) is missing. The narrative, especially the earlier sections up until the reign of Constantine, has many obvious historical errors. These may be due to mistakes by the copyist, or to a policy of deliberate negligence towards Pagan history. There are also many instances of myth and less a reliance on pure history, for instance, Julius Caesar's mother being cut open to birth him, resulting in a Caesarian section. This is a fable made up by later historians and bears no evidence to historical fact. The author, a catholic bishop, is more interested in telling moralising tales and history from a religious perspective, than relating pure history.

John's view of the earliest periods of history is informed by sources such as Sextus Julius Africanus and John Malalas. The Chronicle is most noteworthy for its passages dealing with the early 7th century. John covers in detail the revolt of the Thracian armies in 602 and the subsequent overthrow of the Emperor Maurice by the usurper Phocas. His account adds considerably to our knowledge of the reign of Phocas and particularly to the successful revolt against him begun at Carthage by Heraclius. Unfortunately, the section dealing with the climactic Persian wars waged by Heraclius is not extant.

Perhaps the most important section of John's Chronicle is that which deals with the invasion and conquest of Egypt by the Muslim armies of Amr ibn al-Aas. Though probably not an eyewitness, John was most likely of the generation immediately following the conquest, and the Chronicle provides the only near-contemporary account. John describes the major events of Amr's campaign, such as the taking of the Babylon Fortress and the capture of Alexandria. Though the timeline is occasionally confusing, its narrative details are often vivid.

The main English translation of John's Chronicle is that of R.H. Charles. In it, John vividly records the fear that gripped Egypt during the Muslim invasions: "Then a panic fell on all the cities of Egypt, and all their inhabitants took to flight, and made their way to Alexandria, abandoning all their possessions and wealth and cattle." He also makes several mentions of alleged atrocities committed against the Copts by the Arabs: "And these Ishmaelites came and slew without mercy the commander of the troops and all his companions. And forthwith they compelled the city to open its gates, and they put to the sword all that surrendered, and they spared none, whether old men, babe or woman." Also: "And thereupon the Moslem made their entry into Nakius, and took possession, and finding no soldiers (to offer resistance), they proceeded to put to the sword all whom they found in the streets and in the churches, men, women, and infants, and they showed mercy to none." John also reports the prohibitive new taxes placed on the native population. In some cases, the taxes were so burdensome that families were forced to sell their children into slavery. He also admonishes Egyptians who abandoned Christianity in favour of Islam.

Writing from a miaphysite point of view — at odds with the dyophysite Christology affirmed at the Council of Chalcedon in 451 — John describes the Islamic invasion of his homeland as divine punishment for the Chalcedonian beliefs which held sway in the Byzantine Empire. At the close of his Chronicle, John describes the despair felt by the conquered Alexandrians, writing: "None could recount the mourning and lamentation which took place in that city....And they had none to help them, and God destroyed their hopes and delivered the Christians into the hands of their enemies." However, the account ends on a note of hope and faith: "But the strong beneficence of God will put to shame those who grieve us, and He will make His love for man to triumph over our sins, and bring to naught the evil purposes of those who afflict us, who would not that the King of Kings and Lord of Lords should reign over them, (even) Jesus Christ our true God. As for those wicked slaves, He will destroy them in evil fashion: as saith the holy Gospel: 'As for Mine enemies who would not that I should reign over them, bring them unto Me.'"

Editions and translations

 * ; Introduction and English translation from Tertullian.org; Introduction and English translation from earlychristianwritings.com.
 * "La Chronique de Jean de Nikioû", ed. and translated into French by H. Zotenberg in Notices et Extraits des manuscrits de la Bibliothèque Nationale, t. XXIV, I, pp. 125–605 (Paris, 1883) and also separately (Paris, 1883). (Online version in Gallica website at the "Bibliothèque nationale de France")
 * "La Chronique de Jean de Nikioû", ed. and translated into French by H. Zotenberg in Notices et Extraits des manuscrits de la Bibliothèque Nationale, t. XXIV, I, pp. 125–605 (Paris, 1883) and also separately (Paris, 1883). (Online version in Gallica website at the "Bibliothèque nationale de France")

title: John of Nikiû


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Renée Estevez

Renée Pilar Estevez (born April 2, 1967) is an American actress and screenwriter.

Early years
Estevez was born in New York City, the youngest child and only daughter of artist Janet (née Templeton) and actor Martin Sheen (legally Ramón Estévez). Her father is of Irish and Spanish descent. Her three older brothers are also actors: Emilio Estevez, Ramon Estevez and Charlie Sheen (born Carlos Estévez).

Career
Estevez started her acting career in 1986 starring in a CBS Schoolbreak special, Babies Having Babies. Estevez has had secondary roles in films since 1986's Shattered Spirits, including the character Betty Finn in the cult favorite Heathers. She was the final girl in the horror film Sleepaway Camp II: Unhappy Campers (1988). She he has guest starred on JAG and MacGyver. She appeared in a regular guest-starring role on The West Wing as Nancy, an office assistant in the Oval Office of President Josiah Bartlet (who is played by her father Martin Sheen). She has also had cameo roles in her brothers' and father's films, including The Way, American film starring Martin Sheen and directed by Emilio Estevez. She also wrote for the TV series Anger Management which starred her brother Charlie Sheen. Estevez has not acted since 2015.

Personal life
Estevez married Jason Thomas Federico, a professional golfer and chef in New York. They met at the California Culinary Academy, where he received a degree in culinary arts and she studied pastry and baking science. They married on October 11, 1997, in a Catholic wedding at the Church of Our Lady of the Scapular–St. Stephen in New York. They were divorced in 2011 in Los Angeles.

Film

 * Lethal Weapon (1987) – Underage Hooker (uncredited) (director's cut)
 * For Keeps? (1988) – Marnie
 * Sleepaway Camp II: Unhappy Campers (1988) – Molly
 * Forbidden Sun (1988) – Elaine
 * Heathers (1988) – Betty Finn
 * Intruder (1989) – Linda
 * Moon 44 (1990) – Executive (uncredited)
 * Marked for Murder (1990) – Justine
 * Single White Female (1992) – Perfect Applicant
 * Paper Hearts (1993) – Kat
 * Deadfall (1993, featured) – Baby's Babe
 * Good Girls Don't (1993) – Jeannie
 * Endangered (1994) – Andie
 * Running Wild (1995) – Aimee
 * The War at Home (1996) – Brenda
 * Entertaining Angels: The Dorothy Day Story (1996) – Lilly Batterham
 * Shadow Conspiracy (1997) – (cameo)
 * Loose Women (1997) – Make-up Lady (cameo)
 * Scar City (1998) – Cop #2 (cameo)
 * No Code of Conduct (1998) – Investigating Officer (uncredited) (cameo)
 * A Murder of Crows (1998) – Reporter #2 (cameo)
 * Storm (1999) – Andrea McIntyre
 * A Stranger in the Kingdom (1999) – Julia Hefner
 * Good Advice (2001) – Flight Attendant (cameo)
 * Out of These Rooms (2002) – Renee
 * Going Down (2003) – Cathy
 * Milost mora (2003) – Ana Lukovic
 * Astrothrill (2005, Video short) – Sandy and Gale
 * The Way (2010) – Doreen
 * The Kustomonsters Movie (2015, animated webseries) – Gale (voice)

TV Series

 * Shattered Spirits (1986, TV Movie) – Girl at Phone (cameo appearance)
 * CBS Schoolbreak Special (1986) – Max
 * Growing Pains (1987) – Robin
 * Hallmark Hall of Fame (episode 36: "The Room Upstairs") (1987) – Susan
 * MacGyver (1987) – Kelly Henderson
 * ABC Afterschool Special (1990) – Becky
 * Dead Silence (1991, TV Movie) – Zanna Young
 * Guilty Until Proven Innocent (1991, TV Movie) – Carol McLaughlin
 * Red Shoe Diaries (1992) – Private Chavez
 * Touch and Die (1992, TV Movie) – Emma
 * A Matter of Justice (1993, TV Movie) – Carole
 * Addams Family Reunion (1998, TV Movie) – Blonde Sharon
 * The West Wing (1999–2006) – Nancy
 * JAG (2000–2001) – Lieutenant Crandall / P.O. Daniels
 * The Division (2002) – Shelby's Work Colleague #1

Theater

 * Macbeth
 * Murderers Anonymous

title: Renée Estevez


text:
Category:World War II

This is a root category that contains sub-categories of subject areas related to World War II, a global conflict between what were known as the Allies and the Axis powers between 1 September 1939 and 2 September 1945.

title: Category:World War II


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Thai literature

Thai literature is the literature of the Thai people, almost exclusively written in the Thai language (although different scripts other than Thai may be used). Most of imaginative literary works in Thai, before the 19th century, were composed in poetry. Prose was reserved for historical records, chronicles, and legal documents. Consequently, the poetical forms in the Thai language are both numerous and highly developed. The corpus of Thailand's pre-modern poetic works is large. Thus, although many literary works were lost with the sack of Ayutthaya in 1767, Thailand still possesses a large number of epic poems or long poetic tales —some with original stories and some with stories drawn from foreign sources. There is thus a sharp contrast between the Thai literary tradition and that of other East Asian literary traditions, such as Chinese and Japanese, where long poetic tales are rare and epic poems are almost non-existent. The Thai classical literature exerted a considerable influence on the literature of neighboring countries in mainland Southeast Asia, especially Cambodia and Burma.

Origins
As speakers of the Tai language family, the Siamese share literary origins with other Tai speakers in mainland Southeast Asia. It is possible that the early literature of the Thai people may have been written in Chinese. However, no historical record of the Siamese thus far refers to these earlier literature. The Thai poetical tradition was originally based on indigenous poetical forms such as rai (ร่าย), khlong (โคลง), kap (กาพย์), and klon (กลอน). Some of these poetical forms—notably Khlong - have been shared between the speakers of Tai languages since ancient time (before the emergence of Siam). An early representative work of Khlong poetry is the epic poem Thao Hung Thao Cheuang, a shared epic story, about a Khmer noble warrior in mainland Southeast Asia.

Indian influence on the Siamese language

Through Buddhism's and Hindu's influence, a variety of Chanda prosodic meters were received via Ceylon. Since the Thai language is mono-syllabic, a huge number of loan words from Sanskrit and Pali are needed to compose in these classical Sanskrit meters. According to B.J. Terwiel, this process occurred with an accelerated pace during the reign of King Boromma-trailokkanat (1448-1488) who reformed Siam's model of governance by turning the Siamese polity into an empire under the mandala feudal system. The new system demanded a new imperial language for the ruling noble classes. This literary influence changed the course of the Thai or Siamese language—setting it apart from other Tai languages—by increasing the number of Sanskrit and Pali words and imposing the demand on the Thai to develop a writing system that preserved the orthography of Sanskrit words for literary purposes. By the 15th century, the Thai language had evolved into a distinctive medium along with a nascent literary identity of a new nation. It allowed Siamese poets to compose in different poetical styles and mood—from playful and humorous rhymed verses, to romantic and elegant khlong and to polished and imperious chan prosodies which were modified from classical Sanskrit meters. Thai poets experimented with these different prosodic forms, producing innovative "hybrid" poems such as Lilit (ลิลิต—an interleave of khlong and kap or rai verses), or Kap hor Klong (กาพย์ห่อโคลง - a series of khlong poems each of which is enveloped by kap verses). The Thai thus developed a keen mind and a keen ear for poetry. To maximize this new literary medium, however, a rather intensive classical education in Pali and Sanskrit was required. This made "serious poetry" an occupation of the noble classes. However, B.J. Terwiel notes, citing a 17th-century Thai text book Jindamanee, that scribes and common Siamese men, too, were encouraged to learn basic Pali and Sanskrit terms for career advancement. Thai poetry and literary production came to dominate the learned literature of the Tai-speaking world from the mid-Ayutthaya period until the 20th century. As J. Layden observed, in On the Languages and Literature of the Indo-Chinese Nations (1808): "The Siamese or Thai language contains a great variety of compositions of every species. Their poems and songs are very numerous, as are their Cheritras, or historical and mythological fables. Many of the Siamese princes have been celebrated for their poetical powers, and several of their historical and moral compositions are still preserved. In all their compositions they either affect a plain, simple narrative, or an unconnected and abrupt style of short, pithy sentences, of much meaning. Their books of medicine are reckoned of considerable antiquity. Both in science and poetry those who affect learning and elegance of composition sprinkle their style copiously with Bali. ... The Cheritras or romantic fictions of the Siamese, are very numerous, and the personages introduced, with the exception of Rama and the characters of the Ramayana, have seldom much similarity to those of the Brahmans."

Ramakien

Most countries in Southeast Asia share an Indianised culture. Thai literature was heavily influenced by the Indian culture and Buddhist-Hindu ideology since the time it first appeared in the 13th century. Thailand's national epic is a version of the Ramayana called the Ramakien, received from the Khmer people through the Lavo Kingdom. The importance of the Ramayana epic in Thailand is due to the Thai's adoption of the Hindu religio-political ideology of kingship, as embodied by the Lord Rama. The former Siamese capital, Ayutthaya, was named after the holy city of Ayodhya, the city of Lord Rama. All Thai kings have been referred to as "Rama" to the present day.

The mythical tales and epic cycle of Ramakien provide the Siamese with a rich and perennial source for dramatic materials. The royal court of Ayutthaya developed classical dramatic forms of expression called khon and lakhon. Ramakien played a great role in shaping these dramatic arts. During the Ayutthaya period, khon, or a dramatized version of Ramakien, was classified as lakhon nai or a theatrical performance reserved for aristocratic audiences. A French diplomat, Simon de La Loubère, witnessed and documented it in 1687, during a formal diplomatic mission sent by King Louis XIV. The Siamese drama and classical dance later spread throughout mainland Southeast Asia and influenced the art in neighboring countries, including Burma's own version of Ramayana, Cambodia, and Laos.

A number of versions of the Ramakien epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist. One of these was prepared under the supervision (and partly written by) King Rama I. His son, Rama II, rewrote some parts for khon drama. The main differences from the original are an extended role for the monkey god Hanuman and the addition of a happy ending. Many of popular poems among the Thai nobles are also based on Indian stories. One of the most famous is Anirut Kham Chan which is based on an ancient Indian story of Prince Anirudha.

Literature of the Sukhothai period

The Thai alphabet emerged as an independent writing system around 1283. One of the first work composed in it was the inscription of King Ram Khamhaeng (ศิลาจารึกพ่อขุนรามคำแหง) or Ram Khamhaeng stele, composed in 1292, which serves both as the King's biography and as the Kingdom's chronicle.

The influence of Theravada Buddhism is shown in most pre-modern Thai literary works. Traibhumikatha or Trai Phum Phra Ruang (ไตรภูมิพระร่วง, "The Three Worlds according to King Ruang"), one of the earliest Thai cosmological treatise, was composed around the mid-14th century. It is acknowledged to be one of the oldest traditional works of Thai literature. The Trai Phum Phra Ruang explains the composition of the universe, which, according to the Theravada Buddhist Thai, consists of three different "worlds" or levels of existence and their respective mythological inhabitants and creatures. The year of composition was dated at 1345 CE, whereas the authorship is traditionally attributed to the then designated heir to the throne and later King LiThai (พญาลิไทย) of Sukhothai. Traibhumikatha is a work of high scholarly standard. In composing it, King Lithai had to consult over 30 Buddhist treatises, including Tripitaka (พระไตรปิฎก) and Milinda Panha. It is acclaimed to be the first research dissertation in Thai literary history.

Literature of the Ayutthaya period
One of the representative works of the early Ayutthaya period is Lilit Ongkan Chaeng Nam (ลิลิตโองการแช่งน้ำ), an incantation in verse to be uttered before the gathering of courtiers, princes of foreign land, and representatives of vassal states at the taking of the oath of allegiance ceremony. It was a ritual to promote loyalty and close domestic and foreign alliances.

Lilit poetry
A lilit (ลิลิต) is a literary format which interleaves poetic verses of different metrical nature to create a variety of pace and cadence in the music of the poetry. The first Lilit poem to appear is Lilit Yuan Phai (ลิลิตยวนพ่าย 'the defeat of the Yuan', composed during the early-Ayutthaya period (c. 1475 CE). Yuan Phai is the Thai equivalent of the Song of Roland. It is an epic war poem of about 1180 lines, narrating the key events of the war between King Borommatrailokkanat (1448–1488) and King Tilokaraj of Lan Na, and providing a victory ode for the King of Siam. The importance of Yuan Phai is not limited to just being the oldest surviving example of Lilit poetry. It serves also as an important historical account of the war between Siam and Lan Na, as well as an evidence of the Siamese's theory of kingship that was evolving during the reign of Borommatrailokkanat.

Another famous piece of lilit poetry is Lilit Phra Lo (ลิลิตพระลอ) (c. 1500), a tragico-romantic epic poem that employed a variety of poetical forms. Phra Lo is roughly 2,600 lines in length. It is one of the major lilit compositions still surviving today and is considered to be the best among them. Phra Lo is considered to be one of the earliest Thai poems that evoke sadness and tragic emotions. The story ends with the tragic death of the eponymic hero and two beautiful princesses with whom he was in love. The erotic theme of the poem also made Phra Lo controversial among the Siamese noble classes for generations. While its author is unknown, Phra Lo is believed to have been written around the beginning of King Ramathibodi II's reign (1491-1529), and certainly not later than 1656, since a part of it was recited in a Thai textbook composed in the King Narai's reign. The plot probably came from a folk tale in the north of Thailand. Its tragic story has universal appeal and its composition is considered to be a high achievement under the Thai poetic tradition.

Maha-chat Kham Luang: the "Great Birth" sermon
The third major work of this period is Mahajati Kham Luang or Mahachat Kham Luang (มหาชาติคำหลวง), the Thai epic account of the "Great Birth" (maha-jati) of Vessantara Bodhisatta, the last final life before he became the Buddha. Mahachat was written in the style of the Buddhist chant (ร่าย) combining Pali verses with Thai poetical narrative. In 1492, King Borommatrailokkanat authorized a group of scholars to write a poem based on the story of Vessantara Jataka, believed to be the greatest of Buddha's incarnations. Their joint effort was this great work and the precedence of reciting Maha, the Great Life, was then established. Mahachat has traditionally been divided into 13 books. Six of them were lost during the sack of Ayutthaya and were ordered to be recomposed in 1815. There are many versions of Mahachat in Thailand today.

Royal panegyrics
The royal panegyric is a prominent genre in Thai poetry, possibly influenced by the Praśasti genre in Sanskrit. Passages in praise of kings appear in inscriptions from the Sukhothai kingdom. Praise of the king is a large element in Yuan Phai, a 15th-century war poem. The first work framed and titled specifically as a royal panegyric was the Eulogy of King Prasat Thong about King Narai’s father and predecessor, probably composed early in King Narai’s reign. The "Eulogy of King Narai", composed around 1680, includes a description of the Lopburi palace and an account of an elephant hunt.

Nirat: The Siamese tradition of parting and longing poetry
The nirat (นิราศ) is a lyrical genre, popular in Thai literature, which can be translated as 'farewell poetry'. The core of the poetry is a travel description, but essential is the longing for the absent lover. The poet describes his journey through landscapes, towns, and villages, but he regularly interrupts his description to express his feelings for and thoughts of the abandoned lover. Nirat poetry probably originated from the Northern Thai people. Nirat Hariphunchai (1637) is traditionally believed to be the first Nirat to appear in the Thai language. However, the Thai nirat tradition could prove to be much older, depending on whether Khlong Thawathotsamat could be dated back to the reign of King Borommatrailokkanat (1431-1488). Siamese poets composed Nirat with different poetical device. During the Ayutthaya period, poets liked to compose Nirat poems using 'khlong' (โคลง) and 'kap' (กาพย์) metrical variety. Prince Thammathibet (1715-1755) (เจ้าฟ้าธรรมธิเบศ) was a renowned Nirat poet whose works are still extant today.

Other representatives of this genus are Si Prat (1653-1688) (ศรีปราชญ์) and Sunthorn Phu (1786-1855) (สุนทรภู่). Since nirat poems record what the poet sees or experiences during his journey, they represent an information source for the Siamese culture as well as history in the premodern time. This poetical genre later spread, first to Myanmar in the late 18th Century, and then Cambodia in the mid 19th century, at the time when Cambodia was heavily influenced by the Siamese culture. Famous poems in the nirat genre during the Ayutthaya period are:
 * Khlong Thawathotsamāt (c. 1450?) (โคลงทวาทศมาส; "the Twelve-Month Song"): Thawathotsamat is a 1,037-line nirat poem in khlong meter. It is believed to be composed by a group of royal poets rather than by one man. It is formerly thought to be composed during the reign of King Narai, but in fact the language of this poem suggests a much older period. The large number of Sanskrit words in Thawathotsamat suggests that it was composed perhaps in the reign of King Borommatrailokkanat (1431-1488) when such literary style was common. Thawathotsamat is also an important work of Thai literature because it records the knowledge about specific traditions and norms practiced by Thai people in each month of a year. Thawathotsamat is also unique among the nirat genre of poetry because the poet(s) do not travel anywhere but they nonetheless express the longing and sadness that each month of separation from their loved ones brings.
 * Khlong Nirat Hariphunchai (โคลงนิราศหริภุญชัย; account of a journey from Chiang Mai to Wat Phra That Hariphunchai in Lamphun, possibly dated to 1517/8. The royal author laments over his separation from a beloved named Si Thip.
 * Khlong Kamsuan Sīprāt (โคลงกำสรวลศรีปราชญ์; "the mournful song of Sīprāt") by Sīprāt: A nirat poem composed in khlong dàn (โคลงดั้น) meter.
 * Kap Hor Khlong Nirat Thansōk (กาพย์ห่อโคลงนิราศธารโศก; "a nirat at Thansōk stream in kap-hor-khlong verse") (c. 1745) by Prince Thammathibet: a nirat poem composed in a special style of kap hor khlong - where each of the khlong poems is enclosed in kap verses. This is a rare example of a highly polished and stately style of Thai poetry. Nirat Thansōk is 152-stanza long (1,022 lines).
 * Kap Hor Khlong Praphat Than-Thongdang (กาพย์ห่อโคลงประพาสธารทองแดง; "a royal visit at Than-Thongdang stream in kap-hor-khlong verse") (c. 1745) by Prince Thammathibet. Another rare example of kap hor khlong genre. Only 108 stanzas of this poem have been found. The other half seems to have been lost.

The Siamese epic Khun Chang Khun Phaen

In the Ayutthaya period, folktales also flourished. One of the most famous folktales is the story of Khun Chang Khun Phaen (ขุนช้างขุนแผน), referred to in Thailand simply as "Khun Phaen", which combines the elements of romantic comedy and heroic adventures, ending in the tragic death of one of the main protagonists. The epic of Khun Chang Khun Phaen (KCKP) revolves around Khun Phaen, a Siamese general with super-human magical power who served the King of Ayutthaya, and his love-triangle relationship between himself, Khun Chang, and a beautiful Siamese girl named Wan-Thong. The composition of KCKP, much like other orally-transmitted epics, evolved over time. It originated as a recreational recitation or sepha within the Thai oral tradition from around the beginning of the 17th century (c.1600). Siamese troubadours and minstrels added more subplots and embellished scenes to the original storyline as time went on. By the late period of the Ayutthaya Kingdom, it had attained the current shape as a long work of epic poem with the length of about 20,000 lines, spanning 43 samut thai books. The version that exists today was composed with klon meter throughout and is referred to in Thailand as nithan Kham Klon (นิทานคำกลอน) meaning a poetic tale. A standard edition of KCKP, as published by the National Library, is 1085-page long.

As the national epic of the Siamese people, Khun Chang Khun Phaen is unique among other major epic poems of the world in that it concerns the struggles, romance, and martial exploits of non-aristocratic protagonists - with a high degree of realism - rather than being chiefly about the affairs of great kings, noble men or deities. The realism of KCKP also makes it standout from other epic literatures of the region. As Baker and Phongpaichit note, the depiction of war between Ayutthaya and Chiangmai in Khun Chang Khun Phaen is "[p]ossibly ... the most realistic depiction of pre-modern warfare in the region, portraying the adventure, the risk, the horror, and the gain." KCKP additionally contains rich and detailed accounts of the traditional Thai society during the late Ayutthaya period, including religious practices, superstitious beliefs, social relations, household management, military tactics, court and legal procedures etc. To this day, KCKP is regarded as the masterpiece of Thai literature for its high entertainment value - with engaging plots even by modern standard - and its wealth of cultural knowledge. Marveling at the sumptuous milieu of old Siamese customs, beliefs, and practices in which the story takes place, William J. Gedney, a philologist specialized in Southeast Asian languages, commented that: “The quality of much of this work is superb, often entrancing for its elegance, grace, and vitality. One cannot help feeling that this body of traditional Thai poetry is among the finest artistic creations in the history of mankind.” A complete English prose translation of KCKP was published by Chris Baker and P. Phongpaichit in 2010.

The folk legend of Sri Thanonchai
Another popular character among Ayutthaya folktales is the trickster, the best known is Sri Thanonchai (ศรีธนญชัย), usually a heroic figure who teaches or learns moral lessons and is known for his charm, wit, and verbal dexterity. Sri Thanonchai is a classic trickster-hero. Like Shakespeare's villains, such as Iago, Sri Thanonchai's motive is unclear. He simply uses his trickeries, jests and pranks to upend lives and affairs of others which sometimes results in tragic outcomes. The story of Sri Thanonchai is well known among both Thai and Lao people. In the Lao tradition, Sri Thanonchai is called Xiang Mieng. A Lao-Isaan version of Xiang Mieng describes Sri Thanonchai as an Ayutthayan trickster.

The Legend of Phra Malai (1737)
The Legend of Phra Malai (พระมาลัยคำหลวง) is a religious epic adventure composed by Prince Thammathibet, one of the greatest Ayutthayan poets, in 1737, although the story's origin is assumed to be much older, being based on a Pali text. Phra Malai figures prominently in Thai art, religious treatises, and rituals associated with the afterlife, and the story is one of the most popular subjects of 19th-century illustrated Thai manuscripts.

Prince Thammathibet's Phra Malai is composed in a style that alternates between rai and khlong sii-suphap. It tells a story of Phra Malai, a Buddhist monk of the Theravada tradition said to have attained supernatural powers through his accumulated merit and meditation. Phra Malai makes a journey into the realm of hell (naraka) to teach Buddhism to the underworld creatures and the deceased. Phra Malai then returns to the world of the living and tells people the story of the underworld, reminding listeners to make good merits and to adhere to the buddhist's teachings in order to avoid damnation. While in the human realm, Phra Malai receives an offering of eight lotus flowers from a poor woodcutter, which he eventually offers at the Chulamani Chedi, a heavenly stupa believed to contain a relic of the Buddha. In Tavatimsa heaven, Phra Malai converses with the god Indra and the Buddha-to-come, Metteyya, who reveals to the monk insights about the future of mankind. Through recitations of Phra Malai the karmic effects of human actions were taught to the faithful at funerals and other merit-making occasions. Following Buddhist precepts, obtaining merit, and attending performances of the Vessantara Jataka all counted as virtues that increased the chances of a favourable rebirth, or Nirvana in the end.

Other notable works from the Ayutthaya period
Three most famous poets of the Ayutthaya period were Sīprāt (1653-1688) (ศรีปราชญ์), Phra Maha Raja-Kru (พระมหาราชครู), and Prince Thammathibet (1715-1755) (เจ้าฟ้าธรรมธิเบศไชยเชษฐ์สุริยวงศ์). Sriprat composed Anirut Kham Chan ("the tale of Prince Anirudha in kham chan poetry") which is considered to be one of the best kham chan composition in the Thai language. Prince Thammathibet composed many extant refined poems, including romantic "parting and longing" poems. He also composed Royal Barge Procession songs or kap hé reu (กาพย์เห่เรือ) to be used during the King's grand seasonal water-way procession which is a unique tradition of the Siamese. His barge-procession songs are still considered best in the Thai repertoire of royal procession poems. Other notable literary works of the mid and late Ayutthaya Kingdom include:

 * Sue-ko Kham Chan (เสือโคคำฉันท์) (c. 1657) by Phra Maha Raja-Kru (พระมหาราชครู). Sue-ko Kham Chan is the earliest-known surviving kham chan (คำฉันท์) poem to appear in the Thai language. It is based on a story from Paññāsa Jātaka (ปัญญาสชาดก) or Apocryphal Birth-Stories of the Buddha. Sue-ko Kham Chan narrates a story concerning a virtuous brotherly-like friendship between a calf and a tiger cub. Their love for each other impresses a rishi who asks the gods to turn them into humans on the merits of their virtues. Sue-ko Kham Chan teaches an important concept of Buddhist teaching according to which one becomes a human being, the highest species of the animal, not because he was born such, but because of his virtue or sila-dhamma (ศีลธรรม).
 * Samutta-Kōt Kham Chan (สมุทรโฆษคำฉันท์) (c. 1657) by Phra Maha Raja-Kru. Samutta-Kōt kham chan is a religious-themed epic poem based on a story of Pannasa-Jataka. The poem is 2,218-stanza long (around 8,800 lines). However, the original poet, Phra Maha Raja-Kru, only composed 1,252 stanzas and did not finish it. King Narai (1633-1688) further composed 205 stanza during his reign and Paramanuchit-Chinorot, a noble-born poet monk and the Supreme Patriarch of Thailand, finished it in 1849. Samut-Koat Kham Chan was praised by the Literature Society as one of the best kham chan poems in the Thai language.
 * Jindamanee (จินดามณี; "Gems of the Mind"): the first Thai grammar book and considered to be the most important book for teaching Thai language until the early 20th century. The first part was probably written during the reign of King Ekathotsarot (พระเจ้าเอกาทศรถ) (1605-1620). The later part was composed by Phra Horathibodi, a royal scholar, in the reign of King Narai (1633-1688). Jindamanee instructs not only the grammar and the orthography of Thai language, but also the art of poetry. Jindamanee contains many valuable samples of Thai poems from works which are now lost. For a 400-year-old Asian grammar book, Jindamanee's didactic model is based on sound linguistic principles. Scholars believe that European knowledge on grammar, especially via French missionaries stationed in Siam during the 17th century, may have influenced its composition.
 * Nang Sib Song (นางสิบสอง; "the twelve princesses") or Phra Rotthasen (พระรถเสน) or Phra Rot Meri (พระรถเมรี): an indigenous folk tale, based on a previous life of the Buddha, popularized in many Southeast Asian countries. There are several poetic retellings of this story in the Thai language. The story of Nang Sib Song concerns the life of twelve sisters abandoned by their parents and adopted by an Ogress Santhumala disguised as a beautiful lady. The conclusion is the sad love story about the only surviving son of the twelve sisters, Phra Rotthasen (พระรถเสน) with Meri (เมรี) the adopted daughter of ogress Santhumala. This is a story of unrequited love that ends with the death of the lovers, Rotthsen and Meri.
 * Lakhon (ละคร): Lakhon is a highly regarded type dramatic performance and literature in Siam. It is divided into two categories: lakhon nai (ละครใน), dramatic plays reserved only for the aristocrats, and lakhon nōk (ละครนอก), plays for the enjoyment of the commoners. Only three plays have traditionally been classified as lakhon nai: Ramakien, Anirut, and Inao. Fifteen plays survived the destruction of Ayutthaya. Among the most well-known are:
 * Sāng-thong (สังข์ทอง) - a play based on a Buddhist jataka story of a noble man who hides his identity by disguising as a black-skinned savage. Its popularity was revived during the early Rattanakosin era by King Rama II who rewrote many parts of it as lakorn nok.
 * Inao (อิเหนา) - one of the three major lakhon nais. Inao was a very popular drama among the Siamese aristocrats of the late-Ayutthaya period. It is based on the East-Javanese Panji tales. Inao continued to be popular in the early-Rattanakosin era during which there are many adaptations of Inao in Thai language. The sack of Ayutthaya spread its popularity to Burma.
 * Phikul Thong (พิกุลทอง) or Phóm Hóm (นางผมหอม):

Early Rattanakosin period
With the arrival of the Rattanakosin era, Thai literature experienced a rebirth of creative energy and reached its most prolific period. The Rattanakosin era is characterized by the imminent pressure to return to the literary perfection and to recover important literary works lost during the war between Ayutthaya and the Konbuang Empire. A considerable poetic and creative energy of this period was spent to revive or repair the national treasures which had been lost or damaged following the fall of the old Capital. Epics, notably Ramakien and Khun Chang Khun Phaen, were recomposed or collected - with aid of surviving poets and troubadours who had committed them to memory (not rare in the 18th century) - and written down for preservation. Nevertheless, many court singers and poets were carried away or killed by the invading Burmese army and some works were lost forever. But it goes to show how rich the Siamese literary creations, especially poetical works, must have been before the war, since so much still survived even after the destruction of their former Kingdom.

The royal poets of the early Rattanakosin did not merely recompose the damaged or lost works of the Ayutthaya era but they also improved upon them. The Ramakien epic, recomposed and selected from various extant versions, during this period is widely considered to be more carefully worded than the old version lost to the fire. In addition, whereas the poet of Ayutthaya period did not care to adhere to strict metrical regulation of the indianised prosody, the compositions of Rattanakosin poets are so much more faithful to the metrical requirements. As a result, the poetry became generally more refined but also was rather difficult for the common man to appreciate. The literary circle of the early Rattanakosin era still only accepted poets who had a thorough classical education, with deep learning in classical languages. It was in this period that a new poetical hero, Sunthorn Phu (สุนทรภู่) (1786-1855) emerged to defy the traditional taste of the aristocrat. Sunthorn Phu consciously moved away from a difficult and stately language of court poetry and composed mostly in a popular poetical form called klon suphap (กลอนสุภาพ). He mastered and perfected the art of klon suphap and his verses in this genre are considered peerless in the Thai language to the present day. There were also other masterpieces of Klon-suphap poem from this era, such as "Kaki Klon Suphap" – which influences the Cambodian Kakey – by Chao Phraya Phrakhlang (Hon).

The literary recovery project also resulted in the improvement of prose composition - an area which had been neglected in the previous Kingdom. A translation committee was set up in 1785, during the reign of King Phra Phutthayotfa Chulalok (Rama I), to translate important foreign works for the learning of the Thai people. This includes the Mon Chronicle Rachathirat as well as Chinese classics, such as Romance of the Three Kingdoms or Sam-kok (สามก๊ก), Investiture of the Gods or Fengshen (ห้องสิน), Water Margin or Sòngjiāng (ซ้องกั๋ง). These long prose works became a gold standard of Thai classical prose composition.

King Rama II: poet king of Thailand

King Phra Phutthaloetla Naphalai, also known as King Rama II of Siam (r. 1809-1824), was a gifted poet and playwright and is also a great patron of artists. His reign was known as the "golden age of Rattanakosin literature". His literary salon was responsible for reviving and repairing many important works of literature which were damaged or lost during the sack of Ayutthaya. Poets, including Sunthorn Phu, thrived under his patronage. King Loetlanaphalai was himself a poet and artist. He is generally ranked second only to Sunthorn Phu in terms of poetic brilliance. As a young prince, he took part in recomposing the missing or damaged parts of Thai literary masterpieces, including Ramakien and Khun Chang Khun Phaen. He later wrote and popularized many plays, based on folk stories or old plays that survived the destruction of the old capital, including:
 * Inao (อิเหนา)
 * Krai Thong (ไกรทอง): a Thai folktale, originating from Phichit Province. It tells the story of Chalawan (ชาลวัน), a crocodile lord who abducts a daughter of a wealthy Phichit man, and Kraithong, a merchant from Nonthaburi who seeks to rescue the girl and must challenge Chalawan. The story was adapted into a lakhon nok play, by King Rama II ,
 * Kawee (คาวี)
 * Sang Thong (สังข์ทอง)
 * Sang Sín Chai (สังข์ศิลป์ชัย)
 * Chaiya Chet (ไชยเชษฐ์): a Thai folk story originating in the Ayutthaya period. Its popularity led to the dramatization of the story into lakhon. King Rama II rewrote the play for lakhon nok (ละครนอก), i.e., non-aristocratic theatre performances.

Sunthorn Phu's Phra Aphai Mani: the Siamese Odyssey

The most important Thai poet in this period was Sunthorn Phu (สุนทรภู่) (1786-1855), widely known as "the bard of Rattanakosin" (กวีเอกแห่งกรุงรัตนโกสินทร์). Sunthorn Phu is best known for his epic poem Phra Aphai Mani (พระอภัยมณี), which he started in 1822 (while in jail) and finished in 1844. Phra Aphai Mani is a versified fantasy-adventure novel, a genre of Siamese literature known as nithan kham klon (นิทานคำกลอน). It relates the adventures of the eponymous protagonist, Prince Aphai Mani, who is trained in the art of music such that the songs of his flute could tame and disarm men, beasts, and gods. At the beginning of the story, Phra Aphai and his brother are banished from their kingdom because the young prince chooses to study music rather than to be a warrior. While in exile, Phra Aphai is kidnapped by a female Titan (or an ogress) named Pii Sue Samut ('sea butterfly'; ผีเสื้อสมุทร) who falls in love with him after she hears his flute music. Longing to return home, Phra Aphai manages to escape the ogress with the help of a beautiful mermaid. He fathers two sons, one with the ogress and another with the mermaid, who later grow up to be heroes with superhuman powers. Phra Aphai slays Pii Sue Samut (the ogress) with the song of his flute and continues his voyage; he suffers more shipwrecks, is rescued, and then falls in love with a princess named Suwanmali. A duel breaks out between Phra Aphai and Prince Ussaren, Suwanmali's fiancé, with the maiden's hand as the prize. Phra Aphai slays his rival. Nang Laweng, Ussaren's sister and queen of Lanka (Ceylon), vows revenge. She bewitches rulers of other nations with her peerless beauty and persuades them to raise a great coalition army to avenge her fallen brother. Phra Aphai, too, is bewitched by Nang Laweng's beauty. Nevertheless, he confronts Nang Laweng and they fall in love. The war and various troubles continue, but Phra Aphai and his sons prevail in the end. He appoints his sons as rulers of the cities he has won. Now tired of love and war, Phra Aphai abdicates the throne and retires to the forest with two of his wives to become ascetics.

Composition and versions
The epic tale of Phra Aphai Mani is a massive work of poetry in klon suphap (กลอนสุภาพ). The unabridged version published by the National Library is 48,686-bāt (two line couplets) long, totaling over 600,000 words, and spanning 132 samut Thai books—by far the single longest poem in the Thai language, and is the world's second longest epic poem written by a single poet. Sunthorn Phu, however, originally intended to end the story at the point where Phra Aphai abdicates the throne and withdraws. This leaves his original vision of the work at 25,098 bāt (two line couplet) of poetry, 64 samut thai books. But Sunthorn Phu's literary patron wanted him to continue composing, which he did for many years. Today, the abridged version, i.e., his original 64 samut-thai volumes, or 25,098 couplets of poetry—is regarded as the authoritative text of the epic. It took Sunthorn Phu more than 20 years to compose (from c. 1822 or 1823 to 1844).

Phra Aphai Mani is Sunthorn Phu's chef-d'œuvre. It breaks the literary tradition of earlier Thai poetic novels or nithan kham-klon (นิทานคำกลอน) by including Western mythical creatures, such as mermaids, and contemporary inventions, such as steam-powered ships (สำเภายนต์) which only started to appear in Europe in the early-1800s. Sunthorn Phu also writes about a mechanical music player at the time when a gramophone or a self-playing piano was yet to be invented. This made Phra Aphai Mani surprisingly futuristic for the time. Also, unlike other classical Thai epic poems, Phra Aphai Mani depicts various exploits of white mercenaries and pirates which reflects the ongoing European colonization of Southeast Asia in the early-19th century. Phra Aphai himself is said to have learned "to speak farang (European), Chinese, and Cham languages." Moreover, the locations of cities and islands in Phra Aphai Mani are not imagined but actually correspond to real geographical locations in the Andaman Sea as well as east of the Indian Ocean. Sunthorn Phu could also give an accurate description of modern sea voyage in that part of the world. This suggests that the Sunthorn Phu must have acquired this knowledge from foreign seafarers first-hand. The multi-cultural and the half-mythical, half-realistic setting of Phra Aphai Mani combined with Sunthorn Phu's poetic power, makes Phra Aphai Mani a masterpiece.

Sunthorn Phu as the poet of two worlds
European colonial powers had been expanding their influence and presence into Southeast Asia when Sunthorn Phu was composing Phra Aphai Mani. Many Thai literary critics have thus suggested that Sunthorn Phu may have intended his epic masterpiece to be an anti-colonialist tale, disguised as a versified tale of fantasy adventures. In a literary sense, however, Phra Aphai Mani has been suggested by other Thai academics as being inspired by Greek epics and Persian literature, notably the Iliad, the Odyssey, the Argonauts, and Thousand and One Nights.

The structure of Phra Aphai Mani conforms to the monomyth structure, shared by other great epic stories in the Greek and Persian tradition. It is possible that Sunthorn Phu may have learned these epic stories from European missionaries, Catholic priests, or learned individuals who travelled to Siam during the early-19th century. Phra Aphai, the protagonist, resembles Orpheus—the famed musician of the Argonauts—rather than an Achilles-like warrior. Moreover, Phra Aphai's odyssean journey conjures similarity with the King of Ithaca's famous journey across the Aegean.

Pii Sue Samut ("the sea butterfly"), a love-struck female titan who kidnaps the hero, is reminiscent of the nymph Calypso. Also, much like Odysseus, Phra Aphai's long voyage enables him to speak many languages and to discern the minds and customs of many foreign races. Phra Aphai's name (อภัย: 'to forgive') is pronounced quite similar to how "Orpheus" is pronounced in Greek. In addition, Nang Laweng's bewitching beauty, so captivating it drives nations to war, seems to match the reputation of Helen of Troy. Others have suggested that Nang Laweng may have been inspired by a story of a Christian princess, as recounted in Persia's Thousand and One Nights, who falls in love with a Muslim king.

All of this suggests that Sunthorn Phu was a Siamese bard with a bright and curious mind who absorbed, not only the knowledge of contemporary seafaring and Western inventions, but also stories of Greek classical epics from learned Europeans. In composing Phra Aphai Mani, Sunthorn Phu demonstrates a grand poetic ambition. He became the first Thai writer to draw inspirations from Western literary sources and produces an epic based, loosely, upon an amalgamation of those myths and legends. Thus, rather than writing with a political motive, Sunthorn Phu might simply have wanted to equal his literary prowess to the most famed poets and writers of the West.

Sunthorn Phu's other literary legacy

Sunthorn Phu is also the master of the Siamese tradition of parting-and-longing poetry or nirat which was popular among Thai poets who journeyed away from loved ones. Sunthorn Phu composed many nirat poems, probably from 1807 when he was on a trip to Mueang Klaeng (เมืองแกลง), a town between Rayong (his hometown) and Chanthaburi. There are many forms of "travel" or parting-and-longing poetry in the Thai language. In the Ayutthaya period, these were composed by noblemen (such as Prince Thammathibet (1715-1756)), whose sentimentality and expressions were refined and formal. Sunthorn Phu was different because he was a common man and his poetry is more fun (สนุก), catchy, and humorous. Sunthorn Phu was probably not as classically trained as other Thai famous poets (who were often members of the royal family) in the past. Nidhi Eoseewong, a Thai historian, argues that Sunthorn Phu's success can be attributable to the rise of the bourgeoisie or the middle class audience—following the transformation of Siam from a feudal society to a market economy—who held different values and had different tastes from aristocrats.

Sunthorn Phu was therefore, like Shakespeare, a people's poet. Instead of exclusively writing to please aristocratic institutions or patrons, Sunthorn Phu also writes both to entertain and to instruct, which shows his confidence in his personal mission as a poet. His works were thus popular among common Siamese, and he was prolific enough to make a living from it. Sunthorn Phu exercised his "copyright" by allowing people to make copies of his nithan poems (นิทานคำกลอน), such as Phra Aphai Mani, for a fee. This made Sunthorn Phu one of the first Thais to ever earn a living as an author. Although a bard of the royal court, he was disdained by many genteel and noble-born poets for appealing to the common people.

Sunthorn Phu was a prolific poet. Many of Sunthorn Phu's works were lost or destroyed due to his sojourn lifestyle. However, much is still extant. He is known to have composed:
 * Nine nirat (travel) poems,
 * Four nithan kham klon or poetic stories (นิทานคำกลอน), discounting Phra Aphai Mani, namely:
 * Kōbut (โคบุตร)
 * Phra Chai Suriya (พระไชยสุริยา)
 * Laksanawong (ลักษณะวงศ์)
 * Singha-kraiphop (สิงหไกรภพ)
 * Three didactic moral-teaching poems,
 * Four bōt hé klŏm (บทเห่กล่อม) or lullabies
 * One lakhon (ละคร) or a dramatic play, namely Aphainurāt (อภัยนุราช)

Modern Thai literature
Kings Rama V and Rama VI were also writers, mainly of non-fiction works as part of their programme to combine Western knowledge with traditional Thai culture. The story Lilit Phra Lo (ลิลิตพระลอ) was voted the best lilit work by King Rama VI's royal literary club in 1916. Based on the tragic end of King Phra Lo, who died together with the two women he loved, Phra Phuean and Phra Phaeng, the daughters of the ruler of the city of Song, it originated in a tale of Thai folklore and later became part of Thai literature.

Twentieth century Thai writers tended to produce light fiction rather than literature. But increasingly, individual writers are being recognized for producing more serious works, including writers like Kukrit Pramoj, Kulap Saipradit, (penname Siburapha), Suweeriya Sirisingh (penname Botan), Chart Korbjitti, Prabda Yoon, Duanwad Pimwana,Rong Wongsawan and Pitchaya Sudbanthad. Some of their works have been translated into English. The Isan region of Thailand has produced two literary social critics in Khamsing Srinawk and Pira Sudham. Notably, Pira Sudham writes in English.

Thailand had a number of expatriate writers in the 20th century as well. The Bangkok Writers Group publishes fiction by Indian author G. Y. Gopinath, the fabulist A. D. Thompson, as well as non-fiction by Gary Dale Cearley.

Thai literary influence on neighbouring countries
Thai literature, especially its poetic tradition, has had a strong influence on neighbouring countries, especially Burma and Cambodia. The two golden periods of Burmese literature were the direct consequences of the Thai literary influence. The first occurred during the two-decade period (1564–1583) when the Toungoo Dynasty made Siam a vassal state. The conquest incorporated many Thai elements into Burmese literature. Most evident were the yadu or yatu (MY ရာတု), an emotional and philosophic verse, and the yagan (MY ရာကန်) genre. The next transmission of Thai literary influence to Burma happened in the aftermath of the fall of Ayutthaya Kingdom in 1767. After a second conquest of Ayutthaya (Thailand), many Siamese royal dancers and poets were brought back to the court of Konbaung. Ramakien, the Thai version of Ramayana (MY ရာမယန) was introduced and was adapted in Burmese where it is now called Yama Zatdaw. Many dramatic songs and poems were transliterated directly from the Thai language. In addition, the Burmese also adopted the Thai tradition of Nirat poetry, which became popular among the Burmese royal class. Burmese literature during this period was therefore modeled after the Ramayana, and dramatic plays were patronised by the Burmese court.

Cambodia had fallen under Siamese hegemony in the reign of King Naresuan. But it was during the Thonburi Kingdom that the high cultures of the Rattanakosin kingdom were systematically transmitted to a Cambodian court that absorbed them voraciously. As Fédéric Maurel, a French historian, notes:

"From the close of the eighteenth century and through the nineteenth century, a number of Khmer pages, classical women dancers, and musicians studied with Thai ajarn (masters or teachers) in Cambodia. The presence of this Thai elite in Cambodia contributed to the development of strong Thai cultural influence among the Khmer upper classes. Moreover, some members of the Khmer royal family went to the Thai court and developed close relations with well-educated Thai nobility, as well as several court poets. Such cultural links were so powerful that, in some fields, one might use the term Siamization in referring to the processes of cultural absorption at the Khmer court at that time."

It was during this period of Siamzation that Thai literary influence had a wholesale impact on Khmer literature. The Nirat or Siamese tradition of parting poetry was emulated by Khmer poets; and many Thai stories were translated directly from the Siamese source into Khmer language.

One Thai study on comparative literature found that Cambodia's current version of Ramayana (Reamker) was translated directly from the Thai source, stanza by stanza. The Cambodian royal court used to stage Thai lakhon dramas in Thai language during King Narodom's reign. While older Reamker literary texts may have existed before the 16th century but most of the work has now been lost.

title: Thai literature


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Talk:Grahm Junior College

Comment
BenFrantzDale, would you please cite the "unauthorized source" to which you so reference?

Regarding the new line indicating Mt. Ida holds the rights to the academic curricula. This assertion needs a reference. — Preceding unsigned comment added by Billski (talk • contribs) 22:23, 18 October 2015 (UTC)

Grahm Junior College was significant in that it provided safe haven for a number of Baby Boomers seeking to avoid being drafted into the Vietnam War and in that it was the alma mater and a formative place for performance artist Andy Kaufmann. --Montanean 04:00, 30 May 2004 (UTC)

The author has been contacted. --MacSigh 04:59, Jan 11, 2005 (UTC)

I think the latest revision may be coppied from the same unauthorized source as it was earlier. — BenFrantzDale

Notability is not the problem here, just that the page kept getting packed with copyvio info. Better now. -- BD 24 12 thimk 21:20, 2005 May 3 (UTC)

Bill Tarkulich (billski), GJC class of 1975 is augmenting the history of the school with reportage found in the Boston Globe newspapers of the era. These documents have been obtained from the Globe archives. Excerpts are taken in compliance with copyright law and generally are rephrased factual information. — Preceding unsigned comment added by Billski (talk • contribs) 04:50, 7 October 2012 (UTC)

The school was renown for being "foot loose and fancy free" with it's name. While it was legally known as the "Cambridge School", advertisements, reportage and documents in my possession, show disregard to that name. It is alternately known as, "Cambridge School of Business", "Cambridge School of Radio/TV", "Cambridge School of Broadcasting", none of which were legal entities. Within Cambridge School, two schools operated. the school of business and the school of broadcasting.Bill Tarkulich (talk) 23:01, 2 June 2013 (UTC)

Notable alumni
I see no reason for the deletion of notable alumni. Please substantiate your rationale. (cur | prev) 05:58, 30 November 2012 Acmilan10italia (talk | contribs). . (6,686 bytes) (-242). . (→Notable alumni) (undo) (cur | prev) 05:57, 30 November 2012 Acmilan10italia (talk | contribs). . (6,928 bytes) (-914). . (→Notable alumni) (undo) — Preceding unsigned comment added by Billski (talk • contribs)

00:08, 27 March 2013 Orangemike (talk | contribs). . (6,716 bytes) (-1,212). . (→Notable alumni: clear out non-notables)  Orangemike - please cite the definition of "notables"  Individuals with multiple Emmy awards are clearly notable. I am reverting the reference deletions.Billski (talk) 03:20, 30 May 2013 (UTC)
 * WP:BIO, of course. If these people have the awards you claim, write the articles; then put them in this article. -- Orange Mike |  Talk  14:56, 30 May 2013 (UTC)

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title: Talk:Grahm Junior College


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Thomas Moulson

Sir Thomas Moulson (sometimes spelled "Mowlson") (1582–1638), an alderman and member of the Grocers' Company, was a Sheriff of London in 1624 and Lord Mayor of London in 1634. He represented the City of London as a Member of Parliament in 1628.

Sir Thomas was a native of Hargrave, Cheshire, and in 1627 built a combined chapel and school in the village which is now St Peter's Church, Hargrave. He also set up a trust to maintain the chapel and school.

His wife, Lady Anne Moulson (née Radcliffe; 1576–1661), was commemorated in 1894 by the name of Radcliffe College. One of their grandsons, John Kendrick, became Lord Mayor of London (1634).

title: Thomas Moulson


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Osage River

The Osage River is a 276 mi tributary of the Missouri River in central Missouri in the United States. The eighth-largest river in the state, it drains a mostly rural area of 15300 sqmi. The watershed includes an area of east-central Kansas and a large portion of west-central and central Missouri, where it drains northwest areas of the Ozark Plateau.

The river flows generally easterly, then northeasterly for the final 80 mi where it joins the Missouri River. It is impounded in two major locations. Most of the river has been converted into a chain of two reservoirs, the Harry S. Truman Reservoir and the Lake of the Ozarks.

Description
The Osage is formed in southwestern Missouri, approximately 14 mi northeast of Nevada on the Bates-Vernon County line, by the confluence of the Marais des Cygnes and Little Osage Rivers; the Marais des Cygnes is sometimes counted as part of the river, placing its headwaters in eastern Kansas and bringing its total length to over 500 mi. The combined stream flows east past the Schell-Osage Wildlife Area into St. Clair County, widening into a long meandering arm of the Harry S. Truman Reservoir, approximately 40 mi long. The lake receives the South Grand River as a second arm of the reservoir from the northwest, as well as the Pomme de Terre River from the south. The two arms of the reservoir join near the Harry S. Truman Dam in central Benton County.

Downstream from the Truman Dam, the river becomes the serpentine Lake of the Ozarks, stretching eastward for nearly 92 mi to Bagnell Dam in Camden County and southwestern Miller County. Constructed in 1931, the dam collects the Niangua River. Downstream from the dam, the Osage flows freely to the northeast in broad oxbow meanders through forested bluffs, joining the Missouri approximately 15 mi east and downstream of Jefferson City.

History
The river is named for the Osage Nation, the historic indigenous people who dominated this region at the time when the first European settlers arrived. The river presented significant navigation difficulties for early settlers because of its fluctuating water levels, as well as the presence of shallow pools and sand bars caused by its tight meandering course through the hills.

The Missouri Legislature attempted as early as 1839 to deepen the channel of the river. Early attempts failed because of lack of funding for the immense task. Commercial navigation on the river in the 19th century was confined mostly to smaller craft that could navigate the tight bends and shoals of the river. Improvements in the channel by the last two decades of the century led to greater commercial traffic. These changes made the lower reaches of the river navigable for steamboat commerce for a period of six to nine months out of the year.

Transportation
Prior to the construction of the Bagnell Dam, the main method of crossing the river was the Bagnell Ferry, which began operation in 1882, speared by Samuel Umpsted as the contractor. Several ferry accidents, including sinking, resulted in the deaths of several customers. The ferry declined in operation towards 1940, years after the dam had finished.

Hydroelectricity
In the 20th century, private construction of the Bagnell Dam, primarily to generate hydroelectricity, began in 1922 and was completed after nine years. It effectively ended commercial navigation on the river. The federally constructed Truman Dam was authorized by the federal Flood Control Act of 1954 and was completed in 1979.

The two dams on the river generate power for the St. Louis metropolitan area. The large reservoirs have become popular tourist destinations and recreation areas in the region.

title: Osage River


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Freddie Hart

Frederick Segrest (December 21, 1926 – October 27, 2018), known professionally as Freddie Hart, was an American country musician and songwriter best known for his chart-topping country song and lone pop hit "Easy Loving," which won the Country Music Association Song of the Year award in 1971 and 1972.

Hart charted singles from 1953 to 1987, and later became a gospel singer. He also performed at music festivals and other venues until his death in 2018.

Childhood and military service
Hart was born to a sharecropper family in Loachapoka, Alabama, United States, and spent his childhood in nearby Phenix City, Alabama, along with his 11 siblings (Nadine, Bo, Junior, Olin, Marrell, Pearl, Lonnie, Sandra, Gail, J.P., Harold, and a child who died in infancy). He learned to play guitar at age 5 and quit school by age 12. At age 15, Hart lied about his age to join the U.S. Marine Corps during World War II, seeing combat action on Guam and Iwo Jima. Following the war, Hart lived in California where he taught classes in self-defense at the Los Angeles Police Academy.

Early career
Hart got an early career break when singer Carl Smith covered Hart's song "Loose Talk" in 1955. Other artists who recorded his songs included Patsy Cline ("Lovin' In Vain"), George Jones ("My Tears are Overdue") and Porter Wagoner ("Skid Row Joe").

During the early 1950s, Hart and his family moved to California to further the growing country music scene there. In 1951, he joined Lefty Frizzell's band for a year. It was through Frizzell that Hart got his first recording contract with Capitol Records in 1953. He released several singles including his version of "Loose Talk", but none of these were successful. In 1958, Hart signed with Columbia Records and scored his first chart hit with "The Wall" in 1959 which made the Top 20. His biggest hit for the label was the 1960 Top 20 hit "The Key's In The Mailbox".

In 1965, Hart signed with Kapp Records where he would score several Top 40 hits between 1965 and 1968. The biggest of these hits included "Hank Williams' Guitar" (1965), "Born A Fool" (1968) and "Togetherness" (1968).

Re-signing with Capitol Records and Easy Loving
In 1969, Hart re-signed with Capitol Records and soon became a part of the Bakersfield sound by signing up with Buck Owens' songwriting and management company. In early 1970, he scored a Top 30 hit with "The Whole World's Holdin' Hands". Hart's song "Togetherness", a hit for him in 1968, became a Top 15 hit for Buck Owens and Susan Raye that summer. Hart would score several minor hits during the year.

In 1971, Hart released a song that he wrote called "Easy Loving" which was first recorded in the summer of 1969 for his album California Grapevine, released in 1970. Released in the summer of 1971, "Easy Loving" rapidly began climbing the charts; and by that September, it was No. 1 for three weeks on the country chart and reached No. 17 on the pop chart. It was also played on adult contemporary stations, earning a position on Billboard's Easy Listening survey. The song would ultimately win Hart numerous awards from both the Academy of Country Music and Country Music Association. The song sold over one million copies, and was awarded a gold record by the R.I.A.A. in November 1971. The album of the same name also reportedly went gold. The song also earned Hart a Grammy Award nomination.

From this success, Hart and his backup band, the Heartbeats, had a string of Top 5 hits with "My Hang-Up Is You" (six weeks at No. 1 in 1972), "Bless Your Heart" (No. 1 in 1972), "Got the All Overs For You (All Over Me)" (No. 1 in 1972), "If You Can't Feel It (It Ain't There)" (1973), "Super Kind of Woman" (No. 1 in 1973), "Trip to Heaven" (No. 1 in 1973), "Hang In There Girl" (1974), "The Want-To's" (1974), "My Woman's Man" (1975), "The First Time" (1975), "I'd Like To Sleep Till I Get Over You" (1975) and "The Warm Side of You" (1975). He has been called by many fans as "The Heart and Soul of Country Music".

With the success of "Easy Loving" and other songs he wrote, plus a popular concert attraction on the road, Hart became independently wealthy and owned a songwriting company, a school for the blind, a trucking company, and a chain of martial arts studios—his hobby was as a master of karate.

Late 1970s–1980s
By 1976, Hart continued to have major hits although now his streak of Top 10s were replaced by a streak of Top 20 and Top 30 hits. These included "You Are The Song Inside Of Me" (1976), "That Look In Her Eyes" (1976), "Thank God She's Mine" (1977), "The Pleasure's Been All Mine" (1977), "Toe to Toe" (1978), and "Wasn't It Easy Baby" (1979). His last Top 10 hit came with the hit "Why Lovers Turn to Strangers" in 1977, which peaked at No. 8. This song was written by east Idaho based composer Bobby Fender.

In 1980, Hart signed with Sunbird Records, and immediately scored a Top 20 hit with "Sure Thing" that year. He followed this up with three Top 40 hits in 1981. This ended his days as a major country artist. In 1985 and 1987, he had a couple of minor hits on El Dorado and 5th Avenue Records, with his last hit being "The Best Love I Never Had" in 1987 peaking at No. 77.

Later years and death
In 2001, Hart was inducted into the Alabama Music Hall of Fame A few years later, Phenix City declared a major east-west street Freddie Hart Parkway in his honor.

Hart released a handful of new albums on CD, showcasing his passion for gospel music, patriotism and the traditional country sound that originally made him famous. These albums prompted him to selectively tour and perform concerts around the world. Hart retained a large following in Europe and the U.S., performing at music festivals, universities, churches and industry events.

Hart continued to write and record gospel music during the 2000s. He received numerous awards and had several number one songs in the gospel field. In 2004 he was inducted into the Nashville Songwriter's Hall Of Fame. In 2017 he performed in Pigeon Forge Tennessee and received the Hall Of Fame award from the North American Country Music Associations International. His final performance was in March 2018 on the Ernest Tubb Midnite Jamboree as a special guest to David Frizzell. Hart sang a new song he had written and just recorded about Lefty Frizzell, titled simply "Lefty". In April 2018, Hart recorded his final album titled God Bless You. The project, produced by David Frizzell, contains 11 newly written gospel songs and a remake of his signature song "Easy Loving". The album was released in late 2018.

Hart died as a result of pneumonia on October 27, 2018, in Burbank, California.

Albums

 * AEasy Loving also peaked at No. 67 on the RPM Top Albums chart.

Singles

 * A"Easy Loving" also peaked at No. 17 on the Billboard Hot 100, No. 31 on the Canadian RPM Adult Contemporary Tracks chart and No. 21 on the RPM Top Singles chart.

The Heartbeats
Freddie Hart first used the name Heartbeats, a play on his last name, as his backing on a one-off 1967 album credited to Freddie Hart and the Heartbeats, but after his hit "Easy Loving" in 1971, ten studio albums were released between 1972 and 1977 credited to Freddie Hart and the Heartbeats. Various musicians performed in the Heartbeats over the years, including Bobby Wayne and Dennis Hromek, both of whom would go on to join the Strangers. During their heyday in the mid-1970s, the Heartbeats even released one studio album credited to just themselves in 1975.

title: Freddie Hart