Allegory meaning in Hindi - अलेगोरी मतलब हिंदी में

allegory meaning in hindi

allegory meaning in hindi - win

LAC Highlights #12: Vassar College

Hi everyone! I hope you all are doing well!

This is the 12th entry in LAC highlights. You can see other LAC or public university highlights here:
Pomona is an amazing college by u/barronsoverpr
Williams is an amazing school by u/Rob-Barker
LAC Highlights #1: Harvey Mudd College
LAC Highlights #2: Middlebury College by u/ashelover
LAC Highlights #3: Swarthmore College
LAC Highlights #4: Amherst College
LAC Highlights #5: Wellesley College
LAC Highlights #6: St. John's College in Annapolis, Maryland and Santa Fe, New Mexico
LAC Highlights #7: Macalester College by u/slider501
LAC Highlights #8: Reed College
LAC Highlights #9: Grinnell College
LAC Highlights #10: Lewis and Clark College by u/eat_your_spinch
LAC Highlights #11: Smith College
Public University Highlights #1: Iowa State University
Public University Highlights #2: Virginia Tech
Public University Highlights #3: Utah State University
Public University Highlights #4: George Mason University
Public University Highlights #5: Cal Poly SLO
Public University Highlights #6: Temple University
Public University Highlights #7: The University of Mary Washington
Public University Highlights #8: The University of Iowa
And a special Carnegie Mellon University highlight by u/dinofa

In this highlight, I will be talking about Vassar College located in Poughkeepsie, New York to continue fulfilling my promise on writing LAC highlights on the Sister Colleges. Here are some great things about Vassar:
Hope this helped!
Best of luck to all the rising seniors, I truly hope you all get into your top choice schools!

Have a nice day!
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Sikh Symbols and Traditions: A Survey of Popular and Academic Literature for Stories on Origin and Development

Sikh Symbols and Traditions: A Survey of Popular and Academic Literature for Stories on Origin and Development
[This is a cut-and-paste for ease of readability. The original article is located here: http://sikhtimes.com/news_070220a.html. Eager to read your feedback and comments.]

Sikh Symbols and Traditions
A Survey of Popular and Academic Literature for Stories on Origin and Development
By PUNEET SINGH LAMBA
The Sikh Times**, Jul. 2, 2020**
![img](q1qe2vx0nt951 "Photo: Mial Singh of the 45th Sikhs (aka Rattray's Sikhs) wearing a khanda at the front of his turban. 1880. ")
![img](yfkxtmdjnt951 "Photo: Sikh child wearing a basanti color turban. ")
![img](uqt67cront951 "Photo: Indian flag with saffron on top. ")
![img](a0a6ihxqnt951 "Photo: Guru Gobind Singh with Nishan. Source? ")
![img](vhim0pssnt951 "Photo: Current Day Khanda ")
![img](pc9q9icunt951 "Photo: Khalsa Diwan carrying a nishan with khanda quite similar to the one we use today, British Columbia, Canada. 1918. ")
![img](m7q1k2rwnt951 "Photo: Iranian Flag. Adopted in 1980 after the Iranian Revolution to replace the \"Lion and Sun\" emblem. ")
![img](bhk0ho6ynt951 "Photo: Karah Parsad being offered as a sacrament. ")
https://www.youtube.com/embed/-NIRZgl86kwVideo: Jo Bole So Nihal, Sat Sri Akal.

Introduction. The most commonly known Sikh symbols are the 5K's:
  • "kesh" (unshorn hair)
  • "kanga" (comb to maintain the unshorn hair)
  • "kirpan" (sword to protect the vulnerable)
  • "kachcha" (breeches)
  • "kara" (iron bracelet)
These are extremely well known and I won't discuss them here except to note that all of them seem aimed at causing the Sikh to stand out from the Hindu (stand up and be counted, if you will). I had always wondered about the breeches, but perhaps it was in opposition to "girding up the lions" as Hindus do with their "dhotis" (Cunningham, p. 318). Likewise, there are many traditions associated with ceremonies (birth, baptism/initiation, marriage, death, akhand paath), which I do not touch upon here. However, beyond the 5K's, there are several other key symbols and traditions of the Sikhs, which I wish to explore. There is significant mystery and debate around the origin and development of these symbols and traditions. This article discusses these perspectives and reviews the academic and popular literature in an attempt to shed more light on the topic.
Overview
  • Symbols
    • Khanda.
    • Nishan. Although the "nishan" (banner, flag, seal, stamp) and the "khanda" took birth and evolved somewhat in parallel, the nishan appears to be the older twin. However, since the khanda is a part of the nishan, I have listed the khanda first and then the nishan. Sort of like the need to describe what a transistor is first before you describe how an electronic circuit works.
  • Traditions
    • Salutations.
      • "Vahiguru/Waheguru" (praise the lord)
      • "Jo Bole So Nihal, Sat Siri Akal" (blessed is the person who says, god is true)
      • "Vahiguru Ji Da Khalsa, Vahiguru Ji Di Fateh" (the khalsa belongs to god, victory belongs to god)
    • Sacrament. "Karah Parsad" (flour pudding made in an iron "karahi" (wok)).
    • Addressal. How Sikhs are addressed and how this has evolved over time.
    • Vegetarianism. The eating of meat has been a subject of debate.
    • Gender Equality.
    • LGBTQ.
    • Dasam Granth.
Each of these symbols and traditions is explored in some detail below.
Khanda.
The khanda in its current form comprises a "chakkar" (quoit or circle) representing either the iron vessel in which the baptism nectar is prepared or the iron ring worn around the "pagri" (turban) to secure it in place and protect against the enemy sword. There's a "bhagauti" (double-edge sword) slashing vertically through the circle. This sword itself can also be referred to as a khanda. Finally, there's a pair of criss-crossed swords framing the circle and the khanda. According to current tradition, these twin swords represent the miri-piri duality of "miri" politics (or worldliness and pursuit of material values) and "piri" spiritualism (the abandonment of or disregard for material wealth), both of which are needed in a balanced society, a concept some attribute to the Mughals (Cunningham, p. 312-313). As Guru Nanak had stated at the founding of Sikhism, he did not believe in spiritualism based on the abandonment of one's responsibilities to family and others. As is the case with most things Sikh, there are other viewpoints, one being that one sword was for avenging the martyrdom of his father Guru Arjan and the other sword was for wiping out Islam (Malcolm, p. 35).
Khokar (see below) suggests that the khanda could have represented a numerical "1" (one) to symbolize one god. Similarly, the circle could represent universality or eternity. He says that the weaponry that this symbol represents is what used to be displayed on the palanquins at the five "takhts" (seats of Sikh authority) and that the Guru Granth only recently took their place. Macualiffe doesn't look kindly upon this practice and writes, "The arms of distinguished Sikhs are preserved in the Akal Bungaha and are actually worshipped by the ignorant followers of Baba Nanak" (TCR, p. 65). It seems the khanda as insignia had not developed even during Ranjit Singh's time and there are flags from his time at the British Museum in London where a peacock (the symbol of Kartik, god of war) is used as the insignia. He claims the symbol on the Iranian flag (which looks much like a khanda) is the calligraphic representation of Allah.
It has also been suggested by Khokar (1995) and Cole (A Popular Dictionary of Sikhism, 2005) that the Nirmala sect was the first to use the khanda as a symbol. Madra (Warrior Saints, 1999, p. 108) claims that the chakkar was worn on the pagri as far back as Guru Hargobind's time. Of course, the Khalsa was not institutionalized until 1699 (by Guru Gobind Singh), but pagris were commonplace going as far back as Guru Nanak and even much earlier than that.
Interestingly, the Iranian Flag adopted in 1980 after the Iran Revolution toppled the Shah and established an Islamic State contains an emblem/insignia meaning "Allah" that looks very similar to the khanda.
As an aside, miri-piri is often interpreted in different ways. However, one interpretation worth considering is from Gopal Singh ("A History of the Sikh People", p. 829). He points out that the reason the Akal Takht was built separate from the Harmandir Sahib was to keep religion and politics separate. He notes that Ranjit Singh never consulted the Akal Takht on state-related matters because he had built a secular state. He writes that the Akal Takht never issued "hukam-namas" (edicts) on state-related matters or declared anyone "tankhaiya" (fallen/outcaste) until the British corrupted the Akal Takht into honoring General Dyer after the Jallianwala Bagh Massacre of 1919. Further exploration of this topic is best left to another occasion.
Nishan.
The nishan (often with the suffix "sahib", as an expression of respect) is the Sikh flag. In its current form, the flag most commonly comprises a kesri (saffron) isosceles triangle with a khanda at the center.
Among the many debates is the color of the flag. Before we start, here's a primer on the colors that feature in the debate. "Dhaval" is white, or perhaps dazzling white. "Kesri" or "Suhi" (or dyed with safflower) is saffron. "Basanti" is mustard yellow. "Bhagwa" or "Geruwa" is brick-red, the color of diluted blood, or ochre yellow. "Neela" is blue (this is a dark blue and on occasion, it has been argued that it is or can be black, especially when it serves as the color of the khanda and not the background). The pictures above attempt to add more clarity.
Hawley (Oxford Handbook of Sikh Studies, p. 320) has suggested that the first reference to "nishan" (banner) is by Guru Angad (Guru Granth, p. 150). But that is merely a reference to the concept of a flag, not to an actual physical flag. Hawley then makes reference to Guru Amardas's "dhaval dhuj" (white banner) (GG, p. 1393) and Guru Arjan's "banner of righteousness" (GG, p. 1404), again both conceptual. He claims though that Guru Amardas's flag was white with no insignia. Now he appears to be referencing a physical flag (no longer conceptual). But his source for this information is unclear because the lines in the Guru Granth do not suggest this in any way. Hawley also references Kavita Singh's "Allegories of Good Kingship: Wall Paintings in the Qila Mubarak at Patiala" which appears in "New Insights into Sikh Art" (2003) edited by Kavita Singh. But, once again, there is nothing in the essay that sheds light on the topic at hand. Hawley goes on to say that Guru Arjan also maintained a white banner that might have had "Ikk Onkar" inscribed on it.
Hawley claims that Guru Hargobind changed the color of the flag to saffron, a color Hawley suggests might have been borrowed (along with the "Singh" epithet that Sikhs use as a middle or last name) from the Rajputs to symbolize self-sacrifice and martyrdom. Macauliffe goes one step further and calls it flat out "imitation" (TCR). (Although "Kaur", the epithet for women, meaning "prince" not "princess", since women were to be equal to men, is uniquely Sikh. This is per Gopal Singh, p. 290.) Guru Hargobind's push to change the color does make sense in light of the militarization of the Sikhs after Guru Arjan's martyrdom at the hands of the Mughals (for refusing to convert to Islam). Finally, Hawley suggests that Guru Hargobind might have introduced two swords onto the flag in addition to the "Ikk Onkar". When one reads the history of flags in general, it becomes clear that flags were primarily used as "military standards, used as field signs" (Wikipedia). Therefore, it makes sense that the formalization of a Sikh flag might have started in 1606 with Guru Hargobind who was also responsible to taking the Sikhs into a militaristic direction (Harbans Singh, Encyclopaedia, p. 239-240.).
The January 2005 edition of "The Sikh Review" contains an article titled "Origin of Nishan Sahib: The Sikh Banner" by Kulwant Singh Khokar. Here it is suggested that upon Kharak Singh's recommendation, Nehru added saffron to the Indian flag to appease the Sikhs. Khokar suggests that at one point in history there might have been different insignia on either side of the flag. Interestingly, Khokar entertains the idea that a triangular flag is more aerodynamic in the face of strong winds as compared to a rectangular flag which tears easily at the free flapping end. Khokar adds that during the Battle of Anandpur in 1703 Guru Gobind Singh was using a blue flag. Red, Khokar points out, is the color of revolution as well as celebration.
Wikipedia claims that at one point in time the nishan insignia consisted of the "kattar" (dagger), "dhal" (shield) and "kirpan" (sabre). See picture above. There is definite support for this claim. There's a picture of a woodcut print bought in Lahore by Rudyard Kipling's father in 1870 which depicts a "kirpan" (sabre/sword), "kattar" (dagger), and a circular drawing that has variably been interpreted as "dhal" (shield), "deg" (kettle/cooking vessel), or "gola" (canon ball) (McLeod, "Popular Sikh Art", figure 13 and McLeod, "Sikhs of the Rahit", p. 25).
A picture of the Khalsa Diwan (British Columbia, Canada, 1918) carrying a nishan with khanda quite similar to the one we use today represents a significant milestone in the khanda's evolution (see picture above). There is a picture in Madra (p. 138) of the Second Shaheedi Jatha arriving in Jaito in 1924. The jatha (procession) is clearly carrying several nishans at the front of the pack. But the insignia is not decipherable. Madra (p. 164) adds that Rattray's Sikhs (aka the 45th Sikhs) started wearing the khanda in 1846. If true, that would coincide with the First Anglo-Sikh War (1845-1846).
Sikhs have an independent streak and do not generally embrace the idea of "borrowing" from another group. Therefore any color that could be suggestive of "borrowing" is likely to get rejected. Since all of the colors except "basanti" can be associated with other groups, most Sikhs seem to favor the storyline that "basanti" is the real color of the Sikh flag. "Neela" (blue) is also fine. So, either a blue khanda on a mustard yellow background or a basanti khanda on a blue background tend to be the two most acceptable variations. The nishan is remembered with great humility (hands folded) during each ardas (Encyclopaedia, p. 239-240.)
Vahiguru/Waheguru.
According to the "janam-sakhis" (biographies of the gurus), vahiguru/waheguru is said to have been uttered by the followers and the gurus starting with Guru Nanak (McLeod, Textual Sources for the Study of Sikhism, p. 142). "Vah" in Persian is the equivalent of "wow". So, "Vahiguru" is essentially praise for the Guru. In recent times "Vahiguru" has become synonymous with and more popular that "Akal Purakh", which was the older Sikh word for "God". For example, the phrase "Vahiguru Ji Da Khalsa". Although the Gurus did not use the phrase in the Guru Granth, others did, e.g. the "Bhatts" (bards) (GG, p. 1402/1404).
Jo Bole So Nihal, Sat Sri Akal.
Usually at the end of the "ardas" (request, special prayer). The person leading the ardas calls out the first part: "Jo Bole So Nihal" (Whoever utters the phrase to follow shall be blessed). The "sangat" (congregation) responds with "Sat Sri Akal" (God is true).
One of my fondest memories of visits to various gurdwaras is the one in Race Course, Dehradun, adjacent to my aunt's house. Sitting in the "angan" (courtyard), we could hear the "jaikara" (clarion call). And their tradition was to make the call not just once or twice, but several times and by different members/leaders of the sangat voicing the first part. Some of the participants would stretch the "Bole" part for as long as possible in order to create euphoria and elicit a huge response of "Sat Sri Akal" from the sangat. One cannot but experience great pride in the Sikh culture after hearing such passionate performances. See an example at the 1:10 mark in the video posted above.
The origins are unclear but traditionally attributed to Guru Gobind Singh upon the founding of the Khalsa at Anandpur in 1699. There is some debate about whether to include the "Jo". This is a pointless argument. See for example, "Jo Bole Hari Hari" (GG, p. 645) and "Gur Ka Sabad Jap Bhae Nihal" (GG, p. 282). It makes sense to add the "Jo" (meaning whoever). "Jo Bole So Nihal" means "Whoever utters the phrase that follows, shall be blessed". "Sat Sri Akal" (which is the phrase that follows) means "God is true". So the whole thing "Jo Bole So Nihal, Sat Sri Akal" means "WHOEVER utters the phrase that follows (i.e. God is true), shall be blessed". Without the "Jo (Whoever)" the phrase makes no sense. The "Encyclopaedia of Sikhism" Volume 1 (page 382) edited by Harbans Singh acknowledges both "Bole So Nihal" as well as "Jo Bole So Nihal". "Jo" is often skipped either out of expediency or out of ignorance, but the correct form is to include it.
As an aside, "Sat Sri Akal" has become the defacto greeting when two Sikhs meet, although Sikh orthodoxy prefers "Vahiguru Ji Da Khalsa, Vahiguru Ji Di Fateh" or "Gur Fateh". The "Encyclopaedia of Sikhism" (volume 1, p. 384) points out that the greeting "Pairi Pauna" (I bow at your feet) or "Pairi Pauna Ji, Razi Ho" (I bow at your feet, are you well?) had enjoyed acceptance for a very long time, starting with Guru Nanak and enjoys support from various sources including Bhai Gurdas (a contemporary of Guru Arjan and Guru Hargobind) and various janam-sakhis including "Adi Sakhian" (seventeenth century), "Puratan", and "Miharban". The "Bala" janam-sakhi, however, mentions "Kartar, Kartar!" (Creator, Creator!) and "Sat Kartar" (Creator is true!) as the greetings, for which there is supporting evidence in the "Miharban" janam-sakhi and also in the fact that Guru Nanak named the town he raised on the bank of the River Ravi as Kartarpur. Additionally, Zulfikar Ardistani (a contemporary of Guru Hargobind) writes in "Dabistan-i-Mazahib" that followers of Guru Nanak were known as Nanak-panthis or Kartaris. Guru Gobind Singh replaced "Charan Pahul" with "Khande Di Pahul" as the initiation and introduced "Vahiguru Ji Da Khalsa, Vahiguru Ji Di Fateh" as the greeting. This has support from Sarup Das Bhalla in "Mahima Prakash".
Another aside, worth exploring further on a different occasion, is that the word "Khalsa" was in use going as far back as Kabir and even after the founding of the Khalsa in 1699 Guru Gobind Singh continued to use the word to refer to the entire sangat, not just the "amrit-dhari" (initiated) Sikhs (Gopal Singh, p. 292).
A somewhat odd trivia is that "Sat Sri Akal" is meant to be said prior to killing an animal "jhatka"-style (sudden severing of the head). The Muslim "halal" (allowing the animal to slowly bleed to death) having been forbidden in Sikhism (Cole, "A Popular Dictionary of Sikhism", p. 90).
Another salutation briefly popularized by Banda Singh Bahadur when he took over after Guru Gobind Singh's death in 1707 was "Deg Tegh Fateh" (Cunningham, p. 94). A related greeting in use in some sections today is "Gur Fateh".
Vahiguru Ji Ka/Da Khalsa. Vahiguru Ji Ki/Di Fateh.
See #4 above. "Da/Di" is Punjabi and is the form recommended by some (Dilgeer). However, the more prevalent use is the Hindi "Ka/Ki". Cunningham (p. 80) quoting Malcolm (Sketch of the Sikhs) also uses "Ki". "Ki" is indeed how Guru Gobind Singh intended it to be since that is what appears in the Dasam Granth chapter openings (Cunningham, p. 316). It may be the result of Guru Gobind Singh having lived most of his life outside of Punjab. Most of the language in the "Dasam Granth", said to have been authored at least in part by Guru Gobind Singh, is much closer to Hindi (and Persian for the concluding portion) than to Punjabi, even though the script is Gurmukhi (Cunningham, p. 325).
Karah Parsad.
The preparation involves equal parts by weight/volume of flour, ghee, and sugar. The flour is roasted with continuous stirring until it reaches a brown hue and the smell indicates it is cooked. Then ghee, sugar, and water equal to the combined weight/volume are added to finish the product. The tradition of cooking it in an iron vessel called a "karahi" is what gives it the prefix "karah". Sometimes, it is referred to as "karah" itself. Writing at the time of Guru Arjan and Guru Hargobind, Bhai Gurdas referred to it as "Maha Parsad" in his "Vaars" (McLeod, "Sikhs of the Khalsa: A History of the Khalsa Rahit", p. 24). McLeod states that the practice of distributing parsad has unclear origin and is likely a carryover from Hinduism ("Sikhism", p. 142), but likely goes back to at least the time of Guru Arjan (see above).
As an aside, it seems that "The Calcutta Review" might have served at the inspiration for "The Sikh Review" which was also launched from Calcutta in 1953.
Speaking of vegetarianism, even though many Sikhs eat meat at home rare is the gurdwara that will serve meat. Most likely in order to not offend the vegetarians. I recall that Khushwant Singh wrote many years ago about gurdwaras in Australia where the sangat sat on chairs and were served beer and meat. Speaking of langars (free kitchens in gurdwaras), most Sikhs treat the gurdwaras as social opportunities rather than vehicles for service. Most of our gurdwaras are located in the suburbs, far away from the people who could actually benefit from the free food distributed by gurdwara langars. Most folks go to the gurdwaras only to appease their conscience. They arrive a few minutes prior to bhog (conclusion) to eat karah parsad and langar and then make their escape while convincing themselves that they've done their duty and earned their imaginary weekly credits (and can answer "yes" when asked by elders or family members and friends if they went to the gurdwara this week). Very few try to figure out how they can help in the kitchen or get the food to those who really need it.
Addressal and Titles.
From "Singh Sahib" and "Singh Ji" during Ranjit Singh's time (Cunningham, p. 65) to "Sardar Sahib" and "Sardar Ji" in current times, addressal has also experienced a certain amount of change and evolution. Ranjit Singh's own seal read "Akal Sahai Ranjit Singh" (God's helper Ranjit Singh) as he did everything in the name of the Khalsa (Cunningham, p. 152).
Vegetarianism.
I view this debate as a direct consequence of the intersection between Hinduism and Islam. Hinduism/India has traditionally had a much higher rate of vegetarianism than perhaps any other religion/culture/country (not the same as arguing whether vegetarians form a majority in India or any particular state in India). As a result, converts to Sikhism bring their own biases to the dinner table, so to speak. Accordingly, whereas Guru Nanak is said to have been a vegetarian, Guru Hargobind is said to have taken to hunting and eating flesh (except cow, Macauliffe, TCR, 1881), not a surprising result of increasing exposure to Mughal influences (Cunningham, p. 50). Cunningham quotes Guru Nanak from the Guru Granth (Raag Majh) as follows: "An animal slain without cause cannot be proper food" (Cunningham, p. 362). However, these lines are apparently nowhere to be found in the current version of the Guru Granth (Max Arthur Macauliffe, "The Diwali at Amritsar: The Religion of the Sikhs", in The Calcutta Review, Volume 71, Issue 142, p. 257-272, 1880.). Consequently, Macauliffe disagrees that the Guru Granth is against a non-vegetarian diet. Gurbakhsh Singh Kala Afghana discussed this topic in great detail and is well worth checking out. To further complicate things, one version of tradition says Guru Nanak forbade hog's flesh (Malcom, p. 36). Tradition is often a function of environmental forces. It is, therefore, not surprising that Sikhs would tend to avoid both cow (held sacred by Hindus) and pig (forbidden by Islam).
Gender Equality.
Guru Gobind Singh is said to have written against female infanticide in his rahit-nama (Cunningham, p. 335). On the flip side, there are no hymns from females in the Guru Granth and where one was considered for inclusion, she was only counted as half a person (Malcolm, p. 31.). You will rarely see female granthis (priests) or raagis (musician/singer leading prayers at a gurdwara), especially at "Darbar Sahib" (Golden Temple) the premier gurdwara of the Sikhs. For a "feminist perspective" on how "herstory" has been neglected in too many ways, see Doris Jakobsh's Relocating Gender in Sikh History. Jakobsh points out that during the "Sikh reform movement" of the 1920s many of the best-educated women were "adherents of the various 'un-Sikh' sects (e.g. Kukas/Nam-dharis) maligned by the Singh Sabha" (p. 240) for their heterogeneity and "the opening of ritual and leadership activity to women" (p. 116).
Returning to female infanticide, Jakobsh concedes that Guru Nanak's attitude towards women was somewhat more enlightened that Kabir's, but chastises him on his failure to write against female infanticide (pp. 25-26). Macauliffe seems in agreement as he writes, "This very elementary principle of morality had apparently never occurred to the Sikh predecessors of Gobind." As Guru Gobind Singh's change of heart, he writes, "A considerable portion of Gobind's precepts and practices seems to have been derived from the Quran and Musalman traditions" ("The Rise of Amritsar, and the Alterations of the Sikh Religion", The Calcutta Review, 1881, Volume 72, Number 143, p. 73). Pashaura Singh says it best when he says that the doctrine renders gender equality but Sikhs have a long way to go to make the equality real in practice (Schneider).
LGBTQ.
There are varying interpretations on this topic. The Guru Granth is silent on the matter. In a 2018 interview with Dan Schneider, Louis Fenech opined that Sikhism had no first position on LGBTQ. Subsequently, Pashaura Singh clarified that LGBTQ marriages are in fact "officially not acceptable" in Sikh gurdwaras. Unprompted, Singh proceeds to clarify that abortion is also frowned upon. Singh did not offer a source (such as SGPC Rahit Maryada or Code of Conduct) but he has clearly moved to the right since he was excommunicated for the contents of his doctorate thesis supervised by Hew McLeod.
Dasam Granth.
Ever since Guru Nanak's son Sri Chand responded to not being chosen as the successor by starting a separate sect called the Udasis and Guru Amardas chose his son-in-law as his successor and fourth guru, a sense of hereditary entitlement has played a huge part in the evolution of the Sikh religion. Macauliffe relates the story that when Guru Gobind asked for the Adi Granth compiled by Guru Arjan to be sent to him, Guru Arjan's progeny holding on to the Adi Granth "flatly refused" and told Guru Gobind Singh that if he wanted a Granth he must write one himself (TCR). Hence we have the Dasam Granth (compiled per Macauliffe twenty-six years after Guru Gobind's demise, so in 1733; TSR, Volume V, p. 223), which Macauliffe goes on to describe as "a Granth equal, at any rate, in material weight and dimensions to the more orthodox volume of his predecessors."
Closing Remarks.
Whereas Guru Nanak was all about bringing an end to ritualism, it seems in some ways the Sikhs have come full circle an established a new set of rituals of their own. The gatra (strap used to hold the kirpan) has replaced the janeu (the sacred thread worn by Hindu brahmins. This invention of new rituals by the Singh Sabha was aimed at reasserting 'social control' (Jakobsh, p. 109). This imposition of artificial homogeneity by the Tat Khalsa was tantamount to what I have termed the 'Talibanization' of Sikhism.
There's More.
There are many other practices worth exploring. Such as the waving of the "chaur" (whisk made of white yak's hair) by a person standing next to the Guru Granth. These will have to wait for another occasion.
[This is a cut-and-paste for ease of readability. The original article is located here: http://sikhtimes.com/news_070220a.html. Eager to read your feedback and comments.]
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[ART] Sindrava Adiharta, "Pyaar kee kahaanee"

([M] Information taken from the Wikipedia page on Sindrava Adiharta)
Sindrava Adiharta (Hindi: मैजेंटा जीत, unknown - October 4, 1491) was a late Medieval Hindi writer, often considered one of the first and greatest novelists on the Indian subcontinent. His only known major work, Pyaar kee kahaanee (“Tale of Love”), while criticized by contemporary readers for it’s explicit descriptions of sexual acts and torture, is considered by modern literary critics to be one of the founding works for the romantic novel and a masterpiece of world literature.
Little is known about Sindrava’s biography or personal life. It is not even known if he wrote in Hindi, Urdu or Arabic, as the original is claimed to had been lost during the Mughal attack on Delhi in 1526, with the only surviving copies being in various languages from Persian to Siamese. Kalkin Gantare, a 16th century Bengali historian, wrote a few paragraphs about Sindrava’s life, which remains the only source for his biography, though the accuracy remains disputed. According to Gantare, Sindrava was born in Upper Diab, but his family moved to Delhi soon after his birth as his father was recruited into the army of the Delhi Sultanate. The teenage Sindrava served under a Persian merchant and assisted him in his travels, which is where the man was introduced to the world beyond India, and gained the inspiration for his novel. Gantare does not mention any other of his works besides Tale of Love.
According to the historian, Sindrava wrote and released his work sometime around 1472. Tale of Love is a story about an Indian prince, named Shaito, who is banished from his homeland by his father, the Sultan, for his disobedience. The rejected prince sets his sights on the West, and, aboard an Arabian caravan, arrives to Europe (called Magarib by the author). In the Italian court, Shaito is introduced to a young German duchess named Vermilla, and the couple soon falls in love with each other. This endeavor, however, is not accepted by the xenophobic European court, and soon, Father Friedrich (believed to be an allegory to the Catholic Pope) orders the capture of the Indian prince. Shaito offers Vermilla a last chance escape to India in a merchant boat, but before they can organize the flight, Friedrich’s men capture the couple. After a month of torture, Vermilla is burned at the stake for heresy, while Shaito is blinded, tied to the back of a donkey and sent back to his homeland.
Tale of Love is considered to be one of the greatest Indian literary works in history, with a lot of praise going into detail and a superb description of the Medieval Indian worldview, and it was a major influence for the Indian independence movement. Calling for unity between the Hindi and Muslim Indian states and upholding the nation’s culture and traditions above that of Europe’s, Sindrava is considered to be one of the first Indian nationalists. Tale of Love was also one of the first works to try and modernize Sanskrit, and introduced many new words from Indo-European and Semitic languages that were lacking in the writer’s language. However, despite his recognition today, he did not achieve much success in his time. According to Gantare, Adiharta died from a disease on October 4, 1491, “alone, forgotten and malnourished”.
“O Sultan, we hope we have not interrupted you.” The Sultan’s most loyal servant, Adeli, spoke, while holding an odd book in his hands.
“What is it you are talking about, lowly Adeli? Can’t you see that ruling the great Delhi takes up all of my precious time?” Bahlul Lodi staunchly replied, rising up from his throne and starting to slowly walk towards the servant. The soldiers that stood nearby walked back and gave their monarch a free path. “What is this you are holding?”
“O, my majesty, one of your loyal subjects has shown himself as a writer. This “Tale of Love” he wrote is starting to become really popular, and I’ve brought it here for your reviewal, and possibly pleasure.”
“Give me that paper of yours!” Bahlul bluntly pulled out the book out of Adeli’s hands. The cover was magenta-colored, and said:
“SINDRAVA ADIHARTA
PYAAR KEE KAHAANEE”
“Tale of Love? Who writes about love? LIterature must uphold the lord, the Sultan, not some woman!” The Sultan reproached, but continued to read anyway.
([M] Opening, abridged)
Love. Beauty. Passion.
What do these words mean to you? What can you say about any one of them? Have you ever experienced them? Have you ever learnt about their meaning?
These are questions that are troubling to some. These are questions that you might keep at the back of your soul, forgotten, mistreated. Some claim that they are too busy to move out of their village to see the world, see those words. Some use Allah to try and explain why they have left themselves alone, becoming unforgiving, brute beasts that can’t recognize the earthly matters and gifts that are showering them.
You might point at me. You might claim that I am just picky, naggy, and more.
I know no other insult than you saying such things. There was an event in my lowly life under the Heavens that I will never forget.
She was of magnificent beauty. She was of impeccable character. She wasn’t naive and helpless, but neither was she jumpy and unforgiving. She was as white as the purest snow atop of the mountains of the North. She was there, there, where I went. You do not know where I could go to experience such emotion, do you?
You don’t know of a lot of things, my reader. But I will not hold you any longer. To understand what I write you about, you need to know what struck me. What struck me ten years ago.
I don’t believe I’ve told you who I am, though. People usually call me Magnificent Prince Shaita of the Kaderabad, but I prefer just the word Shaita. I served under my father, Great Sultan, for my entire life. After all, he fathered me, he raised me - how else could I repay him? My father had designated me as the future Sultan, but it came with a cost. What cost? An heir is a valuable good - a valuable person, so I couldn’t just leave my home and get killed by a wandering thief or an enemy cavalryman.
But I despise staying in one place. Do you, my reader, feel the same? I’m sure you do - our collective homeland, India, is far too beautiful to pass by and forget. I love the breeze of the warm wind when I ride across the countryside, I love the impressive hills and plateaus of Deccan, I love the cold, ruthless and challenging lands of Himavat, I love the splendid cities around the holy Ganges River. How can you ignore all of this beauty and keep me in your castle, o Great Sultan?
But despite these differences in thought, we tried to live along. Though, that’s not to say that it wouldn’t be broken someday…
I was going to paste the infamous sex scene, too, but I decided it'd be too cumbersome.
There's always Google.
submitted by Augenis to empirepowers [link] [comments]

One Piece and Literary Themes: Part 3 (WARNING: TERRIBLY LONG)

Link to part 1: http://www.reddit.com/OnePiece/comments/r5yq7/one_piece_and_literary_themes_part_1_warning/
Link to part 2: http://www.reddit.com/OnePiece/comments/r5z9f/one_piece_and_literary_themes_part_2_warning/
ONE PIECE: THE WORLD GOVERNMENT STRIKES BACK
Many larger stories are broken up into three chief acts, and contain certain similarities in structure that fit well with fantasy, science fiction, or adventure genres. The absolute strongest example I can reference is the Star Wars trilogy.
Act 1, A New Hope, centers around exposition, lore establishment, general themes, and an initial conflict that brings these elements together.
Act 2, The Empire Strikes Back, contains the drama, the complex plot developments that challenge the protagonists, incur deep loss, and bring them to their lowest point.
In Act 3, Return of the Jedi, the protagonists work against the problem, grow as people, and ultimately overcome the greatest challenge to their endeavors and to their way of thinking that the story can provide.
Along the way, our protagonist spends some time learning about his initial failure and returns to the story wiser, stronger, and ready to take on the challenges he failed to live up to in the past. The protagonist will typically take on a mentor, someone who can provide wisdom and perspective. Star Wars is just one example of this. The three major "books" from Avatar: The Last Airbender match this structure exactly. One Piece, too, indulges in this reliable, yet effective method of storytelling.
Act 1 of One Piece ended with Arabasta. Crocodile was Luffy’s Death Star. From Skypiea all the way until the end of the Whitebeard War, we are in "The Empire Strikes Back." It’s here that Luffy really begins to learn his limits, as it becomes progressively harder for him to overcome his opponents, if he is able to at all. He experiences the most loss during this act, from his initial difficulty with Enel, his overwhelming loss to Aokiji, and ultimately to his relative ineffectiveness during the Whitebeard War. Whereas Act 1 focused mostly on setting Luffy against rival pirates, Act 2 focuses almost exclusively on The World Government as the chief antagonist. The real meat of the lore and overarching plot developments come to bear in this act, revealing a dark past for the establishment of said government, and the ancient forces at play that will become relevant as the story reaches its climax.
Because of the breadth of these arcs, I must refrain from giving plot synopses and sticking mostly to the analysis. If you're reading this, I'm sure you're already well acclimated with the story!
SKYPIEA: THE DIVERGING PATHS OF FAITH AND SKEPTICISM
The world of One Piece is fantastic and supernatural. The first major act of the story showed us almost anything is possible on the Grand Line. It’s an appropriate approach for an act that’s supposed to build up the protagonists and place them in a setting that rewards their spectacular abilities and drive to improve with renown and status. Skypiea sets the foundation for the overall tone and thematic basis of Act 2: everything and everyone has its limits. What better way to start the audience thinking about these limitations than sharing an allegory about God, religion, and the nature of faith and skepticism?
This arc deals very specifically with the idea of dichotomy, imbalance, and the power of enlightenment as a force to return balance to both the world and to the self. In classical Hindi and Buddhist dogma, the idealized man is often depicted as one with a simple, clear mind and an earnest, non-deliberate set of behaviors that bring spiritual balance. He exists outside of distracting attitudes, such as excessive faith bordering on zealotry, or crippling doubt that leads to inaction. As a specific example, in Slumdog Millionaire the film's protagonist is established as a representation of nirvana: clarity of mind, earnestness of the soul, and the value of experience despite a lack of classical education.
While on Jaya, Luffy meets Marshall D. Teach. It's important that he meets him during this arc, because over time it becomes apparent that he is established as Luffy's foil. In literary terms, a foil is a character who shares many of the same traits and characteristics as the main character, but differs in one critical way, and is usually set against him/her. Luffy and Marshall are similar in many core ways, and started their journey in similar fashion. Coming from humble beginnings, the story builds these characters up over time, showing their struggles, their limits, and how they overcome these obstacles to grow to greater heights. They both understand the need for teamwork and have a very simple, driven mindset. However, whereas Luffy gains strength and infamy through courage, justice and honest ambition, Marshall advances through connivery, murder, callous exploitation of his station, and the momentary weakness of others. Despite their shared attitude that dreams can never be given up on, the dichotomy of their methods resonates with this story arc.
From the flashback relating to Norland, all the way until Luffy's climactic battle against Enel, the Skypiea arc constantly pits the two forces of faith and doubt against each other, with Luffy at the center. Though Luffy is mocked and belittled at the mere idea of the existence of a Sky Island, Bellamy learns the hard way that you've lost the moment you say "you can't." Liar Norland's tale of a Golden City costs him his life when the island mysteriously disappears and his people refuse to believe his story, despite his established trustworthiness and authority. Wiper's obsession with overcoming Enel consumes him, and disallows himself from trusting anyone. This single-minded crusade against the devout causes an irreversible conflict over a resource given only token value. Conversely, the people of Sky Island misappropriate power and authority to Enel and his priests simply out of blind faith in an objective force, and faced with annihilation, turn to ineffective prayer. Enel himself is caught in his own zealous ambition: traveling to a place he calls "Fairy Vearth." Given a seat of religious power, he exploits the faithfulness of others to support his own delusion, to the point where he's willing to destroy the entirety of sky island as an act of "divine providence." Through these examples, it's clear how the excess of one trait or another leads to disaster.
Luffy never takes a clear stance on any of these issues, a deliberate choice by Oda. He's the natural antithesis to this radical imbalance simply because he doesn't think about it too much and instead stays true to his nature. This is represented deliciously as a counter to Enel, who personifies imbalance at every level of his character. His devil fruit power lets him turn into electricity, which only manifests physically due to radical imbalance in magnetic and kinetic energy. To be electric means to lack balance. He is clearly mentally unbalanced, despite his supposed ability to read the minds of others. When Luffy literally clears his mind, Enel finds himself unable to fight on his own terms, because there's nothing for him to react to. When Luffy uses a brilliant tactic to temporarily overcome Enel by "attacking without intent" he is showing that by relying on an extreme philosophy and methodology, the only thing it takes to fail is coming across someone who nullifies and balances these elements without effort, removing any lopsided advantage. Enel has met the yin to his yang, and his inability to adjust his attitude or his methods results in a crushing defeat.
The final encounter between Luffy and Enel is particularly symbolic. Luffy is weighed down by a golden ball that had been melted around his fist, showing that his enlightenment carries a burden despite his superior perspective. Enel is making a last desperate bid to destroy Skypiea from his airship using a dense ball of furious, darkened storm clouds. Behind him sits a glorious golden bell on an unassuming little cloud, the Fire of Shandora. Much symbolism has been attributed to this bell throughout the arc. The bell represents a truth lost among the clouds, an indelible unifying sound that will wash away all radical thoughts. Ringing the bell will signify to those on the ground that there is, indeed, an island in the sky, and will signify to the people of Sky Island that their strife was rooted in a conflict arbitrated by their own mortal affairs, not of a God whose actions are conveniently mysterious.
In a final, glorious exchange, Luffy punches Enel with his gold-wrapped fist, dragging Enel along (because gold conducts electricity, obviously) and finally smashes him against the bell, sandwiched between Luffy's fist of truth and the golden bell of "enlightenment." In one fell swoop, Luffy has defeated the most unbalanced and dichotomous opponent he has ever faced, and defeated the personal and spiritual strife of everyone involved in the saga by ringing theb bell. The underlying message is a core Buddhist value: The spark of the divine lies in the profound thoughts and actions of men.
One particularly nice touch to the end of this story is the revelation that the "Fairy Vearth" Enel had been attempting to reach was actually the moon. This is a lovely little jab at us, the audience, who no doubt had mocked Enel's "ludicrous" belief much the same way Bellamy mocked Luffy, hopefully catching us in our own little act of unbalanced thinking.
Link to part 4: http://www.reddit.com/OnePiece/comments/wfgmt/one_piece_and_literary_themes_part_4_warning/
submitted by Dirk_Bogart to OnePiece [link] [comments]

Our Origin: The Genos of Isis : Who 'God' is and Why 'The Hebrew' Exist

It all begins where 'the holy book' ends. Thus the end is really the beginning. And the beginning is really the end. This is where things really go wonky.
Have you watched 'Plato's Allegory of The Cave'?
There is a wide world of belief out there. But there is only one truth. It is said to be 7 billion Homo Sapiens on the planet, but there is only one Human Race. There is only one Reality we all exist in, and only one History that has established our communal 'Reality'. This history is shared by all Homo Sapiens. That is what makes it 'communal'. This history is the reason why Human Beings exist today. There are certainly different historical paths for each culture that is located in different parts of the world, but each story starts in exactly the same place.
There is one particular section of history that is peculiar to us 'Homo Sapiens' or 'Hued Man' as we are also called. It is absolute, undeniable proof that 'aliens' do exist. It is proof that 'God' exists, and, in fact, is very concerned with the affairs of us human beings. This proof that exists is ancient, historical, and extant. More important than the fact that this proof currently exists is the reality of what this 'proof' actually is. It is a people. The People once called 'Hebrews'. The only reason these people once called 'The Hebrews' are even known to the civilizations of modern man is because that word only exists in a document the Ancient Greeks referred to as 'Genesis', or 'Origins', but was know to The Hebrews as 'Bereshit' and is now contained in a book called 'The Bible'.
It is the first book of the Roman Catholic 'Canon'; the first book of the Judaic 'Torah' or Greek 'Pentateuch', and it is the first book of the Protestant Christian 'Holy Bible'. It is also a historical document specifically related to the people called 'The Hebrews' and the oldest copies of it are about 3000 years old. It is not the fact that three separate religions use this document as the foundation for their faith and belief in 'God', but the age of the document, its historical accuracy, and the fact that the Hebrew People still exist is what gives it its importance.
But as an Archeological document and not a religious one. This is why the religious aspects are not as relevant as the historical aspects that mark the actual presence of the Hebrew People from Ancient Times until now. To put it more bluntly: The existence of this 'Hebrew People' is proof of the ancient interaction between human beings and an advanced Alien Race who call themselves 'The Annunaki', and more to the point, the Hebrew People validate and substantiate this exact history as it is related in detail in the most ancient document on earth: The Sumerian Tablets. Outside of the Sumerian Tablets, only one other document exists that has similar content, but it is depicted as 'religious' in most modern circles. That book is the aforementioned document best known as 'Genesis', but it should be known as the 'Genos (Offspring) of Isis'.
Now as unorthodox as it might seem the Sumerian Tablets tell us 'Aliens' (forgive the negative connotation) who called themselves 'The Annunaki' genetically modified 'Homo Neanderthalensis' into 'Homo Sapiens' or 'Wise Man'. They then (Let Us) proceeded to teach us-their new 'creation'-how to speak, how to read, how to write, how to build and how to live so they could use us to make the mining of gold on Earth 'easier'. The 'proof' of this fact is found in the area now corresponding to modern-day Iraq, the northeastern section of Syria and to a much lesser extent southeastern Turkey, smaller parts of southwestern Iran and Kuwait. Which is why 'civilization' popped up so suddenly in Ancient SumeMesopotamia.
A city in Sumer, called in the Hebrew Documents 'Ur', is where the patriarch of the Hebrew People 'Abraham' is said to have come from, shortly after the time one of The Annunaki named Marduk (The Dragon) went rogue and declared himself 'God' and began using humans worshipers to fulfill his desires rather than use them to mine gold as instructed to send back to their home planet of Nibiru. The 1/3 of the Stars of Heaven were his Igigi: Over 200 strong. Marduk was a leader of an Army, also called The Nephilim because they are the ones who married human females, impregnated them and gave rise to the Giants 'in those days'.
In defiance of the Annunaki Leader Enlil, Ea Enki wrote the 'Enuma Elish' (Sumerian Tablets) and the Daughter of Anu 'Innana' singled out the one then named 'Abram' and directed him away from Sumer, away from Ur, away from his family and familiar life in Mesopotamia, to the home base of Her Brother Ea Enki, in Africa. A place almost everyone in a first world country is familiar with: Where a second and almost equally unprecedented civilization sprung up, in modern day Egypt.
Then the Exodus happens approximately 400 years later, bringing the descendants of Abraham, now a great number, out of Egypt to create a nation/race (Genos) called 'Israel', led by one they called 'prophet', who was given (or copied from) a set of Stone (Sumerian) Tablets by the same Annunaki who called out to Abram.
Tablets to be placed in an Ark as a Covenant. Sound familiar?
They were more than likely a copy of The Sumerian Tablets, first written by the Annunaki named 'Enki' who was called "Ea" (Lord) of (Enki) Earth. It took this Prophet, best known as Moses, 40 days and nights to copy these tablets, so there is little logical chance they were simply 'ten commandments'. A set of the Sumerian Tablets were found in Mesopotamia, in-of all places-a temple of Innana, the same Annunaki mentioned by name in the Sumerian Tablets. The same Innana who, as the Sumerian Records indicate, 'took a special interest in a certain people from among the humans'. Those people who are now called 'The Hebrews'.
This is the same Annunaki called 'Eloah' (Goddess) by the Ancient Hebrews, as is historically verified in the book of Job, written thousands of years ago. It is this same Annunaki who ordered and established the Ancient Hebrew nation 'Israel', which is now defunct, having been scattered to the winds sometime around 70 A.D. by Titus, a General of the Roman Empire. The modern day nation/state of (Zionist) Israel is not comprised of the original Hebrews, and everyone, at the top, knows this. But 'they' also know that you, the general population, do not know this, and they have thus far successfully kept it that way.
Anyone who tries to teach the world the truth about how 'The Jews are not 'Hebrew' and gives attempts to give facts is labeled a crackpot, an anti-Semite or some other derogatory epithet that draws the eyes away from the truth and entices the mind to disregard what has been said.
As a result, there is yet to be a correct interpretation of the identity of 'the Woman of the Apocalypse'. Mostly because the truth is impossible to believe. You, whoever you believe yourself to be, are reading this right now for one reason and one reason alone: Innana, whom the Ancient Hebrew called 'Eloah'.
She was known as one of the 'Great Ones' or 'Elohiym', or by the name most would be unfamiliar with: The Annunaki. The story began with Abram, when El(oah) Shaddai (Many Breasted God(dess)) called out to him and said she would make a Nation (Genos) of him. It would come to be known as 'Israel'. Peopled by 12 Tribes (the 12 stars in the Woman's Crown). The 'son' She named 'Yisreal'.
She called these people 'Hebrew' because of the situation they would have to 'go/pass/transition' through before all of the wrongs caused by Marduk could be made right. That is why the meaning of the 'hebrew' word is so important. Then you can understand what Innana was doing and why She was doing it: To Provide Proof and 'a way' back to The Truth, back to the beginning, before everything went to 'hell'.
Marduk, as the Dragon, was grounded to Earth by having his capability of flight destroyed. Parts of this 'war in heaven' are written about in the Hindi 'Upanishads'. The part played by 'Michael' was Enlil's son. Marduk was Enki's son. After the destruction of Marduk and the Igigi's ships and home base by powerful weapons, the Annunaki abandoned Earth. The weapons they used to destroy Marduk's flight had an unexpected effect that killed Annunkai and Earthling alike: Radiation.
In the meantime, our surviving human ancestors were left at the mercy of Marduk and his Igigi. Innana still had her ship (clothed with the Sun) and fled to the Moon (Moon under her feet), where she remained out of reach of Marduk. The 'time' allotted to Marduk as 'ruler over Earth' and the time that Innana had to hide from him are about the same: Approximately 1 'Shar' (circuit of Nibiru around the Sun) or about 3 thousand to thirty-five hundred Earth years.
The water poured from the mouth of the serpent/dragon/devil was misinformation to obscure and erase the evidence of Innana's presence and activities in human history. To fool human beings into thinking he Marduk/Ra/Zeus/Etc was the defacto 'God' of Earth and all human beings. Rather than the spiritual truth: All Living Beings Are Divines Ones; i.e. 'Gods'.
Marduk is 'The Fallen One' who 'deceives the whole world', is called 'Devil' and 'Satan', a word that only means 'adversary', and surely he is the adversary of man. This is the secret that has been kept hidden. This is the truth that will make you free.
We-Earthlings Collectively-still have to forgive him.
The time has come. Now you know The Truth. Now you can be freed.
Reject it or accept it.
All of this is related to us in the Sumerian Tablets. You can learn to read cuneiform or read the translations by those who already know how. The choice is up to you. I have no need to deceive, but you have a need to know.
The Truth Stands On Its Own.
But if you have any questions I am willing and able to answer them.
The P.O.E.M or Peace On Earth Movement Facebook page. : https://www.facebook.com/pages/POEM-Peace-On-Earth-Movement/588726381233293
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allegory meaning in hindi video

Plato’s Allegory of the Cave - Alex Gendler - YouTube Couplets by Alexander Pope  explained in hindi and english Class 8  DAV ANAGNORISIS BY ARISTOTLE 5 Best Examples of Allegory in English Literature (UGC NET ... Theme, Atmosphere, Symbol & Allegory in Young Goodman ... Allegory  explained with example  in Hindi  - YouTube What is Soliloquy Allusions (Literary Device) explain in Hindi for PGT/NET ... 6 words with meanings that will surprise you - YouTube The Hidden Meaning of The Wizard of Oz: An Esoteric ...

Allegory Meaning in Hindi: Find the definition of Allegory in Hindi. OneIndia Hindi Dictionary offers the meaning of Allegory in hindi with pronunciation, synonyms, antonyms, adjective and more related words in Hindi. ALLEGORY-meaning in Hindi, Hindi meaning of ALLEGORY, Get meaning of ALLEGORY in Hindi dictionary, With Usage Tips and Notes, Quickly Grasp Word ALLEGORY Allegory Meaning In Hindi. Allegory Meaning in Hindi is नीति कथा. It is written as Nīti Kathā in Roman Hindi. Allegory is a noun, plural allegories by form. The synonyms and antonyms of Allegory are listed below. - A figure representation which has a meaning beyond notion directly conveyed by the object painted or sculptured. Nearby Words: all all in all around all around prici all at once all cliar signal allegory Definition. a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one. ( एक कहानी, कविता या चित्र जिसे एक छिपे हुए अर्थ को प्रकट करने के लिए व्याख्या की जा सकती है, आमतौर पर Learn Now. Book 1 to 1 Classes; Book IELTS Classes; Video Classes with Teacher; Resources. Books to Learn Languages. Books to Learn French; Books to learn Spanish Allegory Meaning in Hindi. Allegory meaning in Hindi is Anyokti - Synonyms and related Allegory meaning is Apologue, Emblem and Fable and Parable. Check out Allegory similar words like Hindu Translation is Anyokti अन्योक्ति. allegory meaning in Hindi : Get detailed meaning of allegory in Hindi language.This page shows allegory meaning in Hindi with allegory definition,translation and usage.This page provides translation and definition of allegory in Hindi language along with grammar, synonyms and antonyms.Answer of question : what is meaning of allegory in Hindi dictionary? allegory ka matalab hindi me janiye Allegory meaning in Hindi (हिन्दी मे मीनिंग ) is रूपक कथा.English definition of Allegory : a short moral story (often with animal characters) Login ShabdKhoj allegory meaning in Hindi with examples: नीति कथा अन्योक्ति कहानी दृष्टांत दृष्टा click for more detailed meaning in Hindi with examples, definition, pronunciation and example sentences.

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Plato’s Allegory of the Cave - Alex Gendler - YouTube

http://www.engvid.com/ What make is your computer? In this lesson you'll discover the other meanings of some common words that you thought you knew. Did you ... Recorded with https://screencast-o-matic.com Literary terms helpful for academic &non academic students as well. Facebook page : https://m.facebook.com/Swarnshikha28/ 7 Things That Make A Man Fall DEEPLY In Love With You 🤵👸 ft. Mat Boggs - Duration: 18:25. Mark Rosenfeld Recommended for you View full lesson: http://ed.ted.com/lessons/plato-s-allegory-of-the-cave-alex-gendlerTwenty four hundred years ago, Plato, one of history’s most famous think... Happy Holy Days from Shunyamurti and the Sat Yoga Sangha!Excerpt: How many have seen The Wizard of Oz? But you haven’t seen it like you’re going to see it to... in allusion is when a person makes an indirect reference in speech, or song to an event or person. mostly the allusions made are to past events. but someti... Finding it hard to befriend literary terms which are frequently asked in UGC NET Exam? Just like veins are to heart, literary terms are to English literature... This video is unavailable. Watch Queue Queue. Watch Queue Queue

allegory meaning in hindi

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