text:
User:Jondel/Buddha

=== Mara senses that Buddha is about to attain enlightenement and comes to distract him with his daughters.

In one scene Buddha declares his determination to reach enlightenment with the earth as a witness while touching the ground. ==== http://www.wisdom-books.com/FocusDetail.asp?FocusRef=14

The moment the world had been waiting for was at hand. Siddhartha now begun the great meditative trance from which he was to emerge on the full moon day of the month of Vesak as a Fully Enlightened One, a Buddha. Mara, who had been shadowing Siddhartha constantly throughout his spiritual quest, now trembled as he saw that if Siddhartha attained enlightenment he would forever be beyond his power. He realised he would have to shatter Siddhartha’s resolve and thus began an onslaught of threats, intimidation and temptation. It culminated in Mara summoning a terrifying horde of monsters of every conceivable description but even something as horrific as this still left Siddhartha unmoved, unperturbed. Instead he transformed the weapons which these monsters threw at him into lotus petals which exuded a lovely fragrance as they gently floated down to earth.

In desperation Mara challenged Siddhartha with a reign of fire, a deluge of burning blinding sheets, but in response to all this Siddhartha simply remained untouched and profoundly composed. Mara screamed at Siddhartha what right he had to sit on the sacred seat which had seen countless Buddhas enlightened in lives many aeons before him. Siddhartha calmly explained that he was there due to countless previous lives of practising generosity as well as the rest of the ten transcendental virtues. At this point Mara shrieked at Siddhartha what witness he had to back up such statements, to which Siddhartha reached down and touched the earth with his fingertips. “The earth is my witness,” he told Mara. At this point there was an immense booming and rumbling which made the earth shake. Mara’s host of monsters and Mara himself fled in panic, utterly defeated.

=
====== This material deleted has a valid copyright, and should not be here.

== http://www.buddhismtoday.com/index/dialogue.htm

== http://www.buddhismtoday.com/index/dialogue.htm

Indeed, the Buddha was born a Hindu prince, and much of his teaching was aimed at a reform of the structure and complexities of Hinduism. For example, the Buddha, like another great Indian religious reformer, Gandhi, deplored the Hindu caste system.

The "historical Buddha" (the term "buddha" actually refers to an awakened or enlightened being) was born Siddhartha Gautama about 563 BC, near the border of Nepal. A wealthy prince, he lived in luxury, married happily, and had a son. Like many people of his class, he had been protected from viewing the harsher aspects of life. Legend has it that one day he went out from the palace and for the first time saw poverty, sickness, and death. Overwhelmed by these realities, he renounced his worldly position and became a wandering mendicant, seeking the meaning of life. After years of fasting, begging, and traveling, he sat down under a bodhi tree and sank into a deep meditation lasting 49 days. At last he achieved enlightenment, and Siddhartha became a buddha.

The answer he found after his contemplation was that to escape from suffering and misery, human beings must eliminate desire and attachment. In this world, he maintained, evil is caused by desire, which grows from ignorance caused by wrong thought and misdirected action. Thus, in order to achieve nirvana, an individual must extinguish desire by renouncing evil action and atoning for wrongs already done, either in this or in a previous life. Each life an individual passes through is another chance to escape the wheel. If he or she ignores opportunities for thinking and right action, in the next incarnation he or she will have to pay for past mistakes. The Five Precepts in Buddhist teaching resemble the Ten Commandments and prescribe guidelines for right living. They are: not to kill, steal, do sexual wrong, lie, or use any intoxicants. Thus, a devout Buddhist should be both a pacifist and a vegetarian.

title: User:Jondel/Buddha


text:
The End of the Road

The End of the Road is the second novel by American writer John Barth, published first in 1958, and then in a revised edition in 1967. The irony-laden black comedy's protagonist Jacob Horner suffers from a nihilistic paralysis he calls "cosmopsis"—an inability to choose a course of action from all possibilities. As part of a schedule of unorthodox therapies, Horner's nameless Doctor has him take a teaching job at a local teachers' college. There Horner befriends the super-rational Joe Morgan and his wife Rennie. The trio become entangled in a love triangle, with tragic results. The story deals with issues controversial at the time, such as sexuality, racial segregation, and abortion.

Barth and his critics often pair the novel with its predecessor, The Floating Opera (1956); both were written in 1955, and they are available together in a one-volume edition. Both are philosophical novels; The End of the Road continues with the conclusions about absolute values made by the protagonist of The Floating Opera, and takes these ideas "to the end of the road". Barth wrote both novels in a realistic mode, in contrast to Barth's better-known metafictional, fabulist, and postmodern works from the 1960s and later, such as Lost in the Funhouse (1968) and LETTERS (1979).

Critics have been divided over whether Barth identified with the book's protagonist, who retreats from emotion and human relations through language and intellectual analysis; Jake prefers to keep even his sexual relations impersonal. Language is presented as a distortion of experience, yet nevertheless unavoidable. In his later novels Barth forefronted the artifice in his writing, beginning with The Sot-Weed Factor (1960), a work Barth conceived as the last of a "loose trilogy of novels".

A 1970 film loosely based on the novel stars James Earl Jones, Stacy Keach and Harris Yulin in their earliest feature roles. It was rated X, in part because of a graphic abortion scene.

Publishing history
While teaching at Penn State, Barth embarked on a cycle of 100 stories he called Dorchester Tales; he abandoned it halfway through to begin his first two published novels. He completed both The Floating Opera and The End of the Road in 1955. Appleton-Century-Crofts published The Floating Opera in 1956, but sales were not strong enough to encourage the publisher to pick up Barth's next offering, which was felt to be too similar to the first book. Doubleday published The End of the Road in 1958; it received only marginally more attention than The Floating Opera. A revised edition in 1967 restored material cut from the first edition, and had a new introduction by Barth. Anchor Books collected these two novels in a single-volume edition in 1988; in his foreword to it Barth states he originally titled the book What To Do Until the Doctor Comes, but Doubleday editor Edward Aswell persuaded him to change it, as he "feared the novel would be mistaken for a treatise on first aid".

Background
The story narrates the first-person confession of Jacob Horner in the form of a therapeutic psychodrama. Horner writes on October 4, 1955, of events in 1951–53.

Barth spent most of his adult life teaching at universities. As in many of Barth's novels, the setting and characters of The End of the Road have an academic background; most of the story takes place on a university campus. The novel tackles controversial contemporary issues such as abortion (which had yet to achieve wide social acceptance) and racial segregation.

The End of the Road can be viewed with The Floating Opera (1956) as forming the early, existentialist or nihilist phase of Barth's writing career. This phase was realistic in a modernist sense; it lacked the fantastic elements that manifested themselves in Barth's experimental phase that began with The Sot-Weed Factor (1960). Both novels, while displaying a distinctive style, followed conventions readers expected from a novel, and were part of a realist trend in American novels during the 1940s and 1950s. As The Floating Opera closes, its protagonist, Todd Andrews, concludes that life has no absolute values but that there are relative values that are "no less 'real', for ... being relative". Barth has said he wrote The End of the Road to refute this worldview by carrying "all non-mystical value-thinking to the end of the road", and that the second novel was a "nihilistic tragedy" paired with the "nihilistic comedy" of the first. Barth also sees the book as the second of a "loose trilogy of novels" that concludes with The Sot-Weed Factor, after which he embarked on the fabulist Giles Goat-Boy (1966).

Plot
"In a sense, I am Jacob Horner."

Jacob "Jake" Horner suffers from "cosmopsis"—an inability to choose from among all possible choices he can imagine. Having abandoned his graduate studies at Johns Hopkins University, he becomes completely paralyzed in the Pennsylvania Railroad Station in Baltimore just after his 28th birthday, An unnamed African-American doctor who claims to specialize in such conditions takes him under his care at his private therapy center, the Remobilization Farm.

As part of his schedule of therapies, Jake takes a job teaching at Wicomico State Teachers College, where he becomes friends with history teacher Joe Morgan and his wife Rennie. Joe and Jake enjoy intellectual sparring in a "duel of articulations". The philosophical Morgans have a marriage in which everything must be articulated, and in which "the parties involved are able to take each other seriously"—and to Joe "seriously" means sometimes beating his wife. The Doctor prescribes Jake "mythotherapy", in which he is to read Sartre and to assign himself "masks" to abolish the ego, inducing action through the adoption of symbolic roles. Jake seeks out a woman, Peggy Rankin, whom he had earlier picked up; when she rebuffs him, he succeeds in seducing her again by striking her, in imitation of Joe.

While Joe busies himself with his Ph.D. dissertation, he encourages Rennie to teach Jake horseback riding. During their rides, Rennie and Jake talk at length about the Morgans' unusual relationship. After returning from one such outing, Jake encourages a resistant Rennie to spy on her husband. She is convinced that "real people" like Joe are not "any different when they are alone"; such people have "o mask. What you see of them is authentic." What Rennie sees of Joe while spying disorients her and her vision of him—he masturbates, picks his nose, makes faces, and sputters gibberish syllables to himself.

Unmoored from the anchor that Joe has been for her, Rennie commits adultery with Jake; when Joe discovers it, he insists they maintain the affair, in an effort to discover the reasons for his wife's unfaithfulness. Rennie discovers she is pregnant, but cannot be sure whether Joe or Jake is the father. The Morgans visit Jake, Joe with Colt .45 in hand. Rennie insists on having an abortion, or she will commit suicide. Under an assumed name, Jake hunts for an abortionist; when Peggy refuses to help him find one, he strikes her. Unable to find a physician who will agree to the procedure, Jake turns to the Doctor. Rennie dies from the botched abortion. His relativist "cosmopsis" confirmed, Jake reverts to his paralysis. Two years later, as part of his Scriptotherapy on the relocated Remobilization Farm, he writes of his Wicomico experience.

Themes and motifs
The End of the Road is rich in recurring metaphor. In the opening chapter, while in the Doctor's Progress and Advice Room, Jake finds himself in the awkward position of having to choose the manner in which he will sit, with his choices restricted. Jake notes that Rennie has made the same sort of choice-that-is-not-a-choice by remaining married to Joe, and that Joe, in opposition to his philosophies, has to make a "choice" about Rennie's adultery and pregnancy.

On his mantel Jake keeps a bust of Laocoön sculpted by a dead uncle. As Laocoön was bound by serpents, Jake feels himself bound into inaction "by the serpents Knowledge and Imagination, which ... no longer tempt but annihilate". This is reflected in Laocoön's grimace, which Jake frequently consults and interprets according to his mood—with admiration, frustration, or indifference. After the disaster of Rennie's abortion, Jake tells the bust, "We've come too far", and abandons it along with his job, car and apartment.

Barth coined the term "cosmopsis" in The End of the Road for a sense of seeing and comprehending all available paths of action and the futility of choosing among them. Jake expands on Jean-Paul Sartre's famous existentialist line "existence precedes essence", saying "existence not only precedes essence: in the case of human beings it rather defies essence." The Doctor tells Jake, "Choosing is existence: to the extent that you don't choose, you don't exist." To cope with inability to make decisions, the Doctor prescribes three therapies: the arbitrary principles of Sinistrality ("If the alternatives are side by side, choose the one on the left"), Antecedence ("if they're consecutive in time, choose the earlier") and Alphabetic Priority ("choose the alternative whose name begins with the earlier letter of the alphabet").

The Doctor prescribes "Mythotherapy" to move Jake beyond his paralysis by giving him arbitrary decision-making principles and having him take on identities by wearing "masks"—assuming roles. He tells Jake "fiction isn't a lie at all, but a true representation of the distortion that everyone makes of life". These distortions—an approach Jake calls "mythoplastic"—people employ to with the arbitrary conditions life thrusts upon them. According to Jake, it is the imagination that enables one to cope, and its lack in the Morgans was to lead to their destruction.

Both Jake and Joe use their intellects to distance themselves from their emotions; both see others as specimens to be observed rather than as peers to relate to. Only when overcome with emotion does Jake briefly shed his self-consciousness, which he makes sure to quickly regain.

Jake is uncomfortable "with women who took their sexual transports too seriously", and prefers his sexual relations to be impersonal; the Doctor recommends he take up masturbation and avoid the complications of marriage or girlfriends. Jake's attitude toward sex is paralleled by his impersonal attitude to human relations in general.

Horse symbols permeate the text. Rennie, an accomplished rider, and her husband whip their heads back and forth horse-like when they laugh. Joe is fond of the epithet horseshit when pointing out nonsense. His surname, Morgan, is the name of an American breed of horse. Joe's consistent sureness, his "rationality and absence of 'craft or guile'", according to Thomas Schaub, seem to echo the Houyhnhnms, the race of rational horses in Jonathan Swift's Gulliver's Travels.

The novel's opening line recalls the "Call me Ishmael" opening of Herman Melville's Moby-Dick. Choices of wording such as "inscrutable" and "wrinkled brow" appear to Thomas H. Schaub to be deliberate echoes from Melville's novel.

Style
A virtuoso stylist, Barth concerns himself with deflating the pretensions of his characters. He displays an attitude toward sexuality that is free from taboo. Irony and black comedy are plentiful, but come to a sudden emotional halt with the crisis in the abortion room.

The End of the Road is in a realistic style that may come as a surprise to those familiar only with Barth's later books. The narrator avoids naturalistic descriptions of his surroundings, and most other details, and describes the physical aspects of life (especially of women) with disgust or contempt. He indulges in occasional bursts of eloquence: "A turning down of dinner damped, in ways subtle past knowing, manic keys on the flute of me, least pressed of all, which for a moment had shrilled me rarely". The realism is not a conventional everyday realism: the situations themselves are fantastic, though plausible.

Naturalism makes a significant appearance in the 12th chapter, in which Jake witnesses Rennie's botched abortion and finds himself unable to conquer his emotions with reason. Jac Tharpe saw this change of style as evidence that the chapter had originated as a separate story that was integrated into the novel; Charles B. Harris sees the "sudden use of naturalistic details" as taking on an "integral function" in the book, one prepared by the previous chapter with the subtle introduction of some passing naturalistic detail.

Though he shows concern for verisimilitude—particularly in the immediacy of the abortion scene—Barth at times draws attention to the artifice of the writing. Jake recounts long conversations with Rennie or Joe that he points out never occurred as written—he has ordered and condensed their content. Jake also expresses a belief that was to manifest itself in Barth's later approach to writing: "To turn experience into speech, that is, to classify, to conceptualize, to grammarize, to syntactify it—is always a betrayal of it, a falsification of it".

Primary characters
Jacob "Jake" Horner: Constantly aware of the many possibilities in life, Jake is paralyzed by his inability to choose from among them. In his own words, he is able "to maintain with perfect unenthusiasm contradictory, or at least polarized, opinions at once on a given subject". On occasion Jake finds himself in an empty mental state, free of mood, personality, or motivation; he calls these times "weatherless", after a dream he had in which attempts to find the weather forecast lead him to a meteorologist who informs him that the forecast is "no weather". He fills the void of his weatherlessness by occupying himself with rocking in his chair or singing the "Pepsi-Cola hits the spot" advertising jingle to himself.

Completely arbitrary, Horner seems the epitome of unreason to Joe Morgan's ultra-rationality, though Rennie comments that he and Joe "work from a lot of the same rational premises". He is scrupulously attentive to details, recording the possible positions of his arms and legs in the Progress and Advice Room; making note of who was on top first, or on which shoulder he was bitten, and which brand of condoms were used in his affair with Rennie; even parsing the grammar of sentences for the reader. He submits even his emotions to the ordering processes of reason. The name "Jake Horner" is reminiscent of the rationalizing Little Jack Horner, as well as of the horns of a cuckold.

Joe Morgan: SilverMorgan.jpg (pictured).]]

Joe is a history teacher and scoutmaster. He is consistent, decisive, rational, and lacking "craft or guile", and thus feels entirely certain of everything. An existentialist, he believes he has rid himself of arbitrary values and arrived at his essence. He believes that if something exists, it can be articulated. He recognizes the relativism of his value system, and that an ultimate system of values cannot be reached through logic. He maintains that "the most a man can ever do is be right from his point of view ... He's got to expect conflict from people or institutions who are also right from their points of view, but whose points of view are different from his."

Joe's definition of marriage requires that "the parties involved be able to take each other seriously". Despite Jake's making fun of Rennie, he likes Jake for appearing to take her seriously, as he believes few men take women seriously. He is voyeuristic in the rationalized probing of his wife for the minute details of her ongoing affair with Jake.

Rennie Morgan: Rennie is married to Joe, whom she looks up to. Joe has twice knocked her out in the past. Jake describes her as a "clumsy animal". Her birth name is Renée, a name signifying rebirth, and her maiden name was MacMahon—"reborn son of man", perhaps signifying rebirth in Joe's image, according to Thomas Schaub. Both Joe and Jake observe and treat her like a patient.

The Doctor: Described by Jake as "bald, dark-eyed, and dignified", the unnamed, elderly African-American Doctor specializes in immobility and paralysis at his Remobilization Farm in Vineland, New Jersey. He is an existential ultra-pragmatist and insists Jake rely on empirical facts rather than logic in making decisions, and echoes Wittgenstein's proposition from Tractatus Logico-Philosophicus, "The world is everything that is the case".

Because of racial segregation that would not end until 1954, he is unable to buy himself a cup of coffee at the bus station. He works outside of the law, and is unable to give Rennie an abortion in the safety of a hospital.

Peggy Rankin: Rankin is Jake's "Forty-Year-Old-Pickup", a local schoolteacher Jake has picked up like "a bird who perches on the muzzle of gun". in nearby Ocean City. In imitation of Joe, Jake hits her, once to woo her, the other time when she will not help him find an abortionist.

Reception and legacy
A 1958 Time magazine review called The End of the Road "that rarity of U.S. letters—a true novel of ideas". In the Chicago Review in 1959, reviewer David Kerner called it an "ideological farce", a genre he considered a "special type" with few contemporary examples. George Bluestone in 1960 used the term "serious farce", calling it an emerging new genre. Kerner praised Barth's "coherence of ... allegory", "depth of ... feeling for ideology", and "excellence of intention", but argues that the work's realistic style is at odds with the farcical, two-dimensional characters, who lack a "human and social setting" to give them roundedness and credibility. To Thomas LeClair in 1973, the novel was Barth's "purest presentation of the comedy of intellectual abstraction".

As part of a cast that includes characters from each of Barth's first six books the characters Jake and Joe resurface in Barth's 1979 novel LETTERS on the Doctor's Remobilization Farm, relocated to Fort Erie, Ontario. The End of the Road is presented in that book as a discarded manuscript Jake had titled What I Did Until the Doctor Came. Barth's fictitious version of himself in LETTERS uses the manuscript as the basis for The End of the Road; decades later he writes to Jake of his appropriation, and of the film based on the book, calling the latter "as false to the novel as was the novel to your Account and your Account to the actual Horner–Morgan–Morgan triangle".

Jonathan Lethem wrote of the influence The End of the Road had on his novel As She Climbed Across the Table (1997), which also involves a love triangle in an academic setting. In Lethem's novel, the narrator, in a position similar to Joe Morgan's, experiences the dilemma of "losing a woman to a rival who", like Jake Horner, "refuses to provide any fixed identity to hate, compete with, or understand".

Critical views
As The Floating Opera and The End of the Road make little display of the metafictional formal prowess of Barth's later works, critics often overlook them. Some consider these first two novels little more than apprentice works, while others see them in light of the later works, removed from their historical and social context.

Critics have been divided on whether Barth identified with the narrator's beliefs; this appeared probable to John Gardner, Richard W. Noland, and Tony Tanner, while Beverly Gross and Campbell Tatham believed the tragic ending demonstrates the contrary. Philosopher Robert C. Solomon included excerpts from the book in a collection on existentialism. Gardner objected to the book's absurdist philosophy, "vulgarities of style", and a "touch of life-hate which reveals itself in the author's fascination with the ugly, the disgusting"; Gardner found this "fascination" perplexing, as "in other respects Barth seems all sunshine and good cheer". Christopher Conti saw a "moral-satiric design" also found in Nabokov's Lolita (1955) and Gardner's Grendel (1971), in which the reader is meant to see through the moral failings of the novels' "monstrous narrators".

Charles B. Harris sees Jake's and Joe's intellectualism as a Freudian obsessional neurosis. To Freud, he writes, the source of such a condition lies in "the chronic existence of love and hatred, both directed towards the same person and both of the highest degree of intensity". Rennie expresses this overtly when she tells Jake, "f I love you at all, I don't just love you. I swear, along with it I honestly and truly hate your God-damned guts!"

To Dirk Vanderbeke, the "masks" the Doctor prescribes mask the "essential emptiness" of egoless existential philosophy. He writes that, anticipating Michel Foucault's theories of the self in The Archaeology of Knowledge (1974), all the characters wear self-defining masks that they at some point let slip, and that Jake's paralysis stems from an inability to choose a role with which to participate in society. Vanderbeke writes, "Mythotherapy is not simply the cure for Jacob's state of mind but the general mode of human existence."

Cynthia Davis sees the women in Barth's early works as lacking the choice-making, identity-forming dynamism of the men; Rennie has no viewpoint of her own, only ones formed by Joe or Jake. Davis states, "Only as bodies do Barth's women defy male control: in sex, in pregnancy, in death." To Judith Wilt, Rennie appears to assert herself in a seeming determination to die on the abortion table, cutting herself with the curette and inhaling her own vomit; there is no evidence in the book beyond her own assertion that Rennie had ever been pregnant. Barth returned to the subject of abortion in Sabbatical in 1982.

To literary theorist Michael LeMahieu, Barth's first two novels confront a logical positivist "separation of facts and values" common in postwar American fiction. The End of the Road displays "aesthetic resistance to the philosophical realism it desires results in a state of narrative, logical, affective, and ethical exhaustion at the end of the book". The narrative conflict echoes an ethical conflict between the characters' value systems that Joe insists is inevitable.

Adaptations
The End of the Road is the only work of Barth's to have been adapted to film. Director Aram Avakian's loose adaptation End of the Road (1970) stars James Earl Jones, Stacy Keach and Harris Yulin in their earliest feature roles. Graphic scenes earned the film an X rating, such as those of the botched abortion and of what Barth calls a "man rapes chicken" scene not found in the book. Barth and critics widely panned the movie; Barth wrote disdainfully about it in the introduction to the 1988 single-volume edition of The Floating Opera and The End of the Road. Academics Ken Pellow and Rita Hug opined that the linguistic, literary and philosophical aspects of the book made it difficult to adapt; they argued that Jake Horner's frequent speaking to the reader is key to the book's effectiveness but does not lend itself to film.

Director Paul Edwards made a stage adaptation of the novel for Roadworks Productions in 1993, with John Mozes as Jake, Kate Fry as Rennie, and Patrick McNulty as Joe. Edwards makes Jake's immobility central to the play; it opens with him seated and writing, and closes with him doing the same until the audience has left. The production won a Joseph Jefferson Award in 1993.

Books

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

title: The End of the Road


text: User talk:24.145.230.114

title: User talk:24.145.230.114


text:
Bakhasar

Bakhasar is a village in the Barmer district of the Rajasthan state in India, which is not far from the border. Bakhasar is ruled by Nadola Chouhans,they are the main family of bakhasar village. Bakhasar has a total population of 5,120 people according to Census 2011.

title: Bakhasar


text:
Wikipedia:Articles for deletion/Monday Montana

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was Delete. Fernando Rizo T/C 00:14, 7 September 2005 (UTC)

Monday Montana
I don't believe this is a real sporting term. The article reads like a personal attack. Delete unless verified. — J I P | Talk 07:31, 29 August 2005 (UTC)
 * Delete per nom. --Alan Au 09:00, 29 August 2005 (UTC)
 * Delete even if verified, it's just a dicdef at best (being kind). Although, somehow I doubt a Rugby term would be named after a football player.  It seems inevitble that an article named for an insult, would cite examples of people who "qualify" for the insult.  --rob 11:42, 29 August 2005 (UTC)
 * Delete as per nomination. -Mariano 11:46, 29 August 2005 (UTC)
 * Delete Jachin 22:12, 29 August 2005 (UTC)
 * Delete. As per nom. Cnwb 00:12, 30 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Levee (ceremony)

The levee (from the French word lever, meaning "getting up" or "rising") was traditionally a daily moment of intimacy and accessibility to a monarch or leader, as he got up in the morning. It started out as a royal custom, but in British America it came to refer to a reception by the sovereign's representative, which continues to be a tradition in Canada with the New Year's levee; in the United States a similar gathering was held by several presidents.

France
In Einhard's Life of Charlemagne, the author recounts the Emperor's practice, when he was dressing and putting on his shoes, to invite his friends to come in and, in case of a dispute brought to his attention, "he would order the disputants to be brought in there and then, hear the case as if he were sitting in tribunal and pronounce a judgement."

By the second half of the sixteenth century, it had become a formal event, requiring invitation. In 1563 Catherine de' Medici wrote in advice to her son, the King of France, to do as his father (Henry II) had done and uphold the practice of lever. Catherine describes that Henry II allowed his subjects, from nobles to household servants, to come in while he dressed. She states this pleased his subjects and improved their opinion of him.

This practice was raised to a ceremonial custom at the court of King Louis XIV. In the court etiquette that Louis formalised, the set of extremely elaborate conventions was divided into the grand lever, attended by the full court in the gallery outside the king's bedchamber, and the petit lever that transpired in degrees in the king's chamber, where only a very select group might serve the king as he rose and dressed. In fact, the king had often risen early and put in some hours hunting before returning to bed for the start of the lever. Louis's grandson, King Philip V of Spain, and his queen typically spent all morning in bed, as reported by Saint-Simon, to avoid the pestering by ministers and courtiers that began with the lever.

The king's retiring ceremony proceeded in reverse order and was known as the coucher.

The successors of Louis XIV were not as passionate about the monarch's daily routine and, over time, the frequency of the lever and coucher decreased, much to the dismay of their courtiers.

Great Britain
When the court of Charles II of England adopted the custom, first noted as an English usage in 1672, it was called a levée. In the 18th century, as the fashionable dinner hour was incrementally moved later into the afternoon, the morning reception of the British monarch, attended only by gentlemen, was shifted back towards noon.

The practice of holding court levées was continued by the British monarchy until 1939. These took the form of a formal reception at St James's Palace at which officials, diplomats, and military officers of all three armed services, were presented individually to the sovereign. A form of civil uniform known as Levée dress was worn by those entitled to it, or else naval or military uniform, or court dress. Participants formed a queue in the Throne Room before stepping forward when their names and ranks were called. Each then bowed to the king who was seated on a dais with male members of his family, officials of the Royal Household and senior officers behind him.

Levees in the British Empire and Commonwealth
Levée ceremonies were held by regal representatives of the British Empire, such as the Viceroy of India, the Lord Lieutenant of Ireland, governors general and state/provincial governors/lieutenant governors. The ceremonial event continues to be held in a number of Commonwealth countries. The New Year's levee is still held on New Year's Day in Canada, by the Governor General of Canada, the lieutenant governors, the Canadian Armed Forces, and various municipalities across the country.

United States
By the 1760s, the custom was being copied by the colonial governors in British America, but was abandoned in the United States following the American Revolutionary War. Beginning in 1789, President George Washington and First Lady Martha Washington held weekly public gatherings and receptions at the presidential mansion that were called levees. Designed to give the public access to the president and to project a dignified public image of the presidency, they were continued by John and Abigail Adams, but not by Thomas Jefferson. English writer Harriet Martineau, after witnessing a White House levee during the second term of Andrew Jackson's presidency, remarked on how egalitarian the levee was in every respect but one:"I saw one ambassador after another enter with his suite; the Judges of the Supreme Court; the majority of the members of both Houses of Congress; and intermingled with these, the plainest farmers, storekeepers, and mechanics, with their primitive wives and simple daughters. Some looked merry; some looked busy; but none bashful. I believe there were three thousand persons present. There was one deficiency,—one drawback, as I felt at the time. There were no persons of colour."Abraham Lincoln held a levee on New Year's Eve 1862.

Louis XIV's lever
The ceremony at Versailles has been described in detail by Louis de Rouvroy, duc de Saint-Simon. Louis XIV was a creature of habit and the inflexible routine that tired or irritated his heirs served him well. Wherever the king had actually slept, he was discovered sleeping in the close-curtained state bed standing in its alcove, which was separated from the rest of the chambre du roi by a gilded balustrade. He was woken at eight o'clock by his head valet de chambre—Alexandre Bontemps held this post for most of the reign—who alone had slept in the bedchamber. The chief physician, the chief surgeon and Louis' childhood nurse, as long as she lived, all entered at the same time, and the nurse kissed him. The night chamberpot was removed.

Grande entrée

Then the curtains of the bed were drawn once again and, at a quarter past eight, the Grand Chamberlain was called, bringing with him the nobles who had the privilege of the grande entrée, a privilege that could be purchased, subject to the king's approval, but which was restricted in Louis' time to the nobles. The King remained in bed, in his nightshirt and a short wig. The Grand Chamberlain of France or, in his absence, the Chief Gentleman of the Bedchamber presented holy water to the king from a vase that stood at the head of the bed and the king's morning clothes were laid out. First, the Master of the Bedchamber and the First Servant, both high nobles, pulled the king's nightshirt over his head, one grasping each sleeve. The Grand Chamberlain presented the day shirt which, according to Saint-Simon, had been shaken out and sometimes changed, because the king perspired freely. This was a moment for any of those with the privilege of the grande entrée to have a swift private word with the king, which would have been carefully rehearsed beforehand to express a request as deferentially as possible while also being as brief as possible. The King was given a missal and the gentlemen retired into the adjoining chambre du conseil (the "council chamber") while there was a brief private prayer for the King.

Première entrée
When the King had them recalled, now accompanied by those who had the lesser privilege of the première entrée, his process of dressing began. Louis preferred to dress himself "for he did almost everything himself, with address and grace", Saint-Simon remarked. The King was handed a dressing-gown, and a mirror was held for him, for he had no toilet table like ordinary gentlemen. Every other day the King shaved himself. Now, other privileged courtiers were admitted, a few at a time, at each stage, so that, as the King was putting on his shoes and stockings, "everyone" — in Saint-Simon's view — was there. This was the entrée de la chambre, which included the king's readers and the director of the Menus Plaisirs, that part of the royal establishment in charge of all preparations for ceremonies, events and festivities, to the last detail of design and order. At the entrée de la chambre were admitted the Grand Aumônier and the Marshal of France and the king's ministers and secretaries. A fifth entrée now admitted ladies for the first time, and a sixth entrée admitted, from a privileged position at a cramped backdoor, the king's children, legitimate and illegitimate indiscriminately — in scandalous fashion Saint-Simon thought — and their spouses.

The crowd in the chambre du Roi can be estimated from Saint-Simon's remark of the King's devotions, which followed: the King knelt at his bedside "where all the clergy present knelt, the cardinals without cushions, all the laity remaining standing".

The King then passed into the cabinet where all those who possessed any court office attended him. He then announced what he expected to do that day and was left alone with those among his favourites of the royal children born illegitimately (whom he had publicly recognised and legitimated ) and a few favourites, with the valets. These were less pressing moments to discuss projects with the King, who parcelled out his attention with strict regard for the current standing of those closest to him.

Grand lever
With the entry of the King into the Grande Galerie, where the rest of the court awaited him, the petit lever was finished, and with the grand lever the day was properly begun, as the king proceeded to daily Mass, sharing brief words as he progressed and even receiving some petitions. It was of these occasions that the King habitually remarked, in refusing a favour asked for some noble, "We never see him", meaning that he did not spend enough time at Versailles, where Louis wanted to keep the nobility penned up, to prevent them interesting themselves in politics.

For the aristocracy
Among the aristocracy, the levée could also become a crowded and social occasion, especially for women, who liked to put off the donning of their uncomfortable formal clothes, and whose hair and perhaps make-up needed prolonged attention. There is a famous depiction of the levée of an 18th-century Viennese lady of the court in Richard Strauss's later opera Der Rosenkavalier, where she has her hair dressed while surrounded by a disorderly crowd of tradesmen touting for work or payment, and other petitioners, followed by a visit from a cousin. The second scene of William Hogarth's A Rake's Progress shows a male equivalent in 1730s London.

In the French engraving Le Lever after Freudenberg, of the 1780s, gentle social criticism is levelled at the lady of the court; that she slept without unlacing her stays, apparently, perhaps can be seen as artistic licence. Her maids dress her with deference, while the wallclock under the hangings of her lit à la polonaise appears to read noon.

In popular culture
In Sophia Coppola's Marie Antoinette, the levée of the French queen during the reigns of Louis XV and XVI is represented.

title: Levee (ceremony)


text:
Berkatlah Yang DiPertuan Besar Negeri Sembilan

"Berkatlah Yang DiPertuan Besar Negeri Sembilan" (Jawi: برکتله يڠ دڤرتوان بسر نݢري سمبيلن, ) is the state anthem of Negeri Sembilan. It was composed by Andrew Caldecott (1884–1951) with lyrics by Tunku Zakaria Mambang. It was adopted as an official state anthem in 1911 at the behest of Tuanku Muhammad Shah (1865–1933), the seventh Yang di-Pertuan Besar, who ruled Negeri Sembilan from 1888 to 1933.

The anthem was subject to the fine-tuning efforts of the second son of the current Yang DiPertuan Besar, Tunku Zain Al-'Abidin ibni Tuanku Muhriz. The rearranged composition, recorded with the Malaysian Philharmonic Orchestra and choir groups from several schools across the state, was first presented to the public on the installation ceremonies of Tuanku Muhriz and his wife Tuanku Aishah Rohani in early 2009, and it was officially launched on 27 October 2010.

The line "Musuhnya habis binasa" from the anthem serves as motto for the state's football team, Negeri Sembilan FC.


text:
CHD

CHD may refer to:

Education

 * Chang'an University, a public university in Xi'an, Shaanxi, China

Medicine

 * Congenital heart defect
 * Coronary heart disease

Organizations

 * Church and Dwight, US household product manufacturer, NYSE symbol

Transportation

 * Russian Air Force, ICAO code
 * Chesterfield railway station, England, National Rail code
 * Chandler Municipal Airport, Arizona, USA, FAA LID

Technology

 * Compressed Hunks of Data, a file format used by the MAME emulator

Other

 * Chad, UNDP country code
 * Chicago Hittite Dictionary, Oriental Institute of the University of Chicago
 * Chandigarh, a union territory of India (postal code)

title: CHD