Week 12 Microfiction - Iron

Two Sentence:

A fatal slip has been made. Texas Red did not clear leather before he met his match.

Dribble:

The Arizona ranger was a drifter; he'd come to take an outlaw back dead or alive. His bounty was that of Texas Red, whose pistol held one and nineteen notches. The presence of the ranger was relayed to Texas Red & the two were to meet at twenty past eleven. Never has the swiftness of the ranger been matched, speed unknown to any man, unseen by any eye before that day. Texas Red's pistol remained in its holster as the ranger made his mark. Oh did Texas Red ever make a fatal slip, as the ranger's aim was deadly with the big iron on his hip.


Author's Note:
One of my all-time favorite artists is Marty Robbins. He's just the absolute essential early country artist for anyone hoping to explore that genre. I believe he should hold the top spot that is currently occupied by one Mr. Hank Williams (even though Hank is a legend as well). I set out to do two quick little entries summarizing/reworking the song 'Big Iron', which is likely Marty's most popular song. This was a fun project, as it meant I got to listen to Big Iron with a very specific purpose.


Photo Credit & Source Material
Gunfighter Ballads and Trail Songs | Marty Robbins

Week 12 Reading: Five Brothers parts A and B

Oof, this is a beefy story. Elizabeth Seeger has gone more in depth in this telling of the Mahabharata than I would've expected. This was a really interesting read having already gone through two version of the Mahabharata. This edition definitely had the strongest character development as well as allowed the greatest amount of access alignment. Seeger really gave the reader the chance to get into the mental states of the Pandu brothers, reading into their turmoil, motivations, and follies. I am very excited to see how the end of Bhishma and Drona come about in this story, as Seeger infuses such life into her writing. I feel those moments will be very heavy and lead to no small amount of introspection.




Photo Credit:
Pandavas and Draupadi | Public Domain
Source:
Five Brothers | Elizabeth Seeger

Week 11 Story: School & Conflict

SINGLE ACT: FISH AGAINST THE NET

Many fish learn to cooperate out of necessity; whether moving in a pack to avoid predation or acting as a school to learn from one another. There are lessons to be learned from team work and the lapse thereof.

Open on a school of Mahi moving along in the gulf - we hear bickering

FISH ONE
Come on man hold your line, you keep bumping me
FISH TWO
You’re the one who can’t swim straight, don’t lecture me
FISH ONE
I disagree, I’ve been keeping my eyes on the horizon the whole time. Therefore, I can’t be drifting.
FISH TWO
Sure pal
WISE FISH
Careful, gentlemen, learn to work through your issues otherwise you’ll be the death of us all.

The two disregard and let their resentment simmer
The fish continue along, aloof.
After some time we rejoin the school
A net enters view and engulfs the school

WISE FISH
Quickly now everyone, if we all push down the net will release, but we have to work together.
FISH ONE
I refuse, this guy keeps bumping me
FISH TWO
It’s you bumping me
WISE FISH
Friends, there are more important things to consider at the moment, we can discuss your conflict later rather than sooner
FISH ONE & FISH TWO
Fine

The two join the pack and swim against the force of the net - we hear a crack and the let lets loose
The fish swim free

WISE FISH
See friends, when we work together despite our differences we can overcome great obstacles

More time passes, the fish work together to break from the net many times - but resentments aren’t done away so easily

We see Fishes One and Two in turmoil once again

FISH ONE
I’ve had enough of this. You need to learn to swim straight, with the school, with your neighbors. You’re going to cause the death of us all as you break down our cohesion.
FISH TWO
Dude it’s you who can’t swim straight, you’re at fault.
WISE FISH
Friends, it doesn’t matter...

The wise fish is cut off by a whooshing sound
Suddenly, the fish are again in the throws of battle as the net begins to capture them

WISE FISH
Now, we must again set aside differences as we have time and time again for survival
FISH ONE
No! You continuously say “we’ll get to your issue later” and dismiss my feelings! 
FISH TWO
It’s my feelings he’s dismissing and you shouldn’t be concerned with your own as you’re the one creating the problem!
FISH ONE
No I am not, you cannot control yourself
WISE FISH
Fish, we must focus on the greater good

But it was too late, the net indeed covered the school and completed its cinch before the group could organize.
The fish are entangled and brought to the surface where they’re dumped aboard the ship - all on each other - all bumping each other.

It is not a matter of who carries the blame, for every individual does. In refusal of fault, each fish succumbed to stubbornness which doomed the group. However, was the wise fish not also wrong for diminishing the importance of conflict resolution? Certainly he is also to blame.

Author's Note:

This is pulled heavily from the "Quarrelsome Quails" Jataka Tale and the scene in Finding Nemo where the fish swim against the net. The original Jataka Tale has the bulk of the birds, including the king, abandon the two who are in conflict, leading to the death of the two and the survival of the bunch. This irks me a bit as you'd think the king would feel some obligation to intervene on an issue within his kingdom. Instead he simply leaves, it's a very Laissez-Faire rule. In my telling I decided to have the king be reduced to a wiser fish, with the name as a nod to the actual lack of wisdom posed by the character. The wise fish who seems to be something of a ruler states that their issue will be addressed later to assuage them in the moment, but he doesn't follow up in earnest. I believe this makes him equally responsible for the crisis and thus deserving of the same fate as the two truly struggling. 

Photo Credit:

School of Mahi | Tony Ludovico

Source:

Quarrelsome Quails | Inayat 

Week 11 Reading: Part B (Jataka Tales)

From these stories we can again and still pull many principles and lessons. I believe that from the second installation of Jataka Tales my favorites are The Ox Who Never Envied the Pig and The Crab and the Crane. The latter speaks to capitalizing on the lack of security of others, speaking against such predatory behavior. It's a timeless story that is extremely versatile in application.



Photo Credit
Caravan Pulled by Oxen | Jataka

Source:
Jataka Tales | Ellen Babbit

Week 11 Reading: Part A (Jataka Tales)

For the first reading section this week I chose to read through the Jataka Tales. I always love any chance to read these stories as they're such a fun jaunt into principle, ethics, morals, and wisdom. They always do a fantastic job of communicating information in a very succinct, enjoyable way. I won't write summaries of each one, as they're already brief enough and it would be a be rude to cut them down any further. Essentially, each tale lays out a scenario where someone has a goal (usually devious) and selfishly pursues the goal until failure. There's always a lesson in one of the above areas and it's always very clear cut - these tales rarely have any ambiguity in communication.


Photo Source:
The Lion | Jataka

Source:
Jataka Tales | Ellen Babbit

Week 9 Story: Allegiances

SINGLE ACT: KUNTI & KARNA
INT.
In times of strife mankind defines itself; individual’s truest selves emerge to be welcomed or scorned. This is no different than the turmoil Karna felt on the eve of his battle with Arjuna. As Karna steeled himself mentally and physically, preparing for such warring, his mother, Kunti, sought him out in hopes of changing his perspective.
INTERIOR TENT - DIMLY LIT - KRISHNA ENTERS
KRISHNA
Karna, if you accompany me back to the Pandava camp and we speak to the brothers together they’ll surely not find you wanting. They simply don’t understand your role in all of this; if you explain they’ll yield to you.
KARNA
I cannot simply abandon those who rely upon my words out of some thin hope for reconciliation with those who neither want nor seek reconciliation. Leaving Duryodhana now would end our counsel and our friendship.
KRISHNA
Not at all, these are wise men - even if tempers are high and the Pandavas are full of vitriol they’ll be made to understand. Karna..
KARNA
Enough, what you speak of is desertion, it’s folly, it’s weak. There is no sense in my abandoning my role here for the potential of a lesser post in a weaker, unformed empire.
KRISHNA
They’ll make you king if they learn of your lineage.
KARNA
Even if they yield to me, even if they cede the throne to me, history will remember me as a lesser Arjuna. I’ll go down in the annals of time as a pretender. The records of me will not show this; I will meet Arjuna on the field and our clash will display some level of providence. Our struggle will establish dominance, it will be decided who is stronger, neither will yield. Now, Krishna, our time together must come to an end. If we’re lucky we’ll meet again soon - our forms may be earthly or celestial, but regardless we shall meet again soon.
KRISHNA
Truly, Karna, you’re stronger than what is known and stronger than what will be remembered.
The two embrace, their respect for each other is obvious, but they cannot remain together as this struggle does indeed drive a wedge between even friends


Author's Note:
I set out to write this specific exchange because I think this episode of the Mahabharata is amazing. The dialogue between Krishna and Karna is easily one of the more powerful moments in this epic, as we see both men so entirely vulnerable. They're explaining in as many words their need to be recognized, but this need for recognition and love drives a wedge. We see Krishna appeal to Karna in an attempt to prevent the battle between him and Arjuna, as it would be such a senseless loss of greatness if even one of them were to fall, but because of that respective greatness Karna feels he must go to war, if for nothing else than to prove himself. The fear of being in Arjun's shadow beats his risk of death and so he goes to war. I expanded this conversation some from the original telling and hopefully it communicates effectively how important this exchange is to the unfolding of the epic.

Bibliography:
Mahabharata
Photo Source:
Krishna & Karna

Week 9 Reading: Mahabharata Parts A & B

It was interesting watching through the Epified Mahabharata; I feel like I gained a greater understanding of the timeline established early in the story. We see the development of the people who are responsible for the development of the next era of the story. I think the episodic version of the epic lets the viewer get more involved in the world, as we see the characters visually. The ability to see the emotions of individuals visibly helps tether the viewer to the story. The plot follows the Mahabharata as earlier readings have done. Something that struck me more clearly this time through was the impact on Drona that the meeting, and subsequent rejection of, Ekalavya.




Photo Source:
Epified 'Now in Hindi' | Youtube-Epified

Week 8 Progress

This semester has definitely been a learning experience. I've had to access a more creative side of myself that's normally reserved for photography. Screenwriting, no matter how novice, is a very vulnerable thing. I'm glad with how things have been going. The amount of structure this class provides is amazing; due to this I've been able to be much more consistent than I expected. Looking ahead I'm hoping to get more creative in my word selection. I've learned I rely on 'sure' and 'surely' pretty heavily. All things considered, this has been an awesome course thus far and I'm excited to keep it rolling, improving where I feel weak and continuing what's going well.

I picked this image because this was my first real excursion into criterium racing and I was fortunate enough to be at this race and witness this dramatic conclusion to the night crit. I'm hoping to bring the same drive rolling in my courses to close this semester.


Photo Source:
Blue Dome Crit - Tulsa Tough | Biff Stephens

Week 8 Comments & Feedback

Through this semester I've been pretty excited with the feedback I've received. People have been giving criticism when warranted, alerting me to formatting issues, and just passing along the occasional compliments. These comments have helped me pay closer attention to my writing in hopes of keeping it more accessible and honest. I'm doing my best to pass along these same benefits as things progress, although I don't feel much right to criticize people's work. I'm hoping I'll get more comfortable critiquing writing, until then, I'll just keep on being excited by people's writing. Looking forward, I need to make my comment wall more easily found on my site to simplify things for my classmates. Also, I'm hoping I'll be able to leave more constructive comments as things progress.

Note: I've re-used a photo from the course wiki because it makes me very happy, but also very concerned for the wellbeing of the kitten pictured. Someone had best be sure it finds its way home safely because that's a handsome little cat.


Photo Source:
Feedback Cat | Dr. Gibbs

Week 8 Reading & Writing

So far in the semester I am pretty pleased with how my blog and website have turned out- they're both fairly minimal, but not drab. I'm pretty content with my writing so far; I've never done creative writing, so this has been a fun break from tradition. It's been fun accessing that side of the brain. The reading notes help me to write as they allow me to get more into the structural analysis of stories, rather than reading for the story. I picked the above picture for the same reason I chose it the first time around- its symmetry is very appealing to me. The focus on Kabandha with Rama and Lakshmana balanced on either side is interesting, especially considering what the picture is depicting. For the rest of the semester, I hope to continue getting out of this course what I have so far. I've been learning about a culture I hadn't heard much of before and getting to channel some sort of creative energy - that's plenty of benefit I'd say. So, hopefully things continue as they have and remain as fun as they've been.

Photo Credit:

Rama and Lakshmana seated on Kabandha's arms | Painting on ceiling of temple near Salem

Week 7 Story: The King & His Son (Accidental Storybook story)

ACT I: THE KING & HIS SON

FOREST

TRACKING SHOT (LONG)

We see a distinctly large monkey burst through frame, flitting between trees - he arrives at his destination, another monkey, smaller, older

BODHISATTA

Mother, recently I’ve been unable to escape a certain thought, try as I might: Where is my father?

MOTHER

(Hesitantly, she’s not telling the whole story)

He lives at the foot of a mountain as a king among monkeys. Son, please hear this; your father will not welcome this visit. He is consumed by a fear of his throne being usurped and your arrival will do nothing but stoke this paranoia.

BODHISATTA

(Resolutely)

I don’t believe this, surely he will welcome a visit by his child. Mother, take me to him, I’m sure it’s what I must do.

The two set out for the mountain - it’s not a short bit of travel

They arrive.

DEVADATTA

(Upon seeing his son arrive)

Surely you’re mine, as I’ve never seen as stout and sure a monkey in all of my time!

Devadatta rushes to hug his child, although his true motives are hidden

DEVADATTA

My child what has kept you, where have you been lost?

Devadatta embraces Bodhisatta, engaging him like a clamp in order to snap his spine. 

BODHISATTA

I’ve been growing old out in the hinterlands of your kingdom, but I couldn’t bear the thought of not knowing my father. I had to find you.

Bodhisatta returns the intensity of the hug, cracking Devadatta’s ribs.

END OF ACT I

ACT II: THE PLOT

NOW, IN LIGHT OF DEVADATTA’S FEAR OF LOSS AND HIS INABILITY TO OUTMATCH HIS SON IN STRENGTH, HE’S THOUGHT OF A DEVIANT SCHEME

DEVADATTA

Dearest son, I’m growing old and I am not as full of energy as I once was and as you surely are. I feel as though the crown must naturally transfer to you so as to maintain confidence and stability. Today is your day, but first I have a task for you. There’s a lake not far from here, but neither is it close-by, from this lake spout two kinds of water lily, three kinds of blue-lotus, and five kinds of white-lotus. I need you to journey to this lake and bring me some of the plenty growing therein. 

BODHISATTA

(eager to prove his worth)

Absolutely father, this I can surely do for you. 

And so our Bodhisatta sets off to the lake in search of flora and after some time he arrives

BODHISATTA

(spying the peculiarity of the foot tracks near the lake)

Surely it can’t be a matter of coincidence that there exist no return tracks; something is surely off about this lake.

Bodhisatta approaches the lake, tentatively.

BODHISATTA

I know exactly what I must do to attain these plants - I must simply avoid the waters that seem to house such a danger

As such, Bodhisatta leapt and as he flew through the air he snatched two flowers before landing on the opposite bank. This he repeated until he had the correct number of flowers for his father.

Seeing this, the Ogre that dwelt in the lake and had made a living feasting on those who approach his water parted the waters to emerge.

WATER OGRE

(to himself)

Surely I must be mistaken; all these years I’ve yet to see a creature take from my lake without succumbing to my abilities.

The Ogre emerges

WATER OGRE

Oh king of monkeys, you have proven yourself truly unmatched in skill, strength, and wits. One cannot hope to find victory without possession of merely one of these traits and you, great king, have mastery over all three. Why were you in need of the Lily and the Lotus today? 

BODHISATTA

Great Ogre, you seem to have found success within your realm. I am attempting to find success in mine, as my father hopes to hand down his crown to me today, requesting these flowers as final offering.

WATER OGRE

Surely you’re above the setting out on such a path whilst encumbered by flowers. You should not be subject to such laboring, allow me to carry these flowers for you along your way.

The Ogre leaves his land, scoops the flowers from Bodhisatta’s hands, and follows along

END OF ACT II

ACT III: CORONATION

Unbeknownst to Bodhisatta, his father had been observing this task, as be believed it impossible and hoped for his son’s death.

DEVADATTA

Surely it cannot be that my son has made peace with such an Ogre. How could he display such Resource? How did he attain the flowers without touching the water, there could be no such Dexterity. I’ve sent my son to his doom and he returns with doom as a friend, this cannot be beaten down. I cannot contend with such a monkey, I am finished.

The monkey king perished at the utterance of this final sentence, as all he cared about was his worldly title and he knew that was not long for him.

Bodhisatta & The Water Ogre return to the village to find a council convened

BODHISATTA

What is this formation? Where is my father?

COUNCIL MEMBER

Oh great monkey, your father witnessed his plan’s failure and lost his will. In light of this, we’ve chosen you to replace him, as only a great monkey could’ve bested him as you have resoundingly done. 

BODHISATTA

Alas that my meeting my father set in motion his demise. He could not value what we need in life, rather clinging to all that eventually must be found fleeting.

END OF ACT III

Author's Note:

Author's Note: This is my first real foray into a more developed screenplay, as I'm attempting to write these tales in a true three act structure to highlight similarity across the stories. I skipped the context introduction of the root Jataka Tale, wherein the reader sees more of the mother stealing away with her child to ensure its safety. I felt beginning with that would've been all too obvious as it gives the entire arc of the story out of the gate. Again my goal with these screenplays isn't to show mastery, I'm a novice at this, so I am really just hoping to retell these stories in a way that allows for me to learn more about them by spending more time in their word, and also allow the reader to digest the information easily without worrying about language or translation barriers.

Bibliography:

Jataka Tales

Photo Source:

Adult Female Hoolock Gibbon | Monga Bay

Reading Notes: PDE Mahabharata Part D

This final section of the PDE Mahabharata focuses on the climactic battle of the epic. Arjuna slays Bhishma in a somewhat underhanded way, waiting on Shikhandin to cause Bhishma to lower his arms out of principle. Every feels lament over the death of Bhishma, as he was unrivaled in combat. We see Arjuna's son isolated and defeated, causing Arjuna and Krishna to set out for revenge. We then see the demise of Ghatokacha, Bhima's rakshasa son. We see the Pandavas convince Drona of his son's death. Drone, in sorrow, lays down arms only to be stricken down by the Pandava general Dhrishtadyumna. Karna finally has his moment, as both Drona and Bhishma have perished. As Karna battled with Bhima, having cast down Yudhishthira, he's given aid by Dushana (the defiler of Draupadi). Arjuna returns to battle Karna and because of this Bhima is able to set upon Dushana. He destroys his chariot with a mace blow, then disposes of Dushana and drinks his blood, causing enemy forces to retreat. Arjuna and Karna battle until Karna is slain. Duryodhana hides beneath the water until addressed by Yudhishthira. Duryodhana emerges and fights Bhima, nearly winning, until Bhima strikes his leg, disabling him. Krishna stays Duryodhana's combative ally's hand. We then see Ashwatthaman raid the Pandava camp under cover of darkness. This raid is allowed after Ashwatthaman offers himself as a sacrifice to Shiva, who takes pride and allows him passage. Ashwatthaman steals into camp and murders Draupadi's children before making his egress and receiving the blessing of Duryodhana. Arjuna pursues Ashwatthaman and takes the jewel from his forehead. After time passes we see a ghoulish occurrence, with omens warning of trouble, the city of Dwarka is swallowed after Krishna is mistaken for a gazelle and mortally wounded. Following the death of Krishna, we see the Pandavas and Draupadi one by one leaving the earth. Yudhisthira's time comes and he must face a final test. Yudhisthira arrives in the afterlife and sees his rivals on thrones. He refuses to be with these people and as such goes in search of his family and friends. He finds them in a forest of torment and gives up his time to be with them. At this point the illusion is broken and he's given leave to bathe in the Ganges before entering the celestial city of Indra, wherein he's met by all his friends and family, as well as those most wise of his rivals. This city is home for all men who have shown their worth.


Bibliography:
PDE Mahabharata | Vyasa

Photo Source:
Dark and Difficult Was the Road | Evelyn Paul Monroe

Reading Notes: PDE Mahabharata Part C

This section begins with the Pandavas entering exile as a result of the recent string of failed bets and games. This appears to be a recurring theme in Indian epics; we consistently see protagonists being exiled only to return down the line as wiser and stronger because of it. Krishna visits the Pandavas, shedding light on their situation and why he was unable to prevent it. After Krishna's exit Draupadi and Bhima air their sorrow to Yudhishthira, lamenting over what they'd lost and the lack of action from the Pandavas. Arjuna journeys alone, fighting the god Mahadeva, who gives him a divine bow. Arjuna continues, met by many gods, including his father Indra, who proceed to give him many gifts before transporting him to Swarga. In Swarga, Arjuna is cursed by one Urvashi, but we're told this curse will ultimately benefit Arjuna. The Pandavas set out for the Himalayas, rejoined by Arjuna. Along their way they encounter Hanuman, who explains the roles of the Varnas. Karna makes an oath to kill Arjuna, out of service to Duryodhana. Indra, to protect Arjuna, takes the celestial armor with which Karna was born, but gives Karna a dart with which he can slay one powerful foe without fail. The Pandavas enter into the service of King Virata, with Arjuna becoming a eunuch dancing instructor and this filling the role of the curse. The brother of Queen Sudeshna, Prince Kichaka, attempts to rape Draupadi, but is stopped by Bhima. Duryodhana's forces attack King Virata for his cattle, but are thwarted by the Pandavas. Ultimately, battle is drawing closer, with Arjuna choosing the aid of Krishna. Krishna manifests as Vishnu and attempts to persuade Karna to fight alongside Arjuna as they're brothers, but Karna will hear nothing of it, choosing to either claim fame through slaying Arjuna, or die an honorable death at Arjuna's hand. The forces assemble and all the cast from the previous chapters are present. We see in the early days of the fight that Bhishma is dominant on the battlefield, even pushing back Arjuna, but seems to prevent himself from ending things entirely, causing Duryodhana to doubt him repeatedly. Arjuna's son falls in battle, causing Bhima's Rakshasa son to go on a war path through the enemy forces, even Duryodhana's elephant forces.



Bibliography:
PDE Mahabharata | Vyasa

Photo Source:
Ghatotkacha | Statue in Bali

Microfiction: Density

Two-Sentence Story: Social Situation

Stuffed in a crowded space in which people display duality. In crowds everyone acts one way and alone another.

Dribble: Lighthouse

Two souls existing outside of time. First associates, then friends, perhaps more, then the end. In closed sets we see intimacy, however without room we see this turn to paranoia. Secrets kept unilaterally lead to a friendship’s decay.

Author's Note:

For these two short entries I decided to work with the shared theme of isolation despite company. Oftentimes by way of Social Anxiety we find ourselves wanting to be alone when we're not, and then regretting isolation once we've succeeded in it. The first entry is just a little sentiment on the face people put on in parties, oftentimes displaying the best version of themself in order to be an active member of the party. The second entry is a little wrap-up of the move The Lighthouse wherein two people are on an island working as lighthouse operators. Through their time spent in isolation together, and due to the inability to find peace, the two begin turning on each other in very specific ways.



Photo Source:
Times Square | Chensiyuan

Reading Notes: PDE Mahabharata Part B

Summary:
The wisdom of the youngest Pandu, Vidura, saves the lives of the Pandu brothers, who flee to the wilderness to avoid the scorn of Duryodhana. This is a return to the familiar as they grew up living in the wilderness with their mother Kunti. In the forest Bhima meets a Rakshasi named Hidimbi - whose brother Hidimba he slays. Bhima and and Hidimbi are married and are happy. The brothers are lured out of hiding by the Swayamwara of Draupadi. All brothers ultimately marry Draupadi, Arjuna breaks the rules pursuing robbers, resulting in him volunteering himself for exile. In exile, Arjuna meets Ulupi and consequently fathers a son named Iravat. Arjuna also marries Chitra, the daughter of the King of Manipur. With Chitra Arjuna has a son who stays behind to grow to be king. Arjuna then journeys on and meets Krishna, with whom he feasts. In feasting Arjuna spies Subhadra, Krishna's sister, and ultimately abducts her for his bride, as she had been promised to Duryodhana. Krishna convinces his father of Arjuna's worth and thus wins his support. Arjuna returns to Indraprastha where he's met by Draupadi - who after an adjustment period welcomes both Arjuna and Subhadra. Subhadra goes on to have a son, Abhimanyu, who becomes an "illustrious warrior". Duryodhana conceives to trick the Pandavas out of Draupadi via a dice game. Yudhishthira loses this game and Draupadi in the process. Draupadi protests in pose, which is quite powerful. Draupadi prays to Krishna, who clothes her in many layers such that she cannot be stripped publicly. The Pandavas are falling apart, Bhima is demanding blood and such - a second game is invoked. Draupadi meets Dhriasrashtra who grants her request of freeing Arjuna, Bhima, and their younger brother. The brothers return to play another game of dice, and Yudhishthira again loses. The empire of Duryodhana is established. The Pandava brothers again depart, this time in humble rags, but not before again swearing the end of Duryodhana.








Bibliography:
PDE Mahabharata | Vyasa

Photo Source:
Indra Blesses Kunti | Ramnadayandatta Shastri Pandey

Reading Notes: PDE Mahabharata Part A

Brief Summary:

Vysasa has a very complex backstory, with a definite path towards the finality of reading the Mahabharata to Ganesha. King Shantanu has 8 children with Ganga in human form, who promptly destroys 7 of the children before vanishing with the 8th. She returns to give a now fully grown and stout Devavrata to King Shantanu - Devavrata has divine powers and a human form. King Shantanu in grief of losing Ganga meets Satyavati. We're told again of Vyasa's bizarre birth. Devavrata takes a "terrible oath" to allow King Shantanu to marry Satyavati - becoming "Bhishma", a fitting name. Bhishma, in conflict, takes three daughters to be brides for Vichitravirya - only two marry. Amba, the third, returns to marry her intended, who spurns her. She then decides to orient her life around bringing about the downfall of Bhishma. After some deaths in the family, Queen Satyavati calls on Vysasa - whose arrival seemingly causes the birth of three children. Ambika's son was born blind and named Dhritarashtra. Ambalika's son was born pale and named Pandu. Ambika sent her handmaiden to Vyasa and bore a son (the earthly form of Dharma) named Vidura. Bhishma raised the children and in time chose Pandu to be king. We see the birth of the Pandavas and the Kauravas - duality. Kunti raises the five sons of Pandu - who are ultimately to return to be raised by Dhritarashtra alongside the Kauravas. We see the rivalry growing, with supernatural events causing changes in the sons. Drona teaches the two sides. In education we see the Pandavas distinguishing themselves from the Kauravas - driving the wedge deeper. We see the culmination of this section with a tournament in which the Pandavas prove themselves - particularly Arjuna - who's then bested by his unknown brother Karna. Drona collects on his owed payment, sending the princes to inflict pain on King Drupada, with whom he has a checkered past. As things progress, Duryodhana loses it, deciding to rid himself of the Pandavas.



Bibliography:
PDE Mahabharata | Vyasa
Photo Source:
Karna in Kurukshetra | Made in Himachal Pradesh or Jammu and Kashmir

Week 5 Story: Shurpanakha

ACT I: INTRODUCTIONS
SHURPANAKHA
These events take place all during one detention period in a high school not unlike what we’ve known
OPEN ON A FIELD - SHOT IN 2.76:1 (WHOLE FILM)
As the camera tracks back we’re made aware of the fact that we’re observing this field from inside a room - camera holds on the glass
CUT TO:
REVERSE SHOT - ENTIRE CLASSROOM NOW VISIBLE
Hold on shot for uncomfortable amount of time
Door open, student enters and takes seat
(She’s superfluously dorky)
New girl glances around room, eyes resting momentarily on a boy, she then takes her seat near caddy-corner the boy of interest

All of this occurs through the same shot, we now get a tracking zoom on the new girl, Panny, who appears mortified
PANNY
(quietly to herself)
Oh man, hope he didn’t see that
CAMERA RETURNS TO WIDE SHOT OF ENTIRE CLASSROOM
(Panny and Boy are positioned such that we can see them both clearly in this wide shot, opposite extremes)
TEACHER
(lacking enthusiasm)
This is what you all get for being deadbeats; we now get to sit around in this room together all day, because a sensible punishment for lack of attention in school is reinforcing the idea that school is boring. If we punish in the same space we educate there should be absolutely no subconscious cross-association, rather you’ll all simply learn to pay attention. Especially you Mr. Football, you’re not above the system.
MR. FOOTBALL
(To himself)
This is ridiculous, all I did was act on anticipated preferential treatment because I’m a sports star.
Panny stands up and moves closer to Mr. Football
PANNY
Hey, what’re you in for?
MR. FOOTBALL
I skipped a test. It’s so stupid, I wouldn’t have passed anyway why is everyone acting like it’s important that I take it?
PANNY
Maybe they just want to see what you can accomplish if you try? I’ve always seen you from the stands, if you can take a study with the same dedication you bring to sports, I’m sure you’ll pass.
MR. FOOTBALL
Wow, you sure are smart. I never thought about it that way - I’m so gifted athletically, it only follows that this skill would transfer to academics.
PANNY
You’re the most handsome man I’ve ever seen, do you want to date me?
MR. FOOTBALL
Of course not, I already have a girlfriend, but maybe he’d say yes
Mr. Football gestures to a similarly unfortunate boy a few rows down
PANNY
But wait, I’ll take off my glasses and you’ll see that I’m beautiful
Panny removes her glasses and takes her hair out of its whale spout
MR. FOOTBALL
That didn’t change anything; why would you expect that to change anything? You’re still the exact same person, you have the same face it’s just not covered by your spectacles. I just don’t see why you thought that taking off your glasses would cause some massive shift in appearance, that’s a silly thing to think.
END OF ACT I

Author's Note:
I was having a really hard time finding a rhythm this week and couldn't entirely nail down what it is I should write. I ultimately decided to write the meeting of Rama and Shurpanakha, this time as a critique on the movies of John Hughes. This is an extremely heavy handed telling in this genre; the dialogue is very much on the nose, but it still fills the function of retelling this encounter in broad strokes. Rama spurns the advances of Shurpanakha, suggesting his brother as a slight to her, despite her altered appearance. Oftentimes these 80's movies have a moment where the geeky gal changes her hairstyle and removes her glasses and everyone has some shocking revelation that she's been beautiful the whole time and they were wrong to write her off as a dork. It's a tricky situation, but I believe these movies oftentimes make this moment hit hard as a result of characters' complete lack of effort to like people for personality; these moments are always rooted in appearance and as such are pretty superficial and hurtful when you get down to it. This motivated me to write this little deal, but admittedly it's not fantastic.





Bibliography:
PDE Ramayana | Valmiki
Photo Source:
Rama Spurns the Demon | Warwick Goble

Reading Notes: Ramayana Part B

The tale of Promila is interesting as we are given much more insight into the motivations of the opposition. The strengths the opening chapters on Sita possess, that of delving into character motivation, desires, and thoughts, are clearly mirrored here as we are given the reverse of the Ramayana. Oftentimes in epics we see the villains as very one-dimensionally horrific; they lack complexity as they're often underwritten in an attempt to make them seem more villainous. This shallowness is contrasted with the heros, who are often written to have a much more natural evolution, so that the reader may identify with them more. This telling of the Ramayana breaks from tradition it seems, as it gives equal attention to the adversaries, making their motivations seem much more justifiable and acceptable. Indrajit is motivated to slay Rama and Lakshmana as they've killed his brother, Lanka is very much a developed nation - rather than being simply a "strong southern fastness". There is grace and humility in Lanka, we feel the suffering at the loss of Indrajit - whereas the PDE Edition very much makes the loss of Indrajit unilaterally a victory. The chapter of Sakuntala is another example of this same development, as we're given a much more intimate telling of a known character.

Source Information:
Nine Ideal Indian Women | Sunity Devee

Photo Credit:
Indrajit after victory over Indra | Raja Ravi Varma

Reading Notes: Ramayana Part A

This telling of Sita's tale in the Ramayana follows fairly closely to that which we've read earlier in this semester. However, there is a lot more explanation and emotional evolution in this telling. We see consistently throughout this writing that Sita is a much more self-aware character than we see in the PDE Ramayana. Additionally, we also see much more of the background happenings and emotional motivations in this version. We see the development of Sita's familial background, as well as the turmoil caused by Queen Keykaya and her wish for her son to be crowned king. This telling paints Sita as a stronger character than shown in the PDE Edition - she consistently implores Rama to be involved in his persecutions and trials, rather than simply guilty by association.

The general plot progression has already been developed in previous reading notes as this telling follows closely the previous iteration read.




Photo Source:
Idischer Maler | The Yorck Project

Bibliography:
Nine Ideal Indian Women | Sunity Devee

Storybook Plan

For this project I'm hoping to adapt the following stories into a more accessible format. I likely won't lean very hard on era change, but rather just make the whole world of the story a bit more palpable. I intend to do this by way of screenplay, as I have with the writing assignments until now. In these retellings I'm trying to study the depiction of monkeys in a few key Jataka tales. The stories I plan on using are TAYODHAMMA-JĀTAKA, VĀNARINDA-JĀTAKA, ĀRĀMADŪSAKA-JĀTAKA, NAḶAPĀNA-JĀTAKA, and SUṀSUMĀRA-JĀTAKA.

I'm thinking this will be a bit more of a thematic link anthology, rather than linked as a singular story or narrator. I'm hoping to focus on the tendency of the monkeys to rely on wisdom and cunning to make the best of their situation. However, one of the stories portrays them as much more simple minded - which will be an interesting case study as it breaks from the norm.








Bibliography:
Jakata Tales

Comment Wall

Return to Jataka Monkey Storybook





Site:
https://sites.google.com/view/jatakamonkeys
Photo Credit:
Mahakapi Jataka in Sanchi | 1st Century BCE

Microfiction: Ice

Hint Fiction: Lubricus

One step further than the right amount, confidence of the most detrimental degree. One moment of peace, before all falls out; the feet once trusted fail the owner, as the ground becomes all too familiar.


Dribbles: Rickety

The ankle always trusted is now compromised; interest leads to downfall. As the body once strong falls to the earth, strength was the demise. We see pride leading into failure, but rarely do we see motivation touting surrender.


Author's Note:

This is my attempt at being somewhat succinct in writing; this is no small task for me as I tend to be somewhat flowery in writing. Both of these little 'stories' are centered in reality, as making my way to class today was somewhat terrifying. I currently don't have any stability in my left ankle as I tore the ligaments extensively in a climbing accident, so even the slightest slip on the sidewalk ice was problematic as I can't catch myself or balance effectively whatsoever. These stories use my current lack of faith in my body and more importantly the reason for this issue to explore the lack of confidence brought about by the loss of stability in walking. The stories vary in that the first is focused more on the walking material, hence the use of Lubricus, and explores a bit more the emotion of slipping and falling not due to the owner, but due to the lack of sureness in footing. However, the second story focuses more on the failure of the owner to handle the walking well, and as such is more self-deprecating and defeated in tone.


Photo Credit:
Grey Patch | Kurt Bauschardt

Reading Notes: Ramayana D

This final episode in the Ramayana focuses on closing what has been opened in the previous entries. We open with Rama and his army closing on Lanka and needing to get across to the kingdom. Garuda comes to heal the army of Rama - who've been injured by Ravana's son Indrajit. There are numerous attempts at psychological warfare by both Ravana and Indrajit, but ultimately Lakshmana kills Indrajit, causing Ravana to ride to battle to slay Lakshmana. Rama uses his brahma-weapon and kills Ravana. Mandodari mourns the loss of her husband Ravana. We then turn to Rama and Sita, whose story doesn't come to a head as we've expected. Rama comes to Sita and puts her down, saying that since she's been living with another man for too long, and as the king of Ayodhya he can't take someone who's been loose as his bride. Sita, upon hearing this, insists of her purity and requests a funeral pyre to prove her faith - calling Agni to hear her. We see Sita enter the fire and hear her torment, the gods come down and speak to Rama clarifying his position. Rama takes Sita back to Ayodhya in Ravana's chariot. Rama returns just in time to prevent Bharata's suicide. Rama is coronated. Some time passes, then Sita goes into exile, Lakshmana fades into Heaven, and Rama decides his time is past as well - returning to heaven as Vishnu.


There's less of an emphasis on cosmic balance or weird theoretical extensions, rather we see more about resolution. This entry is centered on closing what's been opened, and the filling of the prophesied arcs. 





Photo Credit:
Rama and Lakshmana fight Ravana | Augustus Franks

Reading Notes: Ramayana Part C

In this week's first reading we see a lot of continuity in terms of motivation. Rama & Lakshmana are pursuing Sita, but first must find Sugriva, who initially is threatened by them. Sugriva explains his fear, and then requests Rama's aid. We then see Vali, Sugriva's brother, warned not to fight as Tara, his wife, has learned of Rama's involvement. We see Rama help Sugriva, but by assassinating Vali - this is troublesome as Rama has conducted himself extremely honorably until this point, it seems like an unjustified character break. All the monkeys grieve Vali, even Sugriva, who is now king. Sugriva agrees to aid Rama and Lakshmana on their way to Sita, but states he cannot during the rainy season. As the rainy season closes, Sugriva sends armies of monkeys in all compass directions to gather information on Sita. The southern marching army is met by Sampati, Jatayu's brother, who informs them that Ravana has taken Sita to Lanka. We hear a brief tale from Sampati mirroring Daedalus and Icarus. Ultimately, Hanuman (monkey god) is sent into Ravana to scour for Sita - upon leaping he does battle with a powerful Rakshasi. Hanuman finally makes his way into Ravana's palace, searching through he finds Ravana asleep, but doesn't find Sita until he begins his way outside - where he spies Sita in a grove of Ashoka Trees. We see Ravana attempt to persuade Sita to marry him, failing. Indrajit, Ravana's son, captures Hanuman and brings him to the court of Ravana. Ravana starts a fire, there's panic, Hanuman escapes, but not before verifying Sita's safety. We meet two of Ravana's generals, who appear eager for war as debate over such a topic continues. Finally we see Vibhishana, Ravana's younger brother, abandon Ravana for Rama as he believes his brother is making a mistake in keeping Sita and causing war.







Bibliography:
Public Domain Edition | Valmiki | Ramayana
Photo Credit:
Sampati | Balasaheb Pandit Pant Pratinidhi

Feedback Strategies

Five Reasons to Stop Saying "Good Job!" by Alfie Kohn

This is an interesting article for sure and a lot of it does resonate with me personally; I feel we're setting a tone for kids and because of this we grow up with an incessant need to please others. When we're going through a critical process, the focus of input shouldn't be reward or attack - it should be constructive insight. The goal of editing is improving the body of work, which oftentimes requires the tearing down and altering of what's written, which can't be done if we're so focused on congratulatory writing.



Why Do So Many Managers Avoid Giving Praise? by Jack Zenker and Joseph Folkman

It's reassuring to me to see that 52% of workers polled rated their managers as effective when they gave negative and positive feedback. I'm my time spent working as an economic researcher or as a bicycle mechanic I've dealt with numerous types of managers, and I feel I've learned more from negative feedback than positive. One of my first managers gave no positive feedback and gave an absurd amount of negative feedback (believe it or not I was a good mechanic so this criticism wasn't needed) and the end result of this was that his comments were ultimately ignored because we all knew he wasn't saying anything necessary. The ability of a manager to give criticism and balance this with affirmation is crucial; you can't constantly belittle employees and expect good work, nor can you shower them with congratulations and expect them to improve.



Photo Credit:
Negative Feedback Loop | Source

Topic Research: Jataka Monkeys

Tayodhamma-Jataka:
Devadatta is formed as the lord of a tribe of monkeys, Bodhisatta is born deeper in the woods, fathered by Devadatta. Bodhisatta returns to the tribe. Devadatta, afraid of having his seat usurped by his son, sends Bodhisatta to harvest lilies from an Ogre-possessed lake. Bodhisatta outsmarts this Ogre, returns home, and Devadatta upon witnessing Bodhisatta's return falls dead.



Vanarinda-Jataka:
Devadatta, formed as a crocodile, is urged by his wife into tricking and killing Bodhisatta, formed as a monkey, in hopes of stealing away his heart to eat. Devadatta lies in wait as a rock, ultimately Bodhisatta recognizes this and tricks him multiple times - getting his goal fruit and keeping his life.



Aramadusaka-Jataka:
When Brahmadatta was king in the Benares, he proclaimed a large festival - the king's gardener asked nearby monkeys to water his trees so that he could enjoy the festival. The monkeys agreed, but in carrying out their duties they destroyed the garden. As they watered, they pulled each tree from the soil to check root size to prioritize water usage. A wise man comes by and tells them the folly of their ways - they don't heed this warning and ultimately kill out the garden.



Nalapana-Jataka:
Bodhisatta is formed as a king of monkeys- he leads his followers to a lake to drink. In this lake lives a water ogre, the current form of Devadatta, the ogre promises to eat any and all who drink from his domain. Bodhisatta has a workaround, he hollows out a long cane, and many more, and all his followers are able to drink from a safe distance. Devadatta, defeated, returns to the depth of his domain.


Sumsumara-Jataka:
Bodhisatta again is formed as a king of monkeys and in his comings and goings he's spotted by a pair of crocodiles. The wife reptile asks her husband to lie in wait to capture this king of monkeys. Devadatta is the male crocodile, he offers to carry Bodhisatta to the foreign fruit across the ganges, then begins to sink midway across. Bodhisatta convinces Devadatta his heart lays outside his body, in the fig trees back across the ganges; when they're close enough to the shore of origin bodhisatta leaps from the crocodile's back. Bodhisatta leaves him with a few harsh words explaining the error of his thinking.



Essentially it seems the common thread here is that the monkeys are either portrayed as wily and resilient or good-intentioned and bumbling. We consistently see monkeys as the thematic underdog contextually, able to outsmart the stronger beast(s) to still achieve their goals. The outlier to this trend is the third listed story, wherein the monkeys kindly agree to perform a task for the gardner, but are concerned with being wasteful and so they do their due diligence to be sure water is used efficiently. However, this effort ultimately is their undoing, as in checking root depth they ~uproot~ the trees, ensuring the death of the garden. I believe an analytical retelling of these stories with focus on the conceptual strength of the monkeys could be a fun storybook project and is currently my plan for the semester.


Bibliography:
Jataka Tales 

Photo Credit:
Jatakamala Manuscripts | Daderot

Week 3 Story: Lament

ACT I: LAMENT
JATAYU AND RAVANA
STILL SHOT OF THE AIR, AS WE PAN OUT
We see arrows launching through the air, and through the frame
WE SEE RAVANA’S CRAFT & JATAYU’S PERCH ON OPPOSITE EXTREMES
RAVANA
Damn ye bird, you shall not find success in your intervention, it is a pursuit in vain
JATAYU
Demon, the pursuit justifies action, the result is justification for drive
Jatayu burst through frame, toward Ravana, destroying his craft - we see Ravana and a woman (Sita) plummet
Upon the ground we see Ravana get the best of the bird, removing his wings - the demon and the woman exit, we linger on the dying bird
FADE TO BLACK.
ISOLATION OF RAMA
EXT. HUT
LONG SHOT EXT. HUT, CENTERED ON HUT, SHOT IN 1.19:1
Outside of hut, absolute silence
Rama leaves hut, enters shot
RAMA
How could this happen? Was it folly to pursue the golden deer? In hopes of winning further favor from my beloved Sita I’ve been met with desolation and sorrow.
(Rama appears fatigued physically, and now we see the deeper level of exhaustion)
RAMA (CONT'D)
Surely Sita has been stolen away, but by whom and to what ends?
Rama returns to the hut
CUT TO:
SHOT CENTERED IN HUT DOORWAY, LOOKING INTO HUT, CENTRALIZED
Rama searches the hut for any indication of who’s responsible
RAMA
(to himself, under breath)
How could I have let myself be lured away by the charm of the deer? Not even as a trophy or a reward for myself, but in a foolish attempt to please my wife.
Rama collapses to the floor, abandoned
Enter Lakshmana
LAKSHAMANA
(distraught upon seeing Rama’s condition)
Rama, awake, brother, don’t let the isolation and grief win out your heart dooming you from recovery and triumph.
RAMA
(defeated)
Oh dear Lakshmana, how can I muster to search when Sita, the source of my motivation, is lost?
LAKSHAMANA
Brother, it’s because she’s lost that you must muster - it is for her you must rally
RAMA
There’s no indication of fate, brother. How are we to know our path?
LAKSHAMANA
There’s no definite path, but we must begin somewhere
Brothers exit hut and begin journeying
FADE TO BLACK.
DISSOLVE TO:
OVERHEAD LONG SHOT OF JATAYU - RECALL THE FIRST SEQUENCE
The brothers enter the clearing and the frame, immediately noticing Jatayu, the brothers rush to him
JATAYU
Lord Rama, Ravana has taken hold of Sita - try as I did they’ve made their egress
RAMA
Mighty Bird, I see your efforts, and I know their toll. In telling me, you’ve saved this hour, but I ask one more question: To what ends did you see them flee?
JATAYU
They hastened towards a structure in the south, a fortress shrouded by the forest, I saw no detail...but now my time is at hand.
In giving this response Jatayu fades from all he’s known, held my Rama
FADE TO BLACK.
END OF ACT I

Author's Note:
In this week's entry, my goal was really to get into greater detail on a specific chapter of the PDE Edition of the Ramayana, specifically, the chapter titled "Rama and Jatayu". There's a lot in this chapter dealing with emotional vulnerability and defeat of the light side, which is something we haven't seen as often. Although this chapter shows that even the losses are slated as being part of the plan, a necessary evil, it's only the gods who are aware of this - our heroes remain defeated and feel the isolation of defeat. My attempt at a detailed screenplay here is motivated by trying to get into the emotions following the abduction of Sita through dialogue. This would come into play more with that specific noted aspect ratio - which would heighten (literally) the sense of isolation of minuteness in their place in the world.

Bibliography:
Public Domain Edition | Valmiki | Ramayana
Photo Credit:
Killing of Jatayu | Artist - Balasaheb Pant Pratinidhi

Reading Notes: PDE Ramayana Part B

Summary:

Bharata performs funeral rites for his father before entering the forest in hopes of retrieving Rama. Bharata finds Rama, who refuses to return to Ayodhya, Bharata then decides to wait in Nandigram until Rama returns. Later, Sita tells Rama and Lakshmana of her birth - wherein her father, King Janaka, finds her lying in a field. Rama and Lakshmana battle the demon Viradha (who can't be injured by sharp weapons) - we find the demon is named Tumburu. Later Rama meets the sage Agastya, who gives him more weapons. We then see Ravana's sister, Shurpanakha, fall in love with Rama, who responds with mockery. Shurpanakha tells her brother Khara, who is one again beaten by Rama, while Shurpanakha is fought off by Lakshmana. Shurpanakha then goes to tell Ravana what has transpired. Ravana then enlists Maricha's help to abduct Sita- ultimately Maricha disguises himself as a golden deer to lure Sita away. Once Sita is on her own, Ravana, disguised as a sage, abducts her - the mighty bird Jatayu watches this happen and sees Sita drop her jewelry to mark her path. Rava has been cursed and can't take advantage of Sita. Rama and Lakshmana hear from Jatayu vaguely of Sita's fate, and set off to search for Sita, they then meet another "Rakshasa" who aids them on their way. They pass through another Hermitage and meet Shabari, who has been waiting in arrested development for Rama's arrival. With her waiting complete, she asks for Rama to perform her rites.


Analysis:

Again there seems to be an emphasis in these entries on cosmic paths; everything is interconnected and foretold. Time seems to be known in these stories, we see consistent examples of characters knowing all they must do and all that will be done.







Bibliography:
Public Domain Edition | Valmiki | Ramayana

Photo Credit:
Rama and Lakshmana seated on Kabandha's arms | Painting on ceiling of temple near Salem