text:
All My Rowdy Friends (Have Settled Down)
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"All My Rowdy Friends (Have Settled Down)"
Single by Hank Williams Jr.
from the album The Pressure Is On
B-side
"Everytime I Hear That Song"
Released
September 5, 1981
Format
7" single
Genre
Country
Length
3:57
Label
Elektra/Curb
Songwriter(s)
Hank Williams Jr.
Producer(s)
Jimmy Bowen
Hank Williams Jr. singles chronology
"Dixie on My Mind"
(1981) "All My Rowdy Friends (Have Settled Down)"
(1981) "A Country Boy Can Survive"
(1982)
"Dixie on My Mind"
(1981) "All My Rowdy Friends (Have Settled Down)"
(1981) "A Country Boy Can Survive"
(1982)
"All My Rowdy Friends (Have Settled Down)" is a song written and recorded by American country music artist Hank Williams Jr.. It was released in September 1981 as the first single from the album The Pressure Is On. "All My Rowdy Friends (Have Settled Down)" was Hank Williams Jr.'s fifth number one on the country chart. The single stayed at number one for one week and spent a total of ten weeks on the country chart.[1]
The phrase "all my rowdy friends" would later become a catch phrase of sorts for Williams, who would use the line in 1984 for "All My Rowdy Friends Are Coming Over Tonight," in 1987 for "Born to Boogie" and "All My Rowdy Friends Are Here on Monday Night," and in 2011 for "Keep the Change."
Content[edit]
The song itself is told from the point of view of a disillusioned singer who, along with his friends, had lived a wild lifestyle. Although admitting he himself has mellowed with age, the singer is depressed that his one-time "rowdy" friends have settled down and, in abandoning their high-living ways, want no part of their old lifestyle. References are made to Williams' contemporaries, such as George Jones, Waylon Jennings, Johnny Cash and Kris Kristofferson, as well as his father, Hank Williams.
Charts[edit]
Chart (1981)
Peak
position
US Hot Country Songs (Billboard)[2] 1
Canadian RPM Country Tracks 1
References[edit]
Jump up ^ Whitburn, Joel (2004). The Billboard Book Of Top 40 Country Hits: 1944-2006, Second edition. Record Research. p. 389.
Jump up ^ "Hank Williams, Jr. Chart History (Hot Country Songs)". Billboard.
hide
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Hank Williams Jr.
Studio albums
Your Cheatin' Heart
Connie Francis and Hank Williams Jr. Sing Great Country Favorites
Ballads of the Hills and Plains
Blues My Name
A Time to Sing
Songs My Father Left Me
Luke the Drifter Jr. Vol. 2
Live at Cobo Hall
After You, Pride's Not Hard to Swallow
Hank Williams Jr. and Friends
Family Tradition
Whiskey Bent and Hell Bound
Habits Old and New
Rowdy
The Pressure Is On
High Notes
Strong Stuff
Man of Steel
Major Moves
Five-O
Montana Cafe
Hank Live
Born to Boogie
Wild Streak
Lone Wolf
Pure Hank
Maverick
Out of Left Field
Hog Wild
A.K.A. Wham Bam Sam
Three Hanks: Men with Broken Hearts
Stormy
The Almeria Club Recordings
I'm One of You
127 Rose Avenue
It's About Time
Compilation albums
Greatest Hits
Greatest Hits Vol. 2
Fourteen Greatest Hits
Hank Williams Jr.'s Greatest Hits
Hank Williams Jr.'s Greatest Hits, Vol. 2
Greatest Hits, Vol. 3
America (The Way I See It)
The Best of Hank Williams Jr. Volume One: Roots and Branches
Tribute to My Father
20 Hits Special Collection, Vol. 1
Early Years, Vol. 1
Early Years, Vol. 2
The Bocephus Box
That's How They Do It in Dixie: The Essential Collection
Notable singles
"Long Gone Lonesome Blues"
"Nobody's Child"
"All for the Love of Sunshine"
"So Sad (To Watch Good Love Go Bad)" (with Lois Johnson)
"Eleven Roses"
"Rainy Night in Georgia"
"I'll Think of Something"
"I Fought the Law"
"To Love Somebody"
"Family Tradition"
"Whiskey Bent and Hell Bound"
"Women I've Never Had"
"Kaw-Liga"
"Old Habits"
"Texas Women"
"Dixie on My Mind"
"All My Rowdy Friends (Have Settled Down)"
"A Country Boy Can Survive"
"Honky Tonkin'"
"The American Dream"
"Gonna Go Huntin' Tonight"
"Leave Them Boys Alone" (with Ernest Tubb and Waylon Jennings)
"Queen of My Heart"
"Man of Steel"
"Attitude Adjustment"
"All My Rowdy Friends Are Coming Over Tonight"
"Major Moves"
"I'm for Love"
"This Ain't Dallas"
"Ain't Misbehavin'"
"Country State of Mind"
"Mind Your Own Business" (with Reba McEntire, Tom Petty, Reverend Ike and Willie Nelson)
"Born to Boogie"
"Heaven Can't Be Found"
"Young Country"
"If the South Woulda Won"
"Early in the Morning and Late at Night"
"There's a Tear in My Beer" (with Hank Williams Sr.)
"Finders Are Keepers"
"Ain't Nobody's Business"
"Good Friends, Good Whiskey, Good Lovin'"
"I Mean I Love You"
"If It Will, It Will"
"Devil in the Bottle"
"Are You Ready for the Country?" (with Eric Church)
Guest singles
"The Conversation" (with Waylon Jennings)
"Bartender Song (Sittin' at a Bar)" (with Rehab)
Family
Hank Williams
Audrey Williams
Jett Williams
Hank Williams III
Holly Williams
Related articles
Discography
Living Proof: The Hank Williams Jr. Story
This 1981 country song-related article is a stub. You can help Wikipedia by expanding it.
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1981 singles
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RPM Country Tracks number-one singles
Songs written by Hank Williams Jr.
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Padmavati (film)
From Wikipedia, the free encyclopedia
This is the latest accepted revision, reviewed on 2 January 2018.
Jump to: navigation, search
Padmavati
Theatrical release poster
Directed by
Sanjay Leela Bhansali
Produced by
Viacom 18 Motion Pictures
Bhansali Productions
Written by
Sanjay Leela Bhansali
Prakash Kapadia
Screenplay by
Sanjay Leela Bhansali
Based on
Padmavat
by Malik Muhammad Jayasi[1]
Starring
Deepika Padukone
Shahid Kapoor
Ranveer Singh
Raza Murad
Aditi Rao Hydari
Jim Sarbh
Anupriya Goenka
Music by
Background score:
Sanchit Balhara
Songs:
Sanjay Leela Bhansali
Cinematography
Sudeep Chatterjee
Edited by
Jayant Jadhar
Sanjay Leela Bhansali
Akiv Ali
Production
company
Bhansali Productions
Distributed by
Viacom 18 Motion Pictures (India)
Paramount Pictures (International)
Release date
9 February 2018 (2018-02-09)[2]
(United States)
Country
India
Language
Hindi
Budget
₹200 crore[3]
Padmavati is an upcoming Indian Hindi-language epic period drama film directed by Sanjay Leela Bhansali. The film features Deepika Padukone in the title role as Rani Padmavati, alongside Shahid Kapoor as Maharawal Ratan Singh and Ranveer Singh as Sultan Alauddin Khilji. Raza Murad, Aditi Rao Hydari, Jim Sarbh and Anupriya Goenka feature in supporting roles. Based on the epic poem Padmavat (1540) by Malik Muhammad Jayasi, the film narrates the story of Padmavati, a legendary Rajput queen who committed jauhar to protect herself from Khilji, a ruthless Muslim warrior.[1][4]
With a production budget of ₹200 crore (US$31 million), Padmavati is one of the most expensive Indian films ever made.[5] Initially scheduled for 1 December 2017, Padmavati faced opposition from right-wing Hindu groups for allegedly distorting historical facts, despite Bhansali's insistence to the contrary. Amid violent protests in the country, a bounty was placed to behead Bhansali and Padukone. Its released was then indefinitely delayed. Later in December, the Central Board of Film Certification approved the film for theatrical exhibition and suggested 5 modifications to the film, which includes the addition of multiple disclaimers and amending its title to Padmavat.[6][7]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Casting
3.2 Budget
3.3 Design
3.4 Historical accuracy
4 Soundtrack
5 Release
6 Controversy
6.1 Threats
6.2 Reactions
6.3 Withdrawals
6.4 Historians
6.5 Pre-screening
7 References
8 External links
Plot
The film is based on the legend of Rani Padmavati, a legendary Hindu Rajput queen, mentioned in Padmavat, an Awadhi language epic poem written by Sufi poet Malik Muhammad Jayasi in 1540.[1] According to Padmavat, she was the wife of Ratan Sen (called Rawal Ratan Singh in later legends), the Rajput ruler of Mewar. In 1303, Alauddin Khilji, the Muslim Turko-Afghan ruler of the Delhi Sultanate,[8] laid siege to the Chittor Fort in Rajputana. According to Padmavat, Khilji led the invasion motivated by his desire to capture Padmavati. The men of the city stormed out in a final mortal sally to kill as many of the enemy before falling. Padmavati is said to have committed jauhar (self-immolation) along with all the other women of the city to protect their honour and to avoid being captured by Khilji.
Cast
Deepika Padukone as Padmavati – a 13th-14th century[9] legendary Rajput queen, who was, according to Padmavat, the wife of Rajput king Ratan Singh (also known as Ratan Sen), the ruler of Mewar. The news of Padmavati's beauty reached Sultan Alauddin Khilji, who besieged Singh's capital, Chittor, motivated by his desire to capture the queen.
Shahid Kapoor as Ratan Singh – the last Rajput ruler of the Guhila dynasty that ruled the kingdom of Mewar. He was defeated by Alauddin Khilji's forces during the siege of Chittor.
Ranveer Singh as Alauddin Khilji – the Turko-Afghan ruler of the Delhi Sultanate.[8] He was the second and most powerful ruler of the Sultanate belonging to the Khilji dynasty.[10] He ascended the throne by murdering his paternal uncle and father-in-law, Sultan Jalaluddin Khilji.[11] According to Padmavat, Khilji laid siege to Chittor motivated by his desire to capture Ratan Singh's beautiful wife, Padmavati.
Aditi Rao Hydari as Mehrunisa[12][13]– wife of Alauddin Khilji
Raza Murad as Jalaluddin Khilji[14] – the founder and first Sultan of the Khilji dynasty that ruled the Delhi Sultanate. He was deposed by his nephew and son-in-law Alauddin, who murdered his uncle to usurp the throne.[15]
Jim Sarbh as Malik Kafur[16]– a prominent eunuch slave-general of Alauddin Khilji.[17]
Anupriya Goenka as Nagmati[18] – first wife and chief queen of Ratan Singh according to Padmavat.[19] Nagmati and her husband's second wife, Padmavati, performed jauhar together after Alauddin Khilji attacked Chittor.[20]
Production
The three main actors, Padukone (top), Kapoor (centre) and Singh (bottom).
An adaptation of Malik Muhammad Jayasi's epic Padmavat (1540),[1] Sanjay Leela Bhansali had been been planning a film adaptation for a decade.[21] He first worked on a television adaptation as an assistant editor for Shyam Benegal's television series Bharat Ek Khoj (1988), based on Jawaharlal Nehru's The Discovery of India (1946), featuring an episode about Padmavat starring Om Puri as Alauddin Khilji.[22] In 2008, Bhansali produced an opera version in Paris, inspiring him to begin work on a film version.[21] Padmavati also took inspiration from other earlier adaptations of the epic, including Bengali literary adaptations from Kshirode Prasad Vidyavinode in 1906 and Abanindranath Tagore in 1909,[23] the Tamil film Chittoor Rani Padmini (1963),[24][25] and the Hindi film Maharani Padmini (1964).[23]
Pre-production on the film began in July 2016. That same month, playback singer Shreya Ghoshal tweeted about performing a song composed by Bhansali for the film.[26] Many media outlets speculated that Ranveer Singh and Deepika Padukone, who played the leads in Bhansali's Goliyon Ki Raasleela Ram-Leela (2013) and Bajirao Mastani (2015), were finalized to play Alauddin Khilji and Rani Padmavati in the film.
In October 2016, it was announced that Bhansali would team up with Viacom 18 Motion Pictures to produce the film with Singh and Padukone along with Shahid Kapoor as Rawal Ratan Singh, playing the lead roles.[27]
Casting
Padmavati is the third collaboration between Ranveer Singh and Deepika Padukone with Sanjay Leela Bhansali. The trio had worked before in Goliyon Ki Rasleela Ram-Leela (2013) and Bajirao Mastani (2015), while it is Kapoor's first film with the three.[28] Their co-star from the previous films, Priyanka Chopra was also in consideration to play the title role.[29] In January 2017, it was reported that Bhansali had approached Chopra for a cameo appearance in the film.[30] However, in April 2017, Chopra denied her involvement in the film.[31]
According to reports, no Bollywood actor was willing to take on Maharawal Ratan Singh's role. Shahrukh Khan[32] was offered the part but felt it was not "meaty" enough and declined; failure to agree his fee may have been a factor.[33] Shahid Kapoor was finally cast to play Ratan Singh with an assurance of a good enough part and a hefty fee.[34] For his role, Kapoor undertook rigorous training under trainer Samir Jaura and followed a strict diet for 40 days. He also learnt sword fighting and the basics of Mardani khel, a weapon-based martial art, and admitted that it had been one of the most physically and emotionally challenging roles of his career.[35]
Ranveer Singh portrays the antagonist of the film, Alauddin Khilji, the first negative role of his career.[36] Director Bhansali had given him books to read delving into the psyche of dark rulers of history such as Adolf Hitler, asserting that he had to completely forget who he was before he could play Khilji. Said a source, "Ranveer is prepping his body language, mannerisms, diction and physique. He is holed up in his Goregaon apartment and has himself off from people. For many hours in the day, he transforms into Khilji working on his dialogues and diction."[37] Singh trained under Mustafa Ahmed, who works with actor Hrithik Roshan, to get into proper shape for the role. The actor worked out twice a day for six days a week.[38] Playing Khilji so affected Singh's personality and behavior he had to see a psychiatrist to return to normal.[39]
On Jaya Bachchan's recommendation,[40] Aditi Rao Hydari was cast to play the fourth lead in the film and was paired opposite Ranveer Singh. She portrays Khilji's wife, Mehrunisa.[12][41] Hydari is the only member of the star cast who actually belongs to a royal lineage. "It's not a major role. When I signed on for Padmavati, I knew very well it was going to be a small part. But, Sanjay Leela Bhansali sir presents all his women so well," she said. "In Goliyon Ki Raasleela - Ram-Leela, Richa Chadha had a brief role, but she made an impact. I am sure I will leave some impact in Padmavati. No one who works with Sanjay sir comes away without benefiting from the association."[42]
Veteran actor Raza Murad portrays Alauddin's paternal uncle and father-in-law, Sultan Jalaluddin Khilji. Murad has earlier collaborated with Bhansali in Goliyon Ki Rasleela Ram-Leela and Bajirao Mastani.[43] Jim Sarbh portrays Malik Kafur, a prominent eunuch slave-general of Alauddin Khilji.[44] Sarbh learned horse-riding for the role.[45]
On 25 October 2017, a video of the first song from the film, titled Ghoomar, was released, in which a woman dressed like a queen appeared briefly. It was later revealed in a Twitter fanpage of Sanjay Leela Bhansali Productions, that the woman is Maharawal Ratan Singh’s first wife, Rani Nagmati, who is portrayed by Anupriya Goenka.[46]
Budget
Due to the costs mounted on the film by delay in the release, Box Office India declared the film to be first Bollywood film to exceed ₹200 crore (US$31 million) in its budget, which makes it most expensive Hindi film of all time.[5]
Design
Delhi-based Rimple and Harpreet Narula designed Rani Padmavati's costume using traditional Gota embroidery work of Rajasthan. The border derives from the architectural details of Rajasthani palace windows and jharokhas and the odhnis have been styled in conventional ways which are still prevalent in the Mewar belt of Rajasthan.[47] The designer duo elaborated that the costume worn by Padukone in the final scene of the film features the tree of life motif and twisted gota embroidery and has a Kota dupatta with block printing. Padukone's dresses were made with Sinhalese influences, as the character of Padmavati hailed from Sri Lanka. The costumes for Shahid Kapoor were made from mulmul and cotton and special attention was given to the turbans, one of which, featuring a 28-dye lehariya, was inspired by a turban to be found at the Victoria and Albert Museum in London.[48] The clothes for Ranveer Singh were based on travellers' accounts of the Turko-Persian influence on Indian clothing[49] (Khilji was of Turko-Afghan heritage).[8][50]
Padukone's look for the "Ghoomar" song features intricate jewellery weighing up to 3 kg designed by Tanishq featuring a triple Borla, Mathapatti and Bajuband which are traditional ornaments worn by the Rajasthani women.[51]
Vipul Amar and Harsheen Arora of Delhi-based design house 'The V Renaissance' designed costumes for Rawal Ratan Singh and Alauddin Khilji, employing historical techniques to create the armour such as cuirboilli, sculpting, chiselling, and inlaying.[52] The armour took a team of forty workers eight months to prepare.[53]
Historical accuracy
The film is an adaptation[1] of the epic poem Padmavat written by Sufi poet Malik Muhammad Jayasi in 1540.[54] According to Padmavat, Alauddin Khilji, the Sultan of Delhi, laid siege to Chittor Fort motivated by his desire to capture Queen Padmavati, the beautiful wife of King Ratan Sen (also known as Ratan Singh), the Rajput ruler of Mewar. After Khilji defeated Ratan Sen and successfully besieged his capital Chittor, Padmavati committed jauhar (the Hindu custom of self-immolation) to protect her honour from the Muslim ruler.[55] Although Ratan Sen (identified with Ratnasimha)[56] and Alauddin Khilji are actual historical figures, Padmavati's existence is not historically proven.[57] Khilji did attack Chittor in 1303 and conquered the fort, but he did not wish to capture Ratnasimha's wife.[57] Historians of Khilji's period did not make any reference to a "Queen" of Chittor while mentioning the conquest of the fort.[58]
The poem Padmavat ends with Jayasi's own words, "I have made up the story and related it."[59]
Historians also criticised the portrayal of Alauddin Khilji as an "Indian Khal Drogo, wearing a fur coat and gobbling meat" in the trailer of the film.[60] Business Standard India wrote that historians believe "the sultan of Delhi who successfully stopped repeated attempts by Mongols to invade India would have been one of the most sophisticated men of his times."[60]
Soundtrack
Padmavati
Soundtrack album by Sanjay Leela Bhansali
Released
TBA
Genre
Feature film soundtrack
Language
Hindi
Rajasthani
Label
T-Series
Sanjay Leela Bhansali chronology
Bajirao Mastani
(2015) Padmavati
(2017)
The film score is composed by Sanchit Balhara while the songs are composed by Sanjay Leela Bhansali. A. M. Turaz and Siddharth-Garima wrote the lyrics. Shreya Ghoshal performs four of its songs.[61] The soundtrack will be released by T-Series. The first song Ghoomar, to which Padukone performs the traditional Rajasthani folk dance on a set that replicates the interior of Chittorgarh Fort,[62][63] was released on 25 October 2017.[64]
Track listing
No.
Title
Lyrics
Singer(s)
Length
1. "Ghoomar" A. M. Turaz, Swaroop Khan Shreya Ghoshal, Swaroop Khan 4:41
2. "Ek Dil Ek Jaan" A. M. Turaz Shivam Pathak 3:40
Release
The digital streaming rights of Padmavati were sold to Amazon Prime Video for ₹20–25 crore in August 2017.[65] Theatrical distribution rights in overseas territories were acquired by Paramount Pictures from Viacom 18 in October.[66] It was announced that Prime Focus Limited would render the film in 3D. The CEO of Viacom 18 Motion Pictures Ajit Andhare stated that it would be the widest release for a Bollywood film in 3D.[67]
The film was initially scheduled for theatrical release on 1 December in India, but the producers announced in a statement on 19 November that they "voluntarily deferred the release date of the film", amidst growing protests.[68]
Padmavati was initially slated for release in the United Arab Emirates on 30 November 2017 and in the United Kingdom on 1 December 2017, but, in an interview with Gulf News, the makers stated that the film would not be released in foreign territories before receiving a certificate from the CBFC.[69][70][71] CBFC follows a strict chronological order to approve films and 'Padmavati' will seek the board's approval and the grant of a certificate.[72] In the end of December, Central Board of Film Certification approved the film for theatrical exhibition and suggested 5 modifications to the film, which includes the addition of multiple disclaimers and amending its title to Padmavat.[6][7]
Controversy
The film became controversial during production. There were allegations from groups such as the Shri Rajput Karni Sena, a Rajput caste organisation, claiming that the film depicts factual inaccuracies, portraying the Rajput queen Padmavati in a bad light, with activists vandalizing the sets of the film. However, a sting operation[73] conducted by an Indian news channel[74] showed that the activists had planted the controversies in order to extort money from the filmmakers.
In response to vandalism of sets in January 2017, The Times of India reported, "Sufi poet Jayasi made up the story that later got legend status, so Bhansali can't be threatened for taking creative licence with the tale, say historians".[75] Akhilesh Khandelwal, an Indian politician and ruling Bharatiya Janata Party (BJP) member, made a Facebook post announcing a reward for anyone who attacks the director Sanjay Leela Bhansali with a shoe. The opposition Indian National Congress (INC) condemned the post, demanding action be taken against Khandelwal for attempting to instigate an attack.[76] Bhansali was assaulted by the Karni Sena on a film set,[77] at attack condemned by a number of celebrities and public figures.[78]
In March 2017, some activists of the Karni Sena broke 50-year-old mirrors installed in the Padmini Palace, that was said to have been the palace of Padmavati. The mirrors until then were shown to tourists as part of the narrative that the queen's face was revealed to Alauddin Khilji through them as part of the latter's compromise with her husband Ratan Singh. The activists deplored this claiming that mirrors did not exist during the time.[79] Later that month, while the cast and crew were filming a scene in Masai plateau, Kolhapur at night, a mob of around 20–30 people armed with petrol bombs, stones and lathis charged and set the set ablaze, injuring animals and destroying several costumes. The attacks were considered staged as they were based on the false pretext set up by Rajput groups that the film includes a dream sequence in which Padmavati and Alauddin Khilji are seen in intimate contact.[80] In October, a rangoli of the first poster released from the film, which reportedly took 48 hours to create, was destroyed by a group of around 100 people shouting religious slogans. Action was taken by the police after Padukone expressed her anger on social media.[81] Members of the Sena later stated that they would prevent release even if objectionable parts were cut.[82]
Threats
Director Sanjay Leela Bhansali received death threats.
Subsequently, the Karni Sena made threats of violence, reportedly threatening to burn down theatres if the film is released to audiences before it is shown to them for evaluation. Bhansali responded to the threats by reiterating that rumours of a romantic dream sequence between Padmini and Khilji were false, and that the film contains no such scene. BBC News stated that Bhansali's attempt to placate those who want the film to be banned has "fallen on deaf ears among those who want to 'protect the honour' of a fictitious queen."[83]
In November 2017, Raj K. Purohit, an Indian politician and senior BJP member, called for the film to be banned. He stated: "How can a Rajput queen be shown dancing and without ghoonghat? It is against Rajput culture and pride. No community will be able to tolerate it." He said he would meet Ministry of Information and Broadcasting Smriti Irani to seek action against the film.[84] Central Board of Film Certification member Arjun Gupta petitioned the Home Minister to put Bhansali on trial for treason.[85] The Karni Sena held protests, supported by politicians in the ruling BJP party.[86]
Threats were also directed at Bhansali and lead actress Deepika Padukone, and it was reported that riot police might be deployed at Indian cinemas upon the film's release.[87] The Karni Sena threatened to violently assault and mutilate Padukone, which the Mumbai Police responded to by giving her special security.[88][87] Bharat Kshatriya Samaj, another caste organization, made death threats against Bhansali and Padukone, putting a ₹5 crore (US$780,000) bounty on their heads.[89][90] The Haryana BJP's media chief Suraj Pal Amu put a ₹10 crore (US$1.6 million) bounty on the heads of both Padokone and Bhansali.[91] Amu also made threats against Ranveer Singh, who plays the Muslim ruler Alauddin Khilji, threatening to break Singh's legs.[92]
On 24 November 2017, a dead body was found hanging in Nahargarh Fort, with a sentence scribbled on a nearby rock wall stating in Hindi, "Padmavati ka virodh" (in opposition to Padmavati). The graffiti also included a warning, "We don't just burn effigies, we hang them."[93][94] NDTV reported, "The police say it's not clear if this is a case of suicide or murder."[94] The death, initially thought to have been committed against the release of Padmavati, was later found to have been an attempt, by appearing to be a murder committed by Muslims in support of Padmavati, to incite communal riots between Hindus and Muslims.[95] On 26 November 2017, the body was identified to be that of a local businessman. The post mortem report revealed that the man died due to hanging.[96]
The British Board of Film Classification (BBFC) passed the film with a (12A) rating and zero cuts.[97] Following this, a Karni Sena leader went on Republic TV and threatened to burn down British theatres that screened the film. He called on his "fellow Rajput brothers" to stop the screening of the film.[98] The BBFC responded to the Rajasthan Association's query and stated that "freedom of choice must be respected" and that filmmakers are “free to explore narratives based on historical events” and to interpret them as they wish.[99] They also stated that there was "nothing" in the film that was "unacceptable" under the 12A category.[99]
Reactions
In November 2017, in the midst of the controversy preceding the film's release, the makers received support from the film community. Bodies such as Indian Film & Television Directors' Association, Cine & TV Artists Association, Western India Cinematographers' Association, Association of Cine & Television Art Directors & Costume Designers questioned the Indian government's silence over threats to the makers from the Rajput groups. Filmmaker Sudhir Mishra called the incidents "an assault on creative freedom".[100] They termed the hostility towards Bhansali and the makers "akin to abusing the film fraternity".[101] The makers also received support from eminent personalities such as Salman Khan, Ruby Rose,[102] Shraddha Kapoor,[103] Karan Johar,[104] Javed Akhtar,[104] Swara Bhaskar,[105] Anurag Kashyap,[105] Anurag Basu,[105] Gauri Shinde,[105] Hansal Mehta,[105] Varun Dhawan,[106] Sonam Kapoor,[106] Twinkle Khanna,[106] Arjun Kapoor,[106] Riteish Deshmukh,[106] Shekhar Kapur,[107] Kapil Sharma,[108] Manushi Chhillar,[109] Nana Patekar,[110] Juhi Chawla,[111] Anand L. Rai,[111] Esha Gupta,[112] Raveena Tandon[113] LK Advani,[114] Kriti Sanon,[115] Yami Gautam,[115] Sonakshi Sinha,[116] Kangana Ranaut[117] Hritik Roshan,[118] Richa Chadda,[118] Kamal Haasan,[118] Rishi Kapoor,[118] Rajkummar Rao,[118] Shyam Benegal,[118] Pahlaj Nihalani[118], Shabana Azmi and Priyanka Chopra[119].[120] There were calls to boycott the 48th International Film Festival of India from actors of the Indian film industry in support of the film.[121]
The major political parties across India took conflicting stands. While several members and leaders of the centre-ruled BJP called for an outright ban on the film, the Rajasthan State unit of the party and that of the INC adopted a stance in favour of the Rajput community, stating that the makers of the film must not offend "people's sentiments". The Economic Times attributed this stance to the State elections due to be held the following year, and their attempts to not offend the said majority community.[122] Sitaram Yechury of the Communist Party of India (Marxist) condemned the protests.[123] Mamata Banerjee of the All India Trinamool Congress shared similar views and claimed the prevalence of "super emergency" in the country and called the controversy a "calculated plan of a political party to destroy the freedom to express ourselves."[124] The Maharashtra Navnirman Sena gave its support to the makers tacitly and said that the party would take a stance upon watching the film.[125] Ajmer Sharif Dargah's Syed Zainul Abedin Ali Khan also urged Indian Prime Minister Narendra Modi to ban the release of the film, likening Bhansali to Rushdie, Taslima Nasreen and Tareq Fatah, authors who supposedly hurt the sentiments of Muslims.[126]
The controversies surrounding the film re-opened the question of film censorship in India and the country's freedom of expression.[127][128] Amid resentments from political leaders and caste groups calling to stop the film's release, the Supreme Court dismissed a petition for the same, and called freedom of speech and expression "sacrosanct" and that it "should not be ordinarily interfered with".[129][130] In support of the film, the Indian Film and Television Directors Association (IFTDA) and 20 other film industry bodies planned a 15-minute blackout on 26 November 2017.[131]
Withdrawals
On 20 November, the Chief Minister of Madhya Pradesh, Shivraj Singh Chouhan, said "The film which distorts facts and disrespects 'Rashta Mata' Padmavati will not be allowed to screen in any part of Madhya Pradesh."[132] Following this, the Chief Minister of Punjab, Amarinder Singh, announced that he would not allow the film to be released in his state.[133] However, Singh was later quoted saying on 10 December, "Sanjay Leela Bhansali's film Padmavati, which is mired in a major controversy, will not be barred from screening in my state."[134] The Chief Minister of Rajasthan, Vasundhara Raje, stated that the film will not be screened in the state until the changes to the storyline suggested by her in a letter to the Information and Broadcasting Minister Smriti Irani are incorporated.[135] The Deputy Chief Minister of Uttar Pradesh also demanded removal of "controversial portions" to allow screening of the film in that state.[136] Mamta Banerjee, the Chief Minister of West Bengal supported the film's release and was quoted saying, "If they cannot release it in any other state, we will give special arrangement for Padmavati. Bengal will be very happy and Bengal will be proud to do that."[137] Amu responded by threatening to cut off Banerjee's nose, comparing her to the Hindu demoness Surpanakha.[138]Vijay Rupani, the Chief Minister of Gujarat, announced that the film would not be allowed to be screened in the state as it "hurts the sentiment of Rajput community."[139] The Chief Minister of Bihar, Nitish Kumar, stated that the film will not be released in the state "without amicable solution among all parties involved."[140]
The Karni Sena changed its stance on 23 November 2017, and agreed to support the release of the film, provided that the makers screen the film to the royal family of Mewar and agreed to withdraw the protests if nothing objectionable is found in the film.[141] Amu, who had earlier placed a bounty of ₹10 crore on Padukone's head, claimed to be a fan of Padukone and called her "the nation’s daughter."[142] However, he later added that he will not compromise on "Rajput honour and sentiment."[142] The Maharani of Jaipur Padmini intervened in the protests, stating that the film has no historical inaccuracy other then the song Ghoomar. A fan of Bhansali herself, the Rani plans to bring the Karni Sena and the filmmakers together to "chalk out a peace plan."[143]
On 30 November 2017, Bhansali appeared before the Indian Parliament and clarified his stance, stating, "All the controversy over the film is based on rumours. I have not distorted facts. The film is based on a poem by Malik Muhammad Jayasi."[144]
Historians
Several historians have criticised the protests, and described Padmavati as a mythical fictional character. Aditya Mukherjee from the Centre for Historical Studies at Jawaharlal Nehru University called the protests "absurd" and said, "In the contemporary period, there is no mention of this event, no accounts of Padmavati by Amir Khusrau, a prolific writer of the era and a courtier of Alauddin Khilji. This is misuse of both fiction and history. There is no historical evidence of this Padmavati event - this story is a poet's imagination." He referred to the controversy as "manufacturing of hurt sentiments clearly with an eye on politics."[145] Historian Irfan Habib said, “Though Alauddin Khilji had won Chittor, during that period there is no mention of any character as Padmavati in history” and noted that she was mentioned for the first time in Muhammad Jayasi's fictional epic Padmavat over two centuries after the Chittor incident.[146] Historian Harbans Mukhia writes in The Indian Express, "Khalji defeated the Rana of Chittor in 1303 and died in 1316. No one by the name of Padmini or Padmavati existed then — or at any time — in flesh and blood resembling the story. She was born in 1540, 224 years after Khalji’s death, in the pages of a book of poetry by Malik Muhammad Jayasi, resident of Jayas in Awadh, a very long way from Chittor."[147] Social analyst Jamal Ansari stated: “Presently myths are being presented as history which is a dangerous trend.”[146] Mythologist Devdutt Pattanaik objected to the story of Padmavati and said that it is a glamorisation and valorisation of the idea of a woman voluntarily burning herself.[86]
Pre-screening
Following the controversies, the makers held a special screening of Padmavati in November 2017 for leading Indian journalists, including Arnab Goswami and Rajat Sharma, who praised the film and described it as "the greatest tribute to Rajput pride."[148] They also stated that the film does not contain any dream sequence or intimate scene between Padmavati (Deepika Padukone) and Alauddin Khilji (Ranveer Singh). In fact, the actors do not share any screen space at all.[149] Rajat Sharma particularly praised Singh's performance as Khilji.[150]
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Jump up ^ "Padmavati controversy: Amid threats and protests, producers defer its release". Hindustan Times. 19 November 2017. Archived from the original on 19 November 2017.
Jump up ^ "Body found hanging from fort in Jaipur, note nearby implies anger over Padmavati". Times of India. 24 November 2017.
^ Jump up to: a b "At Jaipur Fort, Dead Body Found With Sign Referring To "Padmavati"". NDTV. 24 November 2017.
Jump up ^ Desk, India.com News (24 November 2017). "Not Against Padmavati Film, Man May Have Been Killed at Nahargarh Fort to Trigger Communal Tension".
Jump up ^ "'Padmavati' row: Cause of death at fort revealed". Gulf News. 26 November 2017.
Jump up ^ "British Censor Board clears 'Padmavati' for release in UK". 23 November 2017 – via www.thehindu.com.
Jump up ^ Malik, Sunny (24 November 2017). "The poisonous dispute over Indian film Padmavati mustn't spill over into the UK - Sunny Malik" – via www.theguardian.com.
^ Jump up to: a b "Padmavati row: 'Freedom of choice must be respected', BBFC responds to Rajasthan Association's query". Times Now. 25 November 2017.
Jump up ^ "Padmavati: Film associations say they are upset, question government's silence". Hindustan Times. Press Trust of India. 14 November 2017. Archived from the original on 14 November 2017. Retrieved 19 November 2017.
Jump up ^ Sharma, Priyanka (13 November 2017). "Padmavati row: IFTDA, CINTAA and top associations support Sanjay Leela Bhansali, call it attack on film fraternity". The Indian Express. Archived from the original on 13 November 2017. Retrieved 19 November 2017.
Jump up ^ "Deepika Padukone's 'XXX' co-star Ruby Rose lends support amidst 'Padmavati' row". The Economic Times. 2017-11-18. Retrieved 2017-11-26.
Jump up ^ "Shraddha Kapoor reacts to Padmavati controversy, calls it 'very unfortunate'- News Nation". http://www.newsnation.in. 2017-11-23. Retrieved 2017-11-26. External link in |work= (help)
^ Jump up to: a b "Padmavati Row: Javed Akhtar, Karan Johar Back Sanjay Leela Bhansali, Say 'We Should Trust Him'". News18. Retrieved 2017-11-26.
^ Jump up to: a b c d e "Padmavati controversy: From Salman Khan to Anurag Kashyap, here's how Bollywood is standing up for Deepika Padukone starrer". The Indian Express. 2017-11-15. Retrieved 2017-11-26.
^ Jump up to: a b c d e "Varun Dhawan, Sonam, Twinkle Khanna On 'Padmavati' Row". The Quint. Retrieved 2017-11-26.
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Jump up ^ "Threats to Bhansali, Deepika unacceptable: Nana". The Hindu. Special Correspondent, Special Correspondent. 2017-12-01. ISSN 0971-751X. Retrieved 2017-12-02.
^ Jump up to: a b "Padmavati controversy: Juhi Chawla condemns protesters for giving death threats". Firstpost. Retrieved 2017-12-02.
Jump up ^ "Esha Gupta Gets Trolled Again, This Time For Speaking On Rape And Padmavati!". Businessofcinema.com. 2017-12-02. Retrieved 2017-12-02.
Jump up ^ "Politics has taken strong hold on everything today: Raveena Tandon". Zee News. 2017-12-02. Retrieved 2017-12-02.
Jump up ^ "LK Advani Comes In Support Of Padmavati". https://english.newstracklive.com/. Retrieved 2017-12-02. External link in |work= (help)
^ Jump up to: a b "It is scary, unacceptable:Kriti and Yami on threats to Deepika". Retrieved 2017-12-02.
Jump up ^ http://indianexpress.com/article/entertainment/bollywood/padmavati-controversy-hrithik-roshan-varun-dhawan-and-sonakshi-sinha-condemn-death-threats-to-deepika-padukone-4966088/
Jump up ^ "We All Need To Stick Together: Kangana On Padmavati Row". https://www.outlookindia.com/. Retrieved 2017-12-08. External link in |work= (help)
^ Jump up to: a b c d e f g "Padmavati Row: Kangana Ranaut To Salman Khan, What Celebs Have Said". NDTV.com. Retrieved 2017-12-08.
Jump up ^ "I Stand By Padmavati Team, Says Priyanka Chopra". News18. Retrieved 2017-12-25.
Jump up ^ "Padmavati controversy: From Salman Khan to Anurag Kashyap, here's how Bollywood is standing up for Deepika Padukone starrer". The Indian Express. 19 November 2017. Archived from the original on 19 November 2017. Retrieved 19 November 2017.
Jump up ^ https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/shah-rukh-khan-invokes-vasudhaiva-kutumbakam-at-controversy-hit-international-film-festival-of-india/articleshow/61736986.cms?mobile=no
Jump up ^ Sharma, Aman (20 November 2017). "BJP & Congress on the same page on Padmavati". The Economic Times. Archived from the original on 20 November 2017. Retrieved 20 November 2017.
Jump up ^ "'Padmavati' protests sign of intolerance: CPI(M) general secretary Sitaram Yechury". The New Indian Express. 18 November 2017. Archived from the original on 23 November 2017. Retrieved 20 November 2017.
Jump up ^ "Mamata Banerjee lends support to Padmavati, says such protests are aimed at curbing the freedom of expression". The Indian Express. 20 November 2017. Archived from the original on 20 November 2017. Retrieved 20 November 2017.
Jump up ^ "Padmavati row: MNS backs Sanjay Leela Bhansali, says let the film release first". India Today. 15 November 2017. Archived from the original on 16 November 2017. Retrieved 20 November 2017.
Jump up ^ http://www.business-standard.com/article/current-affairs/more-trouble-for-padmavati-ajmer-dargah-deewan-urges-pm-to-ban-release-117111600673_1.html
Jump up ^ "Padmavati row: As state cedes space to the fringe, idea of freedom takes a hit". Firstpost. 30 January 2017. Archived from the original on 4 May 2017. Retrieved 19 November 2017.
Jump up ^ "Padmavati tangle sign of mobocracy". The Free Press Journal. 18 November 2017. Archived from the original on 23 November 2017. Retrieved 19 November 2017.
Jump up ^ "Supreme Court Says Filmmakers Should Be Allowed Freedom Of Speech And Expression Amid 'Padmavati', Kejriwal's Film Row". Outlook. 16 November 2017. Archived from the original on 17 November 2017. Retrieved 19 November 2017.
Jump up ^ "SC rejects plea to stop documentary on Arvind Kejriwal, says freedom of expression sacrosanct". The Indian Express. 17 November 2017. Archived from the original on 17 November 2017. Retrieved 19 November 2017.
Jump up ^ Feeds, IANS (25 November 2017). "Padmavati Row: Film Fraternity To Have A 15-Minute Blackout In Support Of Sanjay Leela Bhansali".
Jump up ^ N Palat, Lakshana (20 November 2017). "Padmavati row: Film banned in Madhya Pradesh, says CM Shivraj Singh Chouhan". India Today. Retrieved 21 November 2017.
Jump up ^ "Padmavati blocked: After Madhya Pradesh, Punjab also bans Sanjay Leela Bhansali's film". Times Now. 20 November 2017. Retrieved 21 November 2017.
Jump up ^ https://www.ndtv.com/india-news/wont-ban-padmavati-in-punjab-says-amarinder-singh-1785750
Jump up ^ Iqbal, Mohammed (21 November 2017). "Padmavati not to be released in Rajasthan". The Hindu. Retrieved 21 November 2017.
Jump up ^ Zee Media Bureau. "We won't let Padmavati release in Uttar Pradesh: Deputy CM Keshav Prasad Maurya". ZeeNews (19 November 2017). Retrieved 27 November 2017.
Jump up ^ "Mamata Banerjee welcomes Padmavati to Kolkata: Come to Bengal if other states ban you". India Today. 24 November 2017.
Jump up ^ "Padmavati row: BJP leader threatens Mamata Banerjee with Surpanakha's fate". Hindustan Times. 25 November 2017.
Jump up ^ "Padmavati: Gujarat bans Deepika Padukone film, second state after MP". Hindustan Times. Retrieved 29 November 2017.
Jump up ^ "Now, no Padmavati screening in Bihar till all parties reach a solution". Hindustan Times. Retrieved 29 November 2017.
Jump up ^ "Padmavati row: Karni Sena changes stand, wants Mewar royalty to 'clear' movie". Times of India. 23 November 2017. Archived from the original on 23 November 2017.
^ Jump up to: a b "Padmavati controversy: After Rs 10 crore bounty, Suraj Pal Amu claims he's fan of Deepika Padukone". Times Now. 23 November 2017.
Jump up ^ Sarkar, Suparno. "Padmavati row: SLB may heave sigh of relief now as Rani Padmini herself to intervene".
Jump up ^ http://punemirror.indiatimes.com/entertainment/bollywood/padmavati-row-based-on-rumours-sanjay-leela-bhansali-tells-parliamentary-panel/articleshow/61867979.cms
Jump up ^ Saberin, Zeenat (18 November 2017). "Bollywood film Padmavati faces protests from Karni Sena". www.aljazeera.com. Archived from the original on 21 November 2017. Retrieved 21 November 2017.
^ Jump up to: a b "Rani Padmavati is an imaginary character: Historian Irfan Habib". Hindustan Times. 11 November 2017. Archived from the original on 18 November 2017.
Jump up ^ Mukhia, Harbans (17 November 2017). "Stories of a Rajput queen". The Indian Express. Archived from the original on 16 November 2017. Retrieved 22 November 2017.
Jump up ^ Hooli, Shekhar H (21 November 2017). "Padmavati movie review: Arnab Goswami, Rajat Sharma say it's the greatest tribute to Rajput pride [VIDEOS]". International Business Times, India Edition. Archived from the original on 23 November 2017. Retrieved 21 November 2017.
Jump up ^ "Padmavati review: 'No dream sequence between Deepika Padukone, Ranveer Singh; no distortion of history'". The Financial Express. 18 November 2017. Archived from the original on 18 November 2017. Retrieved 21 November 2017.
Jump up ^ "Aaj Ki Baat with Rajat Sharma | 17th November, 2017". www.youtube.com. 17 November 2017. Retrieved 21 November 2017.
External links
India portal
Bollywood portal
2010s portal
Padmavati on IMDb
Padmavati at Bollywood Hungama
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Films by Sanjay Leela Bhansali
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Khamoshi: The Musical (1996)
Hum Dil De Chuke Sanam (1999)
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My Friend Pinto (2011)
Rowdy Rathore (2012)
Shirin Farhad Ki Toh Nikal Padi (2012)
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Gabbar Is Back (2015)
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text:
The Dragon (Beowulf)
From Wikipedia, the free encyclopedia
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Beowulf battles his nemesis, the dragon, shown in an 1908 illustration by J. R. Skelton.
The final act of the Anglo-Saxon poem Beowulf is about the hero Beowulf's fight with a dragon, the third monster he encounters in the epic. On his return from Heorot, where he killed Grendel and Grendel's mother, Beowulf becomes king of the Geats and rules peacefully for fifty winters until a slave awakens and angers a dragon by stealing a jewelled cup from its lair in order to gain freedom from killing his brother. When the angry dragon mercilessly burns the Geats' homes and lands, Beowulf decides to fight and kill the monster personally. He and his thanes climb to the dragon's lair where, upon seeing the beast, the thanes flee in terror, leaving only Wiglaf to battle at Beowulf's side. When the dragon wounds Beowulf fatally, Wiglaf slays it.
This depiction indicates the growing importance and stabilization of the modern concept of the dragon within European mythology. Beowulf is the first piece of English literature to present a dragonslayer. Although many motifs common to the Beowulf dragon existed in the Scandinavian and Germanic literature, the Beowulf poet was the first to combine features and present a distinctive fire-breathing dragon. The Beowulf dragon was later copied in literature with similar themes such as J. R. R. Tolkien's The Hobbit (1937), one of the forerunners of modern high fantasy.
The dragon fight, occurring at the end of the poem, is foreshadowed in earlier scenes. The dragon fight symbolizes Beowulf's stand against evil and destruction, and, as the hero, he knows that failure will bring destruction to his people after many years of peace. The dragon himself acts a mock "gold-king," one who sees attacking Beowulf's kingdom as suitable retribution for the theft of just a single cup.[1] The scene is structured in thirds, ending with the deaths of the dragon and Beowulf.
Contents
[hide]
1 Story
2 Background
3 Characterization
4 Importance
5 Critical reception
5.1 Before Tolkien
5.2 Tolkien, 1936: The Monsters and the Critics
5.3 After Tolkien
5.3.1 Scholarly opinion
5.4 General opinion
6 Legacy
7 References
8 Sources
Story[edit]
After his battles against Grendel's mother and Grendel, Beowulf returns to homeland and becomes king of the Geats. Fifty years pass with Beowulf leading as a wise king, when a local dragon is angered when a slave enters its lair and takes a cup from its treasure. The creature attacks the neighboring towns in revenge. Beowulf and a troop of men (“the Geats”) leave to find the dragon’s lair. The Geats run away in fear, leaving only Beowulf and his young companion Wiglaf to slay the dragon. Beowulf receives a fatal wound from the dragon, but Wiglaf impales the dragon’s belly to reduce the flames, and Beowulf deals the fatal blow. In his death-speech, Beowulf nominates Wiglaf as his heir, and that of the treasure.
Background[edit]
Sigurd and Fafnir by Arthur Rackham, from his 1911 illustrations for Richard Wagner's Siegfried and The Twilight of the Gods
Beowulf is the oldest extant heroic poem in English literature and the first to present a dragon slayer. The legend of the dragonslayer already existed in Norse sagas such as the tale of Sigurd and Fafnir, and the Beowulf poet incorporates motifs and themes common to dragon-lore in the poem.[2] Beowulf is the earliest surviving piece of Anglo-Saxon literature to feature a dragon, and it is possible that the poet had access to similar stories from Germanic legend.[3] Secular Germanic literature and the literature of Christian hagiography featured dragons and dragon fights.[4] Although the dragons of hagiography were less fierce than the dragon in Beowulf, similarities exist in the stories such as presenting the journey to the dragon's lair, cowering spectators, and the sending of messages relaying the outcome of the fight.[5]
The dragon with his hoard is a common motif in early Germanic literature with the story existing to varying extents in the Norse sagas, but it is most notable in the Völsunga saga and in Beowulf.[6] Beowulf preserves existing medieval dragon-lore, most notably in the extended digression recounting the Sigurd/Fafnir tale.[2] Nonetheless, comparative contemporary narratives did not have the complexity and distinctive elements written into Beowulf's dragon scene. Beowulf is a hero who previously killed two monsters. The scene includes extended flashbacks to the Geatish-Swedish wars, a detailed description of the dragon and the dragon-hoard, and ends with intricate funerary imagery.[7]
Beowulf scholar J. R. R. Tolkien considered the dragon in Beowulf to be one of only two real dragons in northern European literature, writing of it, "dragons, real dragons, essential both to the machinery and the ideas of a poem or tale, are actually rare. In northern literature there are only two that are significant ... we have but the dragon of the Völsungs, Fáfnir, and Beowulf's bane."[8] Furthermore, Tolkien believes the Beowulf poet emphasizes the monsters Beowulf fights in the poem and claims the dragon is as much of a plot device as anything. Tolkien expands on Beowulf's dragon in his own fiction, which indicates the lasting impact of the Beowulf poem.[2] Within the plot structure, however, the dragon functions differently in Beowulf than in Tolkien's fiction. The dragon fight ends Beowulf, while Tolkien uses the dragon motif (and the dragon's love for treasure) to trigger a chain of events in The Hobbit.[9]
Characterization[edit]
See also: European dragon
The Beowulf dragon is the earliest example in literature of the typical European dragon and first incidence of a fire-breathing dragon.[10] The Beowulf dragon is described with Old English terms such as draca (dragon), and wyrm (reptile, or serpent), and as a creature with a venomous bite.[11] Also, the Beowulf poet created a dragon with specific traits: a nocturnal, treasure-hoarding, inquisitive, vengeful, fire-breathing creature.[12]
The fire is likely symbolic of the hellfire of the devil, reminiscent of the monster in the Book of Job. In the Septuagint Bible, Job's monster is characterized as a draco, and identified with the devil.[10] Job's dragon would have been accessible to the author of Beowulf, as a Christian symbol of evil, the "great monstrous adversary of God, man and beast alike."[13]
A study of German and Norse texts reveals three typical narratives for the dragonslayer: a fight for the treasure, a battle to save the slayer's people, or a fight to free a woman.[14] The characteristics of Beowulf's dragon appear to be specific to the poem, and the poet may have melded together dragon motifs to create a dragon with specific traits that weave together the complicated plot of the narrative.[12]
Importance[edit]
The third act of the poem differs from the first two. In Beowulf's two earlier battles, Grendel and Grendel's mother are characterised as descendants of Cain: "[Grendel] had long lived in the land of monsters / since the creator cast them out / as the kindred of Cain"[15] and seem to be humanoid: in the poet's rendition they can be seen as giants, trolls, or monsters. The dragon, therefore, is a stark contrast to the other two antagonists.[16] Moreover, the dragon is more overtly destructive. He burns vast amounts of territory and the homes of the Geats: "the dragon began to belch out flames / and burn bright homesteads".[17][18]
Beowulf's fight with the dragon has been described variously as an act of either altruism[19] or recklessness.[20] In contrast with the previous battles, the fight with the dragon occurs in Beowulf's kingdom and ends in defeat, whereas Beowulf fought the other monsters victoriously in a land distant from his home. The dragon fight is foreshadowed with earlier events: Scyld Shefing's funeral and Sigmund's death by dragon, as recounted by a bard in Hrothgar's hall. Beowulf scholar Alexander writes that the dragon fight likely signifies Beowulf's (and by extension, society's) battle against evil.[21] The people's fate depend on the outcome of the fight between the hero and the dragon, and, as a hero, Beowulf must knowingly face death.[22]
Wiglaf is the single warrior to stay and witness the death of the hero. Illustration by J.R. Skelton.
Beowulf's eventual death from the dragon presages "warfare, death, and darkness" for his Geats.[23] The dragon's hoard symbolizes the vestige of an older society, now lost to wars and famine, left behind by a survivor of that period. His imagined elegy foreshadows Beowulf's death and elegy to come.[24] Before he faces the dragon, Beowulf thinks of his past: his childhood and wars the Geats endured during that period, foreshadowing the future. At his death, peace in his lands will end, and his people will again suffer a period of war and hardship.[25] An embattled society without "social cohesion" is represented by the avarice of the "dragon jealously guarding its gold hoard",[26] and the elegy for Beowulf becomes an elegy for the entire culture.[27] The dragon's hoard is representative of a people lost and antique, which is juxtaposed against the Geatish people, whose history is new and fleeting.[28] As king of his people, Beowulf defends them against the dragon, and when his thanes desert him, the poem shows the disintegration of a "heroic society" which "depends upon the honouring of mutual obligations between lord and thane".[29]
Wiglaf remains loyal to his king and stays to confront the dragon. The parallel in the story lies with the similarity to Beowulf's hero Sigemund and his companion: Wiglaf is a younger companion to Beowulf and, in his courage, shows himself to be Beowulf's successor.[30][31] The presence of a companion is seen as a motif in other dragon stories, but the Beowulf poet breaks hagiographic tradition with the hero's suffering (hacking, burning, stabbing) and subsequent death.[32] Moreover, the dragon is vanquished through Wiglaf's actions: although Beowulf dies fighting the dragon, the dragon dies at the hand of the companion.[29]
The dragon battle is structured in thirds: the preparation for the battle, the events prior to the battle, and the battle itself. Wiglaf kills the dragon halfway through the scene, Beowulf's death occurs "after two-thirds" of the scene,[33] and the dragon attacks Beowulf three times.[34] Ultimately, as Tolkien writes in Beowulf: The Monsters and the Critics (1936), the death by dragon "is the right end for Beowulf," for he claims, "a man can but die upon his death-day".[35]
Critical reception[edit]
Before Tolkien[edit]
In 1918, William Witherle Lawrence argued in his article "The Dragon and His Lair in Beowulf" that the fight between Beowulf and the dragon tends to receive less critical attention than other portions of the poem, commenting that "Grendel and his dam have, as it were, become more beloved of the commentators".[36] Conversely, Kemp Malone writes in "The Kenning in Beowulf" that Beowulf's fight with the dragon receives much critical attention, but that commentators fail to note that "the dragon was no fighter. Not that it refused to fight when challenged, but that it did not seek out Beowulf or anyone else. It left Beowulf to do the seeking out".[37] In his 1935 work Beowulf and the Seventh Century, Ritchie Girvan writes that Beowulf should be seen as having some degree of historical accuracy despite the presence of a dragon in it; he argues that "Tales of dragons as well as a belief in dragons survived till recent times, and the popular mind is apt to accept with credulity stories of water-monsters. The stories, moreover, are often attached to real persons and localized precisely in time and place. The habit is so well known that examples are superfluous".[38] Raymond Wilson Chambers, in his Beowulf: An Introduction to the Study of the Poem with a Discussion of the Stories of Offa and Finn, says that Beowulf's dragon acts like "the typical dragon of Old English proverbial lore" because he guards treasure.[39] W. P. Ker criticized the inclusion of Beowulf's fight with the dragon and his subsequent death in the poem, writing "It is as if to the end of the Odyssey there had been added some later books telling in full of the old age of Odysseus, far from the sea, and his death at the hands of Telegonus".[40]
Tolkien, 1936: The Monsters and the Critics[edit]
Main article: Beowulf: The Monsters and the Critics
In Beowulf: The Monsters and the Critics, J. R. R. Tolkien noted that the dragon and Grendel are "constantly referred to in language which is meant to recall the powers of darkness which Christian men felt themselves to be encompassed. They are 'inmates of hell', 'adversaries of God', 'offspring of Cain', 'enemies of mankind'....And so Beowulf, for all that he moves in the world of the primitive Heroic Age of the Germans, nevertheless is almost a Christian knight".[41]
After Tolkien[edit]
Scholarly opinion[edit]
Peter Gainsford noted in the article "The Deaths of Beowulf and Odysseus: Narrative Time and Mythological Tale Types" that "In the twenty-first century Beowulf does not lack for commentators to defend the literary merit of the dragon episode".[40] Adrien Bonjour opined in 1953 that the dragon's "ultimate significance in the poem" remains a "mystery".[42]
General opinion[edit]
The New Yorker's Joan Acocella wrote that "unlike Grendel and his mother, [the dragon] is less a monster than a symbol. He is not sad or weird. Indeed, he is rather glamorous".[43] According to Seamus Heaney, the dragon "could be read as a projection of Beowulf's own chthonic wisdom refined in the crucible of experience".[44] James Parker of The Atlantic argues that because Beowulf dies even though he killed the dragon, "There is no transcendence in Beowulf, and no redemption....kill the dragon—but the dragon will get you anyway".[45]
Legacy[edit]
In From Homer to Harry Potter: A Handbook on Myth and Fantasy, Matthew Dickerson and David O'Hara argue that the Beowulf poet added the figure of the dragon to "the pot...that is ladeled out of by most modern fantasy writers"; they argued that both numerous works with villainous dragons, as well as literature with benign dragons like the My Father's Dragon books and the Pern series by Anne McCaffrey, were influenced by Beowulf's dragon. Dickerson and O'Hara further elaborated that through its dragon, Beowulf turned the "notion of having a monstrous evil (and not mere human foes) as the enemy" into "a hallmark of modern fantasy" present in C. S. Lewis' Narnia books, Ursula K. Le Guin's Earthsea books, and the Thomas Covenant series by Stephen Donaldson.[46] J. R. R. Tolkien used the dragon story of Beowulf as a template for Smaug of The Hobbit; in each case, the dragon awakens upon the hoard being disturbed by one stealing a chalice and goes into a wrathful rampage until slain by another person.[47] Aia Hussein of the National Endowment for the Humanities has written that the fight between Harry Potter and the Hungarian Horntail in Harry Potter and the Goblet of Fire (2000) by J. K. Rowling was influenced by the confrontation between the dragon and the title character in Beowulf.[48] James Parker of The Atlantic saw similarities between the dragon in Beowulf and the dragons in Game of Thrones (2011-present).[45]
The tale of Beowulf was translated and rewritten in prose as a children's story by Rosemary Sutcliff in 1961, titled Dragon Slayer.[49]
References[edit]
Footnotes
Jump up ^ Nitzsche, Jane C. "The Structural Unity of Beowulf: The Problem of Grendel's Mother." Poetry Criticism, vol. 22. 1999. pp. 290
^ Jump up to: a b c Evans, pp. 25–26
Jump up ^ Rauer, p.135
Jump up ^ Rauer, p. 4
Jump up ^ Rauer, p. 74
Jump up ^ Evans, pp. 29
Jump up ^ Rauer, p.32
Jump up ^ Tolkien, p. 4
Jump up ^ Evans, p. 30
^ Jump up to: a b Brown, Alan K. (1980). "The firedrake in Beowulf". Abstract from Neophilologus. Springer Netherlands. 64 (3): 439–460. doi:10.1007/BF01513838. Retrieved 19 May 2010.
Jump up ^ Rauer, p. 32, p .63
^ Jump up to: a b Rauer, p. 35
Jump up ^ Rauer, p. 52
Jump up ^ Evans, p.28
Jump up ^ Alexander, p. 6
Jump up ^ Mellinkoff, Ruth. Cain's monstrous progeny in Beowulf: part I, Noachic tradition Anglo-Saxon England (1979), 8 : 143–162 Cambridge University Press. Retrieved 2010-05-18
Jump up ^ Heaney, p.157
Jump up ^ Rauer, p. 74–75
Jump up ^ Clark, 43
Jump up ^ Crossley-Holland, p. xiv
Jump up ^ Alexander, pp. xxiv–xxv
Jump up ^ Alexander, pp. xxx–xxxv
Jump up ^ Crossley-Holland, p. vii
Jump up ^ Crossley-Holland, p. xvi
Jump up ^ Crossley-Holland, p. xvii
Jump up ^ Crossley-Holland, p. xix
Jump up ^ Crossley-Holland, p. xxvi
Jump up ^ Clark, Handbook, p. 289
^ Jump up to: a b Alexander, p. xxxvi
Jump up ^ Crossley-Holland, p. xviii
Jump up ^ Beowulf and some fictions of the Geatish succession by Frederick M. Biggs.
Jump up ^ Raurer, p. 74
Jump up ^ Rauer, p. 31
Jump up ^ Alexander, p. xxv
Jump up ^ Tolkien, p. 14
Jump up ^ Lawrence, William Witherle (1918). "The Dragon and His Lair in Beowulf". jSTOR. Retrieved September 18, 2017.
Jump up ^ Malone, Kemp (July 1928). "The Kenning in Beowulf". jSTOR. Retrieved September 18, 2017.
Jump up ^ George, Jodi-Ann (2010). "Beowulf". Macmillan Publishers Limited. Retrieved September 18, 2017.
Jump up ^ Chambers, Raymond Wilson (1921). "Beowulf". Cambridge University Press. p. 349. Retrieved September 18, 2017.
^ Jump up to: a b Hinge, George (1921). "Classica et Mediaevalia vol. 63". Museum Tusculanum Press. p. 247-248. Retrieved September 18, 2017.
Jump up ^ Fulk, Robert Dennis (1991). "Interpretations of Beowulf: A Critical Anthology". Indiana University Press. p. 25.
Jump up ^ Bonjour, Adrien (March 1953). "Monsters Crouching and Critics Rampant: Or the Beowulf Dragon Debated". jSTOR. Retrieved September 18, 2017.
Jump up ^ Acocella, Joan (June 2, 2014). "Slaying Monsters". The New Yorker. Retrieved September 17, 2017.
Jump up ^ Heaney, Seamus (November 4, 1999). "A New 'Beowulf'". The New York Review of Books. Retrieved September 17, 2017.
^ Jump up to: a b Parker, James (April 2017). "Beowulf Is Back!". The Atlantic. Retrieved September 17, 2017.
Jump up ^ Dickerson, Matthew; O'Hara, David (2006). "From Homer to Harry Potter: A Handbook on Myth and Fantasy". Brazos Press. p. 124-125.
Jump up ^ Clark, p. 31
Jump up ^ Hussein, Aia (June 14, 2011). "Old English, New Influences". National Endowment for the Humanities. Retrieved September 17, 2017.
Jump up ^ Alexander, p. xxiv
Sources[edit]
Alexander, Michael (2003-02-27) [1973]. Beowulf: a verse translation (2003 ed.). London: Penguin. ISBN 978-0-14-044931-0. Retrieved 2010-05-18.
Clark, George (2003) [1998]. "The Hero and the Theme". In Bjork, Robert E.; Niles, John D. A Beowulf Handbook. University of Nebraska Press. ISBN 978-0-8032-6150-1. Retrieved 2010-05-18.
Crossley-Holland, Kevin (1999). O'Donohue, Heather, ed. Beowulf: The fight at Finnsburh. Oxford University Press. ISBN 978-0-19-283320-4. Retrieved 2010-05-18.
Evans, Jonathan (2003) [2000]. "The Dragon-Lore of Middle-earth: Tolkien and Old English and Old Norse Tradition". In Clark, George; Timmons, Daniel. J.R.R. Tolkien and his literary resonances: views of Middle-earth. Greenwood Press. ISBN 0-313-30845-4. Retrieved 2010-05-18.
Heaney, Seamus (2001). Beowulf: A New Verse Translation. Norton. ISBN 978-0-393-32097-8. Retrieved 2010-05-19.
Rauer, Christine (2003). Beowulf and the Dragon: Parallels and Analogues. Cambridge: Brewer. ISBN 0-85991-592-1. Retrieved 2010-05-18.
Tolkien, J.R.R. (25 November 1936). "Beowulf: The Monsters and the Critics". Sir Israel Gollancz Lecture 1936. Archived from the original on 3 November 2009. Retrieved 19 May 2010.
Wikisource has original text related to this article:
The Dragon (Beowulf)
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