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Local self-government in India
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See also: Panchayati raj (India)
India is a federal republic with three spheres of government: central (union), state and local. The 73rd and 74th constitutional amendments give recognition and protection to local government and in addition each state has its own local government legislation.[1] Since 1993, local government in India takes place in two very distinct forms. Urban localities, covered in the 74th amendment to the Constitution,[2] have Nagar Palika but derive their powers from the individual state governments, while the powers of rural localities have been formalized under the panchayati raj system, under the 73rd amendment to the Constitution.[3] For the history of traditional local government in India and South Asia, see panchayati raj.
As of summer 2017, there are a total of 267,428 local government bodies of which 262,771 are rural and 4,657 urban. Of the rural local governments, 632 are zila parishad at the district level, 6,672 are panchayat samaiti at the block level, and 255,466 are gram panchayat at the village level. Following the 2013 Local election 37.1% of councillors were women, and in 2015/16 local government expenditure was 16.3% of total government expenditure.[1]
Contents
1 Rural
1.1 The Balwant Rai Mehta Committee (1957)
1.2 G.V.K. Rao Committee (1985)
1.3 L.M.Singhvi Committee (1986)
1.4 The 73rd Constitutional Amendment Act
1.5 Present scenario
2 Urban
2.1 Functions
3 See also
4 Further reading
5 References Rural local government
6 External links
Rural[edit]
The panchayati raj system is a three-tier system with elected bodies at the village, taluk and district levels. The modern system is based in part on traditional panchayat governance, in part on the vision of Mahatma Gandhi and in part by the work of various committees to harmonize the highly centralized Indian governmental administration with a degree of local autonomy.[4] The result was intended to create greater participation in local government by people and more effective implementation of rural development programs. Although, as of 2015, implementation in all of India is not complete the intention is for there to be a gram panchayat for each village or group of villages, a tehsil level council, and a zilla panchayat at the district level.

Rural Local Governments (or Panchayat Raj Institutions) [1]
Zilla Panchayat
Mandal Or Taluka Panchayats
Gram Panchayats
The Balwant Rai Mehta Committee (1957)[edit]
In 1957, Balwant Rai Mehta Committee studied the Community Development Projects and the National Extension Service and assessed the extent to which the movement had succeeded in utilising local initiatives and in creating institutions to ensure continuity in the process of improving economic and social conditions in rural areas. The Committee held that community development would only be deep and enduring when the community was involved in the planning, decision-making and implementation process.[5] The suggestions were for as follows:[6]-
an early establishment of elected local bodies and devolution to them of necessary resources, power and authority,
that the basic unit of democratic decentralisation was at the block/samiti level since the area of jurisdiction of the local body should neither be too large nor too small. The block was large enough for efficiency and economy of administration, and small enough for sustaining a sense of involvement in the citizens,
such body must not be constrained by too much control by the government or government agencies,
the body must be constituted for five years by indirect elections from the village panchayats,
its functions should cover the development of agriculture in all its aspects, the promotion of local industries and others
services such as drinking water, road building, etc., and
the higher level body, Zilla Parishad, would play an advisory role.
The PRI structure did not develop the requisite democratic momentum and failed to cater to the needs of rural development. There are various reasons for such an outcome which include political and bureaucratic resistance at the state level to share power and resources with local level institutions, domination of local elites over the major share of the benefits of welfare schemes, lack of capability at the local level and lack of political will.
It was decided to appoint a high-level committee under the chairmanship of Ashok Mehta to examine and suggest measures to strengthen PRIs. The Committee had to evolve an effective decentralised system of development for PRIs. They made the following recommendations:[7]-
the district is a viable administrative unit for which planning, co-ordination and resource allocation are feasible and technical expertise available,
PRIs as a two-tier system, with Mandal Panchayat at the base and Zilla Parishad at the top,
the PRIs are capable of planning for themselves with the resources available to them,
district planning should take care of the urban-rural continuum,
representation of SCs and STs in the election to PRIs on the basis of their population,
four-year term of PRIs,
participation of political parties in elections,
any financial devolution should be committed to accepting
that much of the developmental functions at the district level would be played by the panchayats.
The states of Karnataka, Andhra Pradesh and West Bengal passed new legislation based on this report. However, the flux in politics at the state level did not allow these institutions to develop their own political dynamics.
G.V.K. Rao Committee (1985)[edit]
The G.V.K. Rao Committee was appointed by Planning Commission[8] to once again look at various aspects of PRIs. The Committee was of the opinion that a total view of rural development must be taken in which PRIs must play a central role in handling people's problems. It recommended the following:[9]-
PRIs have to be activated and provided with all the required support to become effective organisations,
PRIs at district level and below should be assigned the work of planning, implementation and monitoring of rural development programmes, and
the block development office should be the spinal cord of the rural development process.
L.M.Singhvi Committee (1986)[edit]
L.M. Singhvi Committee studied panchayati raj. The Gram Sabha was considered as the base of a decentralised, and PRIs viewed as institutions of self-governance which would actually facilitate the participation of the people in the process of planning and development. It recommended:[10]
local self-government should be constitutionally recognised, protected and preserved by the inclusion of new chapter in the Constitution,
non-involvement of political parties in Panchayat elections.
The suggestion of giving panchayats constitutional status was opposed by the Sarkaria Commission, but the idea, however, gained momentum in the late 1980s especially because of the endorsement by the late Prime Minister Rajiv Gandhi, who introduced the 64th Constitutional Amendment Bill in 1989. The 64th Amendment Bill was prepared and introduced in the lower house of Parliament. But it got defeated in the Rajya Sabha as non-convincing. He lost the general elections too. In 1989, the National Front introduced the 74th Constitutional Amendment Bill, which could not become an Act because of the dissolution of the Ninth Lok Sabha. All these various suggestions and recommendations and means of strengthening PRIs were considered while formulating the new Constitutional Amendment Act.
The 73rd Constitutional Amendment Act[edit]
The idea which produced the 73rd Amendment [11] was not a response to pressure from the grassroots, but to an increasing recognition that the institutional initiatives of the preceding decade had not delivered, that the extent of rural poverty was still much too large and thus the existing structure of government needed to be reformed. This idea evolved from the Centre and the state governments. It was a political drive to see PRIs as a solution to the governmental crises that India was experiencing. The Constitutional (73rd Amendment) Act, passed in 1992 by the Narasimha Rao government, came into force on April 24, 1993. It was meant to provide constitutional sanction to establish "democracy at the grassroots level as it is at the state level or national level". Its main features are as follows:[12]
The Gram Sabha or village assembly as a deliberative body to decentralised governance has been envisaged as the foundation of the Panchayati Raj System.73rd Amendment of the Constitution empowered the Gram Sabhas to conduct social audits in addition to its other functions.
A uniform three-tier structure of panchayats at village (Gram Panchayat — GP), intermediate or block (Panchayat Samiti — PS) and district (Zilla Parishad — ZP) levels.
All the seats in a panchayat at every level are to be filled by elections from respective territorial constituencies.
Not less than one-third of the total seats for membership as well as office of chairpersons of each tier have to be reserved for women.
Reservation for weaker castes and tribes (SCs and STs) have to be provided at all levels in proportion to their population in the panchayats.
To supervise, direct and control the regular and smooth elections to panchayats, a State Election Commission has The Act has ensured constitution of a State Finance Commission in every State/UT, for every five years, to suggest measures to strengthen finances of panchayati raj institutions.
To promote bottom-up-planning, the District Planning Committee (DPC) in every district has been accorded to constitutional status.
An indicative list of 29 items has been given in Eleventh Schedule of the Constitution. Panchayats are expected to play an effective role in planning and implementation of works related to these 29 items.
Present scenario[edit]
A Newly Elected Panchayat in Punjab, India
At present, there are about 3 million elected representatives at all levels of the panchayat, one-half[clarification needed] of which are women. These members represent more than 2.4 lakh (240,000) Gram Panchayats, about 6,000 intermediate level tiers and more than 500 district panchayats. Spread over the length and breadth of the country, the new panchayats cover about 96% of India's more than 5.8 lakh (580,000) villages and nearly 99.6% of the rural population. This is the largest experiment in decentralisation of governance in the history of humanity.
The Constitution of India visualises panchayats as institutions of self-governance. However, giving due consideration to the federal structure of India's polity, most of the financial powers and authorities to be endowed on panchayats have been left at the discretion of concerned state legislatures. Consequently, the powers and functions vested in PRIs vary from state to state. These provisions combine representative and direct democracy into a synergy and are expected to result in an extension and deepening of democracy in India. Hence, panchayats have journeyed from an institution within the culture of India to attain constitutional status.
Urban[edit]
Main article: Municipal governance in India
'Urban Local Governments [2]
Municipal Corporations
Municipal councils
Nagar Panchayats
Functions[edit]
All municipal acts in India provide for functions, powers and responsibilities to be carried out by the municipal government. These are divided into two categories - obligatory or discretionary.
Obligatory functions
supply of pure and wholesome water
construction and maintenance of public streets
lighting and watering of public streets
cleaning of public streets, places and sewers
regulation of offensive, dangerous or obnoxious trades and callings or practices
maintenance or support of public hospitals
establishment and maintenance of primary schools
registration of births and deaths
removing obstructions and projections in public streets, bridges and other places
naming streets and numbering houses
Discretionary functions
laying out of areas
securing or removal of dangerous buildings or places
construction and maintenance of public parks, gardens, libraries, museums, rest houses, leper homes, orphanages and rescue homes for women
public buildings
planting of trees and maintenance of roads
housing for low income groups
conducting surveys
organizing public receptions, public exhibitions, public entertainment
provision of transport facilities with the municipality
promotion of welfare of municipal employees
Some of the functions of the urban bodies overlap with the work of state agencies. The functions of the municipality, including those listed in the Twelfth Schedule are left to the discretion of the state government. Local bodies have to be bestowed with adequate powers, authority and responsibility to perform the functions entrusted to them by the Act. However, the Act has not provided them with any powers directly and has instead left it to state government discretion.[13]
See also[edit]
Panchayati Raj
Zilla Parishad
Panchayat Samiti
Nyaya Panchayat
Municipal Corporation
Further reading[edit]
Shourie, Arun (1990). Individuals, institutions, processes: How one may strengthen the other in India today. New Delhi, India: Viking.
References Rural local government[edit]
^ Jump up to: a b "The Local Government System in India" (PDF). Commonwealth Local Government Forum.
Jump up ^ The Constitution (Seventy-fourth Amendment) Act, 1992
Jump up ^ The Constitution (Seventy-third Amendment) Act, 1992
Jump up ^ Singh, Vijandra (2003). "Chapter 5: Panchayati Raj and Gandhi". Panchayati Raj and Village Development: Volume 3, Perspectives on Panchayati Raj Administration. Studies in public administration. New Delhi: Sarup & Sons. pp. 84–90. ISBN 978-81-7625-392-5.
Jump up ^ Government of India, Report of the Team for the Study of Community Projects and National Extension Service, (Chairperson: Balvantray Mehta), Committee on Plan Projects, National Development Council, (New Delhi, November 1957), Vol. I,
Jump up ^ Anirban Kashyap : Panchaytiraj, Views of founding fathers and recommendation of different committees, New Delhi, Lancer Books, 1989 P 109
Jump up ^ Anirban Kashyap : Panchaytiraj, Views of founding fathers and recommendation of different committees, New Delhi, Lancer Books, 1989 P 112
Jump up ^ Pratiyogita Darpan. Pratiyogita Darpan. Retrieved 2015-04-10.
Jump up ^ World Bank: Overview of ruraldecentralisation in indi Volume III World Bank, 2000 P 21
Jump up ^ Mahoj Rai et al. :The state of Panchayats – A participatory perspective, New Delhi, Smscriti, 2001 P 9
Jump up ^ The Constitution (Seventy Third Amendment) Act, 1992, The Gazette of India, Ministry of Law, Justice and Company Affairs, New Delhi, 1993.
Jump up ^ T M Thomas Issac with Richard Franke : Local democracy and development – Peoples Campaign for decentralized planning in Kerala, New Delhi, Leftword Books, 2000 P 19
Jump up ^ Fahim, Mayraj (24 May 2009). "Local government in India still carries characteristics of its colonial heritage". City Mayors Foundation.
External links[edit]
Milestones in the Evolution of Local Government since Independence
[http://web.worldbank.org/WBSITE/EXTERNAL/COUNTRIES/SOUTHAjfshahjautsgghhGgfagshg

SIAEXT/EXTSAREGTOPPRISECDEV/EXTSAREGTOPDECENTRALIZATION/0,,contentMDK:20254773~isCURL:Y~menuPK:496908~pagePK:34004173~piPK:34003707~theSitePK:496900,00.html World Bank : Overview of rural decentralization]
Decentralisation in India : Challenges and opportunities, UNDP,2000 p 4
Website on Decentralisation and Local Governance in Kerala
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Love the Way You Lie (Part II)
From Wikipedia, the free encyclopedia
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For the song by Eminem, featuring Rihanna, see Love the Way You Lie.
"Love the Way You Lie (Part II)"
Song by Rihanna featuring Eminem
from the album Loud
Recorded
2010; Westlake Recording Studios (Los Angeles, California); Effigy Studios (Ferndale, Michigan)
Genre
Hip hop
R&B
Length
4:56
4:12 (acoustic piano version)
Label
Def Jam
SRP
Songwriter(s)
Alexander Grant
Holly Hafermann
Marshall Mathers
Producer(s)
Alex da Kid
Kuk Harrell
"Love the Way You Lie (Part II)" is a song by Barbadian singer Rihanna from her fifth studio album Loud (2010). It features guest vocals from American rapper Eminem, who wrote the song alongside Skylar Grey and the producer Alex da Kid. It is the sequel to the 2010 hit single "Love the Way You Lie", which appears on Eminem's seventh studio album Recovery. It received positive reviews from critics and was performed for at the American Music Awards of 2010 on November 21, 2010, as part of a medley with "What's My Name?" and "Only Girl (In the World)".
Contents
1 Background
2 Composition
3 Critical reception
4 Chart performance
5 Live performances
6 Credits and personnel
7 Charts
8 References
9 External links
Background[edit]
Following the release and commercial success of "Love the Way You Lie" in 2010, Eminem wanted to record an alternative version with Rihanna as the lead vocalist, viewing aspects of a relationship from a female perspective, unlike the original, which featured Eminem as lead vocalist and was from a male perspective.[1] In an interview for MTV, Rihanna initially stated she was against recording a sequel: "When I first heard the idea about doing a part two, I was just completely against it. I just felt like you couldn't beat the 'original'. There's no way you can outdo that, so why compete with it?".[2] She said when she first heard the original demo of the song in the studio with Eminem, sung by American singer-songwriter Skylar Grey, her reservations about recording it went away.[2] While the demo was only accompanied by a piano, Rihanna and her team added drums and later vocals from Eminem.[2]
"Love the Way You Lie" and "Love the Way You Lie (Part II)" were based on a demo written and recorded in late 2009 by Grey.[3] Grey told PopEater "I wrote the demo initially for myself because I thought, ‘Oh, I have this big song, and now I have a little bit of a launching pad to put out my own stuff." Grey continued to discuss how the song was ultimately included on Loud, saying "As soon as Rihanna and her team heard my demo, they were like, ‘Oh we want it for Rihanna’s album,’ so I had to make the decision if I was going to let them have it or not. But I did and so it was on Rihanna’s album, too."[4] The demo track by Grey is on her extended play The Buried Sessions of Skylar Grey, which was released on January 17, 2012.[5]
Composition[edit]
"Love the Way You Lie (Part II)"
A 25-second sample of the piano version of "Love the Way You Lie (Part II)", which features Rihanna singing over a repetitive melody.
Problems playing this file? See media help.
The piano and drums version, which features Eminem, appears as the final song on the standard edition of Loud, while the piano version, which excludes Eminem's part in the song, appears as a bonus track on the iTunes edition of Loud.[6] "Love the Way You Lie (Part II)" is a mid-tempo song,[7] which incorporates the musical genres of hip hop and R&B. According to sheet music published at Musicnotes, the song is written in common time with a moderate tempo of 83 beats per minute and is written in the key of G minor.[7] Rihanna's vocal range in the song spans from the low note of F3 to the high note of D5.[7] Emily Mackay of NME commented about the vocals provided by Rihanna and Eminem in the song, stating that "There’s great contrast in Part II of ‘Love The Way You Lie’. With the balance of vocals neatly flipped and extra cavernous beats ramping up the drama, it wallows ever-deeper in the tortured relationship sketched out in Part I. Eminem at points is practically screaming with rage, and sounding, frankly, mental. The contrast with Rihanna’s smoothly pitched pain (“Maybe I’m a masochist/Try to run but I don’t wanna never leave”) is delicious."[8]
Critical reception[edit]
Jon Pareles of The New York Times said that “Loud works the pop gizmos as neatly as any album this year, maintaining the Rihanna brand. But the album has a hermetic, cool calculation until it gets to 'Love the Way You Lie (Part II),' her take on the tortured hit she shared with Eminem. 'It’s sick that all these battles are what keeps me satisfied,' she sings. A lone piano humanizes her first vocals, and she rides the ascending power ballad to a pained resolve; then Eminem delivers new verses in a spiraling rage. It’s purely theatrical, but it’s also, for a moment, raw.[9] Christopher Richards of The Washington Post said that "With 'Love the Way You Lie (Part II),' the maniac-mouthed rapper is limited to just one verse, giving Rihanna the space to take ownership of the proceedings. Will the real Rihanna please stand up? She does -- and she sounds as remote as ever."[10] James Skinner of BBC Online viewed 'Love the Way You Lie (Part II)' as being even better than the original. He said, "Eminem’s verse exuding the kind of volatile, simmering menace that got everyone so excited about him in the first place. But it is Rihanna’s vocal – at once commanding, soulful and vulnerable – that anchors the song, and Loud itself, elevating it from a hit-and-miss collection into something oddly arresting."[11]
Steve Jones of USA Today gave a mixed review of the collaboration, commenting, "Eminem puts in a cameo on 'Love the Way You Lie (Part II)', which extends, but doesn't really add, to their earlier hit about a tortured relationship from his Recovery album."[12] Chicago Sun-Times writer Thomas Conner gave a negative review of the song, stating, "She collaborated with Eminem this summer on the controversial '"Love the Way You Lie"', a song and hotly debated video conflating wild passion with crazed assault. She returns to this on "Loud" with "Love the Way You Lie (Part II)", an extension of the melody and the arson metaphor, in which Eminem reappears with more histrionic rapping about hating her, loving her, hitting her and hugging her. It's an unnecessary sequel that further muddies the issue: Is this a social statement, or merely an artistic expression about some truly troubled and confused people."[13]
Chart performance[edit]
Both the original and the piano version of "Love the Way You Lie (Part II)" were not made available to purchase individually in the majority of iTunes stores, and could only be bought along with the iTunes edition of the album. However, the song may be purchased separately as part of the album INdependent omen Volume II.[14] It debuted on Canadian Hot 100 for the week of December 4, 2010, at number 19[15] and stayed on the chart for eight weeks.[16] In South Korea, it peaked at number four on the International Chart.[17] The song also debuted and peaked at number 160 on the UK Singles Chart due to strong digital sales upon the release of Loud.[18]
Live performances[edit]
Rihanna performing "Love the Way You Lie Pt. II on the Loud Tour (2011) in Birmingham, England
Rihanna performed a shortened version of the song as part of a medley with "What's My Name?" and "Only Girl (In the World)" at the American Music Awards of 2010 on November 21, 2010.[19] Rihanna opened the performance singing an acappella version of "Love The Way You Lie (Part II)". She was sitting on a stylized tree hovering above a field of sable-colored blades of grass. Once she had finished the first frame of the song, she plummeted from the tree to the ground. She reemerged from the fog revealing a changed costume now consisting of a black-and-white bra top and shorts singing "What's My Name?".[19] The performance featured an accompaniment of background dancers. Rihanna then ended the performance after transitioning into "Only Girl", which featured drummers and a background of fire for the finale.[19][20]
Rihanna and Eminem performed the song together for the first time at the 53rd Grammy Awards on February 13, 2011 as part of a medley with "I Need a Doctor" performed by Eminem, Dr. Dre, Skylar Grey and Adam Levine from Maroon 5, who provided background vocals. The performance started with Rihanna singing on a B-stage in the middle of the audience, accompanied by Adam Levine on the keys. Eminem then appeared on the main stage to perform his part of the song, whilst Rihanna made her way from the B-stage to join him. The song then transitioned into "I Need a Doctor", where Dr. Dre emerged to join up with Skylar Grey for her debut performance.[21] The song is also included in the encore section of Rihanna's Loud Tour, along with "Umbrella".[22] Rihanna performed "Love the Way You Lie (Part II)" at Radio 1's Hackney Weekend on May 24, 2012, as the eighth song on the set list.[23]
Credits and personnel[edit]
Songwriting – Alexander Grant, Holly Hafermann, Marshall Mathers
Production – Alex da Kid
Recording – Alex da Kid
Vocal production – Kuk Harrell
Vocal recording – Kuk Harrell, Josh Gudwin, Marcos Tovar
Assistant vocal recording – Bobby Campbell
Vocal recording (Eminem) – Mike Strange
Mixing – Manny Marroquin
Assistant mixing – Erik Madrid and Christian Plata
Personnel adapted from the liner notes of Loud.[24]
Charts[edit]
Book: Loud (Rihanna album)
Chart (2010)
Peak
position
Canadian Hot 100 (Billboard)[15]
19
South Korea International Chart (Gaon)[17]
4
UK Singles (Official Charts Company)[18]
160
References[edit]
Jump up ^ Muhammad, Latifah (October 19, 2010). "Rihanna and Eminem to make a Love the Way You Lie sequel". The Boombox. AOL Inc. Retrieved June 21, 2011.
^ Jump up to: a b c "Rihanna worried about Eminem duet sequel". Toronto Sun. Mention. October 30, 2010. Retrieved June 21, 2011.
Jump up ^ Dombrowski, Chris (February 5, 2011). "Going to Grammys". The World. Retrieved July 17, 2011.
Jump up ^ Baltin, Steve. "New music: Skylar Grey – 'Love the Way You Lie' (Demo)". PopEater. AOL Television. Retrieved February 1, 2011.
Jump up ^ "Skylar Grey Unveils 'Buried Sessions' Artwork". Rap-Up. Devin Lazerine. January 5, 2012. Archived from the original on April 18, 2012. Retrieved April 18, 2012.
Jump up ^ Vena, Jocelyn (October 29, 2010). "Rihanna Initially Against 'Love The Way You Lie (Part II)' With Eminem". MTV Networks. Retrieved January 29, 2011.
^ Jump up to: a b c "Rihanna, 'Love The Way You Lie Part II' – Composition Sheet Music". Musicnotes.com. Sony/ATV Music Publishing. Missing or empty |url= (help)
Jump up ^ "Album Review: Rihanna - Loud". NME. IPC Media. November 12, 2010. Retrieved June 21, 2011.
Jump up ^ Pareles, John (November 15, 2010). "Critics Choice - New CDs". The New York Times. Arthur Ochs Sulzberger, Jr. Retrieved June 21, 2011.
Jump up ^ Richards, Chris (November 16, 2010). "Rihanna's new albums: 'Loud,' yes, but what's clear?". The Washington Post. Katharine Weymouth. Retrieved June 21, 2011.
Jump up ^ Skinner, James (November 15, 2010). "Music – Review of Rihanna – Loud". BBC. Retrieved January 29, 2011.
Jump up ^ Jones, Steve (November 16, 2010). "Listen Up: Rihanna is living out 'Loud' on new album". USA Today. Gannett Company. Retrieved November 18, 2010.
Jump up ^ Conner, Thomas (November 12, 2010). "'Loud' a well-deserved party for Rihanna". Chicago Sun-Times. John Barron. Archived from the original on December 25, 2012. Retrieved November 12, 2010.
Jump up ^ "Loud US iTunes". iTunes Store US. (Apple Inc). November 16, 2010.
^ Jump up to: a b "Canadian Hot 100: Week of December 04, 2010 (Biggest Jump)". Billboard. (Prometheus Global Media). December 4, 2010. Retrieved September 3, 2011.
Jump up ^ "Love the Way You Lie, Pt. 2". Billboard. (Prometheus Global Media). May 19, 2011. Retrieved September 3, 2011.
^ Jump up to: a b "South Korea Gaon International Chart (Week: 2010.11.28 - 2010.12.04)". Gaon Chart. Archived from the original on February 25, 2012. Retrieved January 24, 2012.
^ Jump up to: a b "Chart Log UK: Chart entries update". The Official Charts Company. November 27, 2010. Retrieved October 15, 2011.
^ Jump up to: a b c Ziegbe, Mawuse (November 21, 2010). "Rihanna Opens American Music Awards With Island Flavor". MTV. Viacom. Retrieved November 21, 2010.
Jump up ^ "Rihanna debuts yet another wild new style at the American Music Awards". Mail Online. Associated Newspapers Ltd. November 22, 2010. Retrieved June 16, 2011.
Jump up ^ "Eminem performs at Grammys with Rihanna, Dr. Dre, and Skylar Grey". Rap-Up. Devin Lazerine. February 13, 2011. Retrieved June 21, 2011.
Jump up ^ Serpick, Evan (June 5, 2011). "Bikinis, Handcuffs and a Prince Cover: Rihanna Kicks Off Over-the-Top Summer Tour". Rolling Stone. Wenner Media. Retrieved June 5, 2011.
Jump up ^ "Rihanna - Set list". BBC. June 24, 2012. Retrieved July 8, 2012.
Jump up ^ Loud (liner notes). Rihanna. Def Jam Recordings. 2010.
External links[edit]
Lyrics of this song at MetroLyrics
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Parable of the Prodigal Son
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Prodigal son" redirects here. For other uses, see The Prodigal Son (disambiguation).
"The Return of the Prodigal Son" redirects here. For the painting by Rembrandt, see The Return of the Prodigal Son (Rembrandt).
The Return of the Prodigal Son (1773) by Pompeo Batoni
The Parable of the Prodigal Son (also known as the Two Brothers, Lost Son, Loving Father, or Lovesick Father)[1][2] is one of the parables of Jesus and appears in Luke 15:11–32. Jesus Christ shares it with his disciples, the Pharisees and others.
In the story, a father has two sons. The younger son asks for his inheritance and after wasting his fortune (the word prodigal means "wastefully extravagant"), becomes destitute. He returns home with the intention of begging his father to be made one of his hired servants, expecting his relationship with his father is likely severed.
The father welcomes him back and celebrates his return. The older son refuses to participate. The father reminds the older son that one day he will inherit everything. But, they should still celebrate the return of the younger son because he was lost and is now found.
It is the third and final part of a cycle on redemption, following the Parable of the Lost Sheep and the Parable of the Lost Coin. In Revised Common Lectionary and Latin Rite Catholic Lectionary, this parable is read on the fourth Sunday of Lent (in Year C);[3] in the latter it is also included in the long form of the Gospel on the 24th Sunday of Ordinary Time in Year C, along with the preceding two parables of the cycle.[4] In the Eastern Orthodox Church it is read on the Sunday of the Prodigal Son.
Contents
[hide]
1 Narrative
2 Context and interpretation
3 Commemoration and use
3.1 Orthodox
3.2 Catholic
4 In the arts
4.1 Art
4.2 Stage
4.3 Popular music
4.4 Literature
5 Similar parable in Mahayana Buddhism
6 See also
7 References
8 Further reading
9 External links
Narrative[edit]
James Tissot - The Return of the Prodigal Son (Le retour de l'enfant prodigue) - Brooklyn Museum
The parable begins with a young man, the younger of two sons, who asks his father to give him his share of the estate. The implication is the son could not wait for his father's death for his inheritance, he wanted it immediately. The father agrees and divides his estate between both sons.
Upon receiving his portion of the inheritance, the younger son travels to a distant country and wastes all his money in extravagant living. Immediately thereafter, a famine strikes the land; he becomes desperately poor and is forced to take work as a swineherd. (This, too, would have been abhorrent to Jesus' Jewish audience, who considered swine unclean animals.) When he reaches the point of envying the food of the pigs he is watching, he finally comes to his senses:
But when he came to himself he said, "How many hired servants of my father's have bread enough to spare, and I'm dying with hunger! I will get up and go to my father, and will tell him, 'Father, I have sinned against heaven, and in your sight. I am no more worthy to be called your son. Make me as one of your hired servants.'" He arose, and came to his father. But while he was still far off, his father saw him, and was moved with compassion, and ran towards him, and fell on his neck, and kissed him.
— Luke 15:17–20, World English Bible
This implies the father was hopefully watching for the son's return.
The son does not even have time to finish his rehearsed speech, since the father calls for his servants to dress him in a fine robe, a ring, and sandals, and slaughter the "fattened calf" for a celebratory meal.
The older son, who was at work in the fields, hears the sound of celebration, and is told about the return of his younger brother. He is not impressed, and becomes angry. He also has a speech for his father:
But he answered his father, "Behold, these many years I have served you, and I never disobeyed a commandment of yours, but you never gave me a goat, that I might celebrate with my friends. But when this, your son, came, who has devoured your living with prostitutes, you killed the fattened calf for him."
— Luke 15:29–30, World English Bible
The parable concludes with the father explaining that because the younger son had returned, in a sense, from the dead, celebration was necessary:
"But it was appropriate to celebrate and be glad, for this, your brother, was dead, and is alive again. He was lost, and is found."
— Luke 15:32, World English Bible
Context and interpretation[edit]
Engraving of the Prodigal Son as a swineherd by Hans Sebald Beham, 1538.
This is the last of three parables about loss and redemption, following the parable of the Lost Sheep and the parable of the Lost Coin, that Jesus tells after the Pharisees and religious leaders accuse him of welcoming and eating with "sinners."[5] The father's joy described in the parable reflects divine love,[5] the "boundless mercy of God",[6] and "God's refusal to limit the measure of his grace."[5]
The request of the younger son for his share of the inheritance is "brash, even insolent"[7] and "tantamount to wishing that the father was dead."[7] His actions do not lead to success, and he eventually becomes an indentured servant, with the degrading job of looking after pigs, and even envying them for the carob pods they eat.[7]
The mention of the son's longing to eat with the swine in Luke 15:16 could refer to how the Pharisees viewed the sinners (and Christ, for eating with them) in Luke 15:2. The Pharisees, caught up in their ideas of ritual cleanliness, might have thought of these people as filthy pigs.[8]
On the son's return, the father treats him with a generosity far more than he has a right to expect.[7] Some have suggested that this mirrors what Christians should do after sinning: feel contrition and return to their Heavenly Father, who will graciously welcome them back.[8]
The older son, in contrast, seems to think in terms of "law, merit, and reward",[7] rather than "love and graciousness."[7] He may represent the Pharisees who were criticizing Jesus.[7]
The father, who represents our Heavenly Father, implies to the older son that his love for both sons is not dependent upon their perfection, but their willingness to return to Him with a broken heart and a contrite spirit.
Commemoration and use[edit]
Stained glass window based on the parable, Charleston, South Carolina.
Orthodox[edit]
The Eastern Orthodox Church traditionally reads this story on the Sunday of the Prodigal Son,[9] which in their liturgical year is the Sunday before Meatfare Sunday and about two weeks before the beginning of Great Lent. One common kontakion hymn of the occasion reads,
I have recklessly forgotten Your glory, O Father;
And among sinners I have scattered the riches which You gave to me.
And now I cry to You as the Prodigal:
I have sinned before You, O merciful Father;
Receive me as a penitent and make me as one of Your hired servants.
Catholic[edit]
In his 1984 apostolic exhortation titled Reconciliatio et paenitentia (Latin for Reconciliation and Penance), Pope John Paul II used this parable to explain the process of conversion and reconciliation. Emphasizing that God the Father is "rich in mercy" and always ready to forgive, he stated that reconciliation is a gift on his part. He stated that for the Church her "mission of reconciliation is the initiative, full of compassionate love and mercy, of that God who is love."[10][11] He also explored the issues raised by this parable in his second encyclical Dives in misericordia (Latin for Rich in Mercy) issued in 1980.[12]
In the arts[edit]
Rembrandt, The Return of the Prodigal Son, 1662–1669 (Hermitage Museum, St Petersburg)
Gerard van Honthorst, 1623, like many works of the period, allows a genre scene with moral content.
The Polish Rider — Possibly the prodigal son. The subject is of much discussion.
Art[edit]
Of the thirty or so parables in the canonical Gospels, this was one of the four that were shown in medieval art almost to the exclusion of the others, but not mixed in with the narrative scenes of the Life of Christ (the others were the Wise and Foolish Virgins, Dives and Lazarus, and the Good Samaritan.[13] The Labourers in the Vineyard also appears in Early Medieval works).
From the Renaissance the numbers shown widened slightly, and the various scenes – the high living, herding the pigs, and the return – of the Prodigal Son became the clear favourite. Albrecht Dürer made a famous engraving of the Prodigal Son amongst the pigs (1496), a popular subject in the Northern Renaissance. Rembrandt depicted several scenes from the parable, especially the final episode, which he etched, drew, or painted on several occasions during his career.[14] At least one of his works, The Prodigal Son in the Tavern, a portrait of himself as the Son, revelling with his wife, is like many artists' depictions, a way of dignifying a genre tavern scene - if the title was indeed the original intention of the artist. His late Return of the Prodigal Son (1662–1669, Hermitage Museum, St Petersburg) is one of his most popular works.
Stage[edit]
In the fifteenth and sixteenth centuries the theme was a sufficiently popular subject that the Prodigal Son Play can be seen as a subgenre of the English morality play. Examples include The Rare Triumphs of Love and Fortune, The Disobedient Child, and Acolastus.[15]
Notable adaptations for performance include an 1869 oratorio by Arthur Sullivan, an 1884 cantata by Claude Debussy, a 1929 ballet choreographed by George Balanchine to music written by Sergei Prokofiev, a 1957 ballet by Hugo Alfvén,[16] and an opera, The Prodigal Son by Benjamin Britten (1968).
Many of these adaptations added to the Biblical material to lengthen the story; for example, the 1955 film The Prodigal took considerable liberties, such as adding a temptress priestess of Astarte to the tale.[17]
Popular music[edit]
The parable is referenced in the last verse of the traditional Irish folk tune "The Wild Rover" ("I'll go home to me parents, confess what I've done / and I'll ask them to pardon their prodigal son").
Oblique adaptations include that by the Reverend Robert Wilkins, who told the story of this parable in the song "Prodigal Son", which is probably best known as a cover version by the Rolling Stones on their 1968 album Beggar's Banquet. "Prodigal Man" was written by Ted Nugent and is the second track of the third album "Migration" by The Amboy Dukes and was released in 1969. The British heavy metal band Iron Maiden recorded a song titled "Prodigal Son", based on the parable of the same name, which appeared on their second release, Killers, in 1981. U2 recorded a song titled "The First Time" on their 1993 album Zooropa. While based on the parable, it presents the idea of an alternate ending to the story. It could be argued that Kelly Willard's 1982 song, Make Me A Servant is based on what the son said to his father when he returned home. The Prodigal Son is the first posthumous release by piano player and gospel singer Keith Green (1983).
Detroit musician, Kid Rock, also recorded a song titled "Prodigal Son", which appeared on his second album The Polyfuze Method, in 1993. Kid Rock later re-recorded the track for his 2000 album The History of Rock. The Christian Rock trio BarlowGirl recorded the song "She Walked Away", influenced by the parable,[18] as part of their 2004 self-titled album. "Indie" rock band Two Gallants covered the parable in the song "The Prodigal Son" on their 2006 album What the Toll Tells. Musician Dustin Kensrue wrote a song about the Prodigal Son entitled "Please Come Home" on the album of the same name released in 2007.[19] Rock band Sevendust has a track titled "Prodigal Son" on their 2008 album, Chapter VII: Hope and Sorrow. The band Bad Religion has a song of the same title on their album New Maps of Hell. The band Extreme recorded a song titled "Who Cares?", which appeared on the album III Sides to Every Story, which is influenced by this parable. Brantley Gilbert released a song called "Modern Day Prodigal Son". British Reggae band Steel Pulse recorded a song titled "Prodigal Son" on their debut album Handsworth Revolution, recreating the Biblical story as a Rastafarian parable. The Post-Hardcore band "Gideon" released a song called "Prodigal Son", which appeared on their second album Milestone. Christian rock outfit The Chinese Express opened and closed their 2006 release with a two part telling of the parable with songs titled "Said the son to the Father" and "Said the Father to the Son". Post-hardcore band "Jamie's Elsewhere" also released a song titled "Prodigal Son". The Irish rap group House of Pain references the parable in one of the verses of their song, "Jump Around". English indie rock band alt-J references the parable in the first verse of their song "Left Hand Free". On their 2015 album Something Different, the Christian band Sidewalk Prophets included an uplifting song titled "Prodigal" with lyrics that are directed towards the Prodigal Son from the parable, or any person who is or has felt like they are in a similar situation.
In 2006 Country artist Dierks Bentley wrote a song for his album "Long Trip Alone" entitled "The Prodigal Son's Prayer" The song is based on the son's prospective of coming home after he's ruined himself in the world.
Literature[edit]
The Return of the Prodigal Son (Leonello Spada, Louvre, Paris)
Another literary tribute to this parable is Dutch theologian Henri Nouwen's 1992 book, The Return of the Prodigal Son: A Story of Homecoming, in which he describes his own spiritual journey infused with understanding based on an encounter with Rembrandt's painting of the return of the Prodigal and deals with three personages: the younger, prodigal son; the self-righteous, resentful older son; and the compassionate father – all of whom the author identifies with personally.[20] An earlier work with similarities to the parable is "Le retour de l'enfant prodigue" ("The Return of the Prodigal Son"), a short story by André Gide.[21]
Rudyard Kipling wrote a poem[22] giving an interpretation of the younger brother's perspective.[23]
The Parable of the Prodigal Son is also a recurring theme in the works of Rainer Maria Rilke, who interpreted the parable in a different way to the conventional reading. His version of the parable was not so concerned with redemption and the forgiveness of family; the love of the family, and human love in general, was seen as less worthy than unreciprocated love, which is the purest form of love. In loving the family less, the Son can love God more, even if this love is not returned.[24][25]
The theme of the Prodigal Son plays a major role in Anne Tyler's novel A Spool of Blue Thread.[26]
The Prodigal Son was also referred to in the play As You Like It, a pastoral comedy by William Shakespeare. The Prodigal Son is also mentioned in Shakespeare's romance, The Winter's Tale (Act 4, Scene 4 line 89).
Similar parable in Mahayana Buddhism[edit]
A similar parable of a lost son can also be found in the Mahayana Buddhist Lotus Sutra.[27][28] The two parables are so similar in their outline and many details that several scholars have assumed that one version has influenced the other or that both texts share a common origin.[29] However, an influence of the biblical story on the Lotus sutra is regarded as unlikely given the early dating of the stratum of the sutra containing the Buddhist parable.[29] In spite of their similarities, both parables continue differently after the two meet for the first time at the son's return. In the biblical story, there is an immediate reunion of the two. In contrast, in the Lotus sutra, the poor son does not recognize the rich man as his father. When the father sends out some attendants to welcome the son, the son panics, fearing some kind of retribution. The father then lets the son leave without telling him of their kinship. However, he gradually draws the son closer to him by employing him in successively higher positions, only to tell him of their kinship in the end.[27] In the Buddhist parable, the father symbolises the Buddha, and the son symbolises any human being. Their kinship symbolises that any being has Buddha nature. The concealment of the kinship of the father to his son is regarded as a skillful means (Sanskrit:upāya).[30]
See also[edit]
Ministry of Jesus
References[edit]
Jump up ^ BibleGateway. 2016. Luke 15:11–32 The Parable of the Lost Son - Jesus.
Jump up ^ BibleGateway. 2016. Parable of the Forgiving Father (15:11-32) - The IVP New Testament Commentary Series
Jump up ^ "Lent 4C". TextWeek.com. Retrieved 2013-09-12.
Jump up ^ "Proper 19 (24th Sunday of Ordinary Time)". TextWeek.com. Retrieved 2016-09-11.
^ Jump up to: a b c Richard N. Longenecker, The Challenge of Jesus' Parables, Eerdmans, 2000, ISBN 0-8028-4638-6, pp. 201–213.
Jump up ^ Scott Hahn, Curtis Mitch, and Dennis Walters, Gospel of Luke: The Ignatius Study Guide, 2nd ed, Ignatius Press, 2001, ISBN 0-89870-819-2, p. 51.
^ Jump up to: a b c d e f g Arland J. Hultgren, The Parables of Jesus: A Commentary, Eerdmans Publishing, 2002, ISBN 0-8028-6077-X, pp. 70–82.
^ Jump up to: a b "Love, Minus the Condemnation". Answering Protestants. Retrieved 2013-10-18.
Jump up ^ "Scripture Readings Throughout the Year". Retrieved 2008-11-09.
Jump up ^ The post-synodal apostolic exhortations of John Paul II by Catholic Church 1998 ISBN 0-87973-928-2 pages 234–239
Jump up ^ "Vatican website ''Reconciliatio et paenitentia''". Vatican.va. Retrieved 2013-10-18.
Jump up ^ "Vatican website ''Dives in misericordia''". Vatican. Retrieved 2013-10-18.
Jump up ^ Emile Mâle, The Gothic Image: Religious Art in France of the Thirteenth Century, p 195, English translation of 3rd ed, 1913, Collins, London (and many other editions), ISBN 978-0064300322
Jump up ^ Roland E. Fleischer and Susan C. Scott, Rembrandt, Rubens, and the art of their time: recent perspectives, Pennsylvania State University Press, 1997, ISBN 0-915773-10-4, pp. 64-65.
Jump up ^ Craig, Hardin (April 1950). "Morality Plays and Elizabethan Drama". Shakespeare Quarterly. 1 (2): 71. ISSN 0037-3222. doi:10.2307/2866678.
Jump up ^ Don Michael Randel, The Harvard Biographical Dictionary of Music, Harvard University Press, 1996, ISBN 0-674-37299-9, pp. 13-14,
Jump up ^ Paul Hammond, The shadow and its shadow: surrealist writings on the cinema, 3rd ed, City Lights Books, 2000, ISBN 0-87286-376-X, p. 70.
Jump up ^ BarlowGirl by BarlowGirl CD review at NewReleaseTuesday.com
Jump up ^ Dustin Kensrue at YouthMinistry.com
Jump up ^ Deirdre LaNoue, The Spiritual Legacy of Henri Nouwen, Continuum, 2000, ISBN 0-8264-1283-1, p. 45.
Jump up ^ Turnell, Martin. "André Gide and the Disintegration of the Protestant Cell". Yale French Studies. Yale University Press (7): 21–31.
Jump up ^ "The Prodigal Son". Famouspoetsandpoems.com. Retrieved 2013-10-18.
Jump up ^ Andrew Keith Malcolm Adam, Postmodern Interpretations of the Bible: A reader, Chalice Press, 2001, ISBN 0-8272-2970-4, pp. 202–203.
Jump up ^ Books.google.co.uk. Books.google.co.uk. Retrieved 2013-10-18.
Jump up ^ Books.google.co.uk. Books.google.co.uk. Retrieved 2013-10-18.
Jump up ^ Sinkler, Rebecca Pepper (February 13, 2015). "Sunday Book Review: 'A Spool of Blue Thread' by Anne Tyler". The New York Times. Retrieved October 5, 2015.
^ Jump up to: a b Lotus Sutra, Chapter 4, translated By H. Kern
Jump up ^ Suzuki, Takayasu (2015). Two parables on "The wealthy father and the poor son" in the Saddharmapundarika and the Mahaberisutra, Journal of Indian and Budddhist Studies 63 (3), 169-176
^ Jump up to: a b Lai, Whalen W. "The Buddhist Prodigal Son': A Story of Misperceptions". Journal of the International Association of Buddhist Studies 4.2 (1981), p. 91
Jump up ^ Nhất Hạnh, Thích (2003). Opening the Heart of the Cosmos. Parallax Press. pp. 37–41. ISBN 9781888375336.
Further reading[edit]
Wiggins, James, 2010. What Did Jesus Teach? A Detailed Survey of His Parables ISBN 978-1477699065
David A. Holgate, Prodigality, liberality and meanness in the parable of the prodigal son: a Greco-Roman perspective on Luke 15.11-32, Continuum, 1999, ISBN 1-84127-025-3.
Father Raniero Cantalamessa, Pontifical Household preacher, "Comments on Fourth Sunday of Lent Readings", Zenit News Agency, March 17, 2007.
Rev. George Dimopoulos, "The Prodigal Son", Orthodoxy and the world, February 24, 2008.
G. Campbell Morgan, The Parable of the Father's Heart.
E. Di Rocco (a cura di), Il romanzo della misericordia. La parabola del figliol prodigo nella letteratura in Studium, 4 (2013), nº 109
E. Di Rocco, Leggere le Scritture con le Scritture: Ugo di Santo Caro e Nicola di Lira lettori di Luca (15, 11-32), in Studium, 4 (2013), nº 109.
E. Di Rocco (a cura di), Il romanzo della misericordia. La parabola di Luca nella letteratura moderna e contemporanea. in Studium, 2 (2014), nº 110.
E. Di Rocco, Heimkehr: wohin?, Auszug: wohin?: la parabola esistenziale del figliol prodigo nella letteratura del Novecento. in Studium, 2 (2014), nº 110.
External links[edit]
Brooks, David. "The Prodigal Sons", The New York Times, February 17, 2014
Media related to Prodigal son at Wikimedia Commons
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"Prodigal Son" (1994)
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values: Притча о блудном сыне – Russian

values: Parable of the Prodigal Son – Simple English

values: Прича о блудном сину – Serbian

values: Liknelsen om den förlorade sonen – Swedish

values: ஊதாரி மைந்தன் உவமை – Tamil

values: Притча про блудного сина – Ukrainian

values: 浪子回头的比喻 – Chinese

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