title: Balance of payments

text: An upwards shift in the value of a nation's currency relative to others will make a nation's exports less competitive and make imports cheaper and so will tend to correct a current account surplus. It also tends to make investment flows into the capital account less attractive so will help with a surplus there too. Conversely a downward shift in the value of a nation's currency makes it more expensive for its citizens to buy imports and increases the competitiveness of their exports, thus helping to correct a deficit (though the solution often doesn't have a positive impact immediately due to the Marshall–Lerner condition).


title: Balance of payments

text: Exchange rates can be influenced by governments. In the early years of the Bretton Woods System international markets were heavily constrained by capital controls, managing the exchange rate has often been problematic as the markets often want the currency to move in the opposite direction to governments. Developing countries in particular would often experience difficulties, though even advanced economies like Britain had issues, with Black Wednesday an example when she had insufficient reserves to counter the market.</ref> in a rules based or managed currency regime, and when left to float freely in the market they also tend to change in the direction that will restore balance. When a country is selling more than it imports, the demand for its currency will tend to increase as other countries ultimately need the selling country's currency to make payments for the exports. The extra demand tends to cause a rise of the currency's price relative to others. When a country is importing more than it exports, the supply of its own currency on the international market tends to increase as it tries to exchange it for foreign currency to pay for its imports, and this extra supply tends to cause the price to fall. BoP effects are not the only market influence on exchange rates however, they are also influenced by differences in national interest rates and by speculation.


title: Balance of payments

text: When exchange rates are fixed by a rigid gold standard, or when imbalances exist between members of a currency union such as the Eurozone, the standard approach to correct imbalances is by making changes to the domestic economy. To a large degree, the change is optional for the surplus country, but compulsory for the deficit country. In the case of a gold standard, the mechanism is largely automatic. When a country has a favourable trade balance, as a consequence of selling more than it buys it will experience a net inflow of gold. The natural effect of this will be to increase the money supply, which leads to inflation and an increase in prices, which then tends to make its goods less competitive and so will decrease its trade surplus. However the nation has the option of taking the gold out of economy (sterilising the inflationary effect) thus building up a hoard of gold and retaining its favourable balance of payments. On the other hand, if a country has an adverse BoP it will experience a net loss of gold, which will automatically have a deflationary effect, unless it chooses to leave the gold standard. Prices will be reduced, making its exports more competitive, and thus correcting the imbalance. While the gold standard is generally considered to have been successful up until 1914, correction by deflation to the degree required by the large imbalances that arose after WWI proved painful, with deflationary policies contributing to prolonged unemployment but not re-establishing balance. Apart from the US most former members had left the gold standard by the mid-1930s.


title: Balance of payments

text: A possible method for surplus countries such as Germany to contribute to re-balancing efforts when exchange rate adjustment is not suitable, is to increase its level of internal demand (i.e. its spending on goods). While a current account surplus is commonly understood as the excess of earnings over spending, an alternative expression is that it is the excess of savings over investment.


title: Balance of payments

text: where "CA" = current account, "NS" = national savings (private plus government sector), "NI" = national investment.


title: Balance of payments

text: If a nation is earning more than it spends the net effect will be to build up savings, except to the extent that those savings are being used for investment. If consumers can be encouraged to spend more instead of saving; or if the government runs a fiscal deficit to offset private savings; or if the corporate sector divert more of their profits to investment, then any current account surplus will tend to be reduced. However, in 2009 Germany amended its constitution to prohibit running a deficit greater than 0.35% of its GDP and calls to reduce its surplus by increasing demand have not been welcome by officials, adding to fears that the 2010s would not be an easy decade for the eurozone. In their April 2010 world economic outlook report, the IMF presented a study showing how with the right choice of policy options governments can shift away from a sustained current account surplus with no negative effect on growth and with a positive impact on unemployment.


title: Balance of payments

text: Nations can agree to fix their exchange rates against each other, and then correct any imbalances that arise by rules based and negotiated exchange rate changes and other methods. The Bretton Woods system of fixed but adjustable exchange rates was an example of a rules based system. John Maynard Keynes, one of the architects of the Bretton Woods system had wanted additional rules to encourage surplus countries to share the burden of rebalancing, as he argued that they were in a stronger position to do so and as he regarded their surpluses as negative externalities imposed on the global economy.


title: Balance of payments

text: Keynes suggested that traditional balancing mechanisms should be supplemented by the threat of confiscation of a portion of excess revenue if the surplus country did not choose to spend it on additional imports. However his ideas were not accepted by the Americans at the time. In 2008 and 2009, American economist Paul Davidson had been promoting his revamped form of Keynes's plan as a possible solution to global imbalances which in his opinion would expand growth all round without the downside risk of other rebalancing methods.


title: Balance of payments

text: Speaking after the 2009 G-20 London summit, Gordon Brown announced "the Washington Consensus is over".


title: Balance of payments

text: There is now broad agreement that large imbalances between different countries do matter; for example mainstream U.S. economist C. Fred Bergsten has argued the U.S. deficit and the associated large inbound capital flows into the U.S. was one of the causes of the financial crisis of 2007–2010.


title: Balance of payments

text: Since the crisis, government intervention in BOP areas such as the imposition of capital controls or foreign exchange market intervention has become more common and in general attracts less disapproval from economists, international institutions like the IMF and other governments.


title: Balance of payments

text: In 2007, when the crises began, the global total of yearly BoP imbalances was $1680 billion. On the credit side, the biggest current account surplus was China with approx. $362 billion, followed by Japan at $213 billion and Germany at £185 billion, with oil producing countries such as Saudi Arabia also having large surpluses.


title: Balance of payments

text: On the debit side, the US had the biggest current account deficit at over $1100 billion, with the UK, Spain and Australia together accounting for close to a further $300 billion.


title: Balance of payments

text: While there have been warnings of future cuts in public spending, deficit countries on the whole did not make these in 2009, in fact the opposite happened with increased public spending contributing to recovery as part of global efforts to increase demand. The emphases has instead been on the surplus countries, with the IMF, EU and nations such as the U.S., Brazil and Russia asking them to assist with the adjustments to correct the imbalances.


title: Balance of payments

text: Economists such as Gregor Irwin and Philip R. Lane have suggested that increased use of pooled reserves could help emerging economies not to require such large reserves and thus have less need for current account surpluses.


title: Balance of payments

text: Writing for the FT in Jan 2009, Gillian Tett says she expects to see policy makers becoming increasingly concerned about exchange rates over the coming year.


title: Balance of payments

text: In June 2009, Olivier Blanchard the chief economist of the IMF wrote that rebalancing the world economy by reducing both sizeable surpluses and deficits will be a requirement for sustained recovery.


title: Balance of payments

text: In 2008 and 2009, there was some reduction in imbalances, but early indications towards the end of 2009 were that major imbalances such as the U.S. current account deficit are set to begin increasing again.


title: Balance of payments

text: Japan had allowed her currency to appreciate through 2009, but has only limited scope to contribute to the rebalancing efforts thanks in part to her aging population. The euro used by Germany is allowed to float fairly freely in value, however further appreciation would be problematic for other members of the currency union such as Spain, Greece and Ireland who run large deficits. Therefore, Germany has instead been asked to contribute by further promoting internal demand, but this hasn't been welcomed by German officials.


title: Balance of payments

text: China has been requested to allow the renminbi to appreciate but until 2010 had refused, the position expressed by her premier Wen Jiabao being that by keeping the value of the renmimbi stable against the dollar China has been helping the global recovery, and that calls to let her currency rise in value have been motivated by a desire to hold back China's development. After China reported favourable results for her December 2009 exports however, the Financial Times reported that analysts are optimistic that China will allow some appreciation of her currency around mid-2010.


title: Balance of payments

text: In April 2010 a Chinese official signalled the government is considering allowing the renminbi to appreciate, but by May analysts were widely reporting the appreciation would likely be delayed due to the falling value of the Euro following the 2010 European sovereign debt crisis. China announced the end of the renminbi's peg to the dollar in June 2010; the move was widely welcomed by markets and helped defuse tension over imbalances prior to the 2010 G-20 Toronto summit. However the renminbi remains managed and the new flexibility means it can move down as well as up in value; two months after the peg ended the renminbi had only appreciated against the dollar by about 0.8%.


title: Balance of payments

text: By January 2011, the renminbi had appreciated against the dollar by 3.7%, which means it's on track to appreciate in nominal terms by 6% per year. As this reflects a real appreciation of 10% when China's higher inflation is accounted for, the U.S. Treasury once again declined to label China a currency manipulator in their February 2011 report to Congress. However Treasury officials did advise the rate of appreciation was still too slow for the best interests of the global economy.


title: Balance of payments

text: In February 2011, Moody's analyst Alaistair Chan has predicted that despite a strong case for an upward revaluation, an increased rate of appreciation against the dollar is unlikely in the short term. And as of February 2012, China's currency had been continuing to appreciate for a year and a half, while drawing remarkably little notice.


title: Balance of payments

text: While some leading surplus countries including China have been taking steps to boost domestic demand, these have not yet been sufficient to rebalance out of their current account surpluses. By June 2010, the U.S. monthly current account deficit had risen back to $50 billion, a level not seen since mid-2008. With the US currently suffering from high unemployment and concerned about taking on additional debt, fears are rising that the US may resort to protectionist measures.


title: Balance of payments

text: By September 2010, international tensions relating to imbalances had further increased. Brazil's finance minister Guido Mantega declared that an "international currency war" has broken out, with countries competitively trying to devalue their currency so as to boost exports. Brazil has been one of the few major economies lacking a reserve currency to abstain from significant currency intervention, with the real rising by 25% against the dollar since January 2009. Some economists such as Barry Eichengreen have argued that competitive devaluation may be a good thing as the net result will effectively be equivalent to expansionary global monetary policy. Others such as Martin Wolf saw risks of tensions further escalating and advocated that coordinated action for addressing imbalances should be agreed on at the November G20 summit.


title: Balance of payments

text: Commentators largely agreed that little substantive progress was made on imbalances at the November 2010 G20. An IMF report released after the summit warned that without additional progress there is a risk of imbalances approximately doubling to reach pre-crises levels by 2014.


title: Balance of payments

text: Balance of payments and international headcount data is critical to the formulation of national and international economic policies. The balance of payments imbalances and foreign direct investment (FDI) is crucial for a country's policymakers to seek solutions. The impact of national and international policies can be seen in the balance of payments data. For example, one country may implement a policy to attract foreign investment. In contrast, another country may want to keep its currency relatively low to stimulate exports. Although a country's balance of payments will bring its current account and capital account into balance, there will be imbalances between countries' accounts. According to the World Bank data, the current account deficit in the United States is $498 billion in 2019 (The World Bank)


title: Balance of payments

text: Suppose a country's balance of payments deficits are persistent. In that case, the country may suffer from a loss of confidence as its foreign exchange reserves deplete. At the same time, it makes the country very vulnerable to seasonal, cyclical or unpredictable fluctuations in foreign countries. It could lead to excessive inflation at home. Therefore, the stability of currency provides a strong guarantee for the sustainable development of the economy. Countries can analyze the current economic situation domestically and internationally through the annual balance of payment and formulate effective monetary policy combined with the political influence of international and multilateral relations (Zolotas and Ethymiou 1965)


title: Balance of payments

text: The economic policy objectives could, in principle, serve as the standard for the balance of payments policies. At the same time, exchange rate policy is treated as income policy. F. De Roos (1982) argues that only equilibrium of the balance of payments can be considered as a long term criterium for the balance of payments policy in the case of stable exchange rates. In the case of flexible exchange rates, the criterium can be found in the degree of domestic economic stability.


title: Captain Hook

text: Captain James Hook is a fictional character and the main antagonist of J. M. Barrie's 1904 play "Peter Pan; or, the Boy Who Wouldn't Grow Up" and its various adaptations, in which he is Peter Pan's archenemy. The character is a pirate captain of the brig "Jolly Roger." His two principal fears are the sight of his own blood (supposedly an unnatural colour) and the crocodile who pursues him after eating the hand cut off by Pan. An iron hook replaced his severed hand, which gave the pirate his name.


title: Captain Hook

text: Hook did not appear in early drafts of the play, wherein the capricious and coercive Peter Pan was closest to a "villain", but was created for a front-cloth scene (a cloth flown well downstage in front of which short scenes are played while big scene changes are "silently" carried out upstage) depicting the children's journey home. Later, Barrie expanded the scene, on the premise that children were fascinated by pirates, and expanded the role of the captain as the play developed. The character was originally cast to be played by Dorothea Baird, the actress playing Mary Darling, but Gerald du Maurier, already playing George Darling (and the brother of Sylvia Llewelyn Davies), persuaded Barrie to let him take the additional role instead, a casting tradition since replicated in many stage and film productions of the Peter Pan story.


title: Captain Hook

text: According to A. N. Wilson, Barrie "openly acknowledged [that] Hook and his obsession with the crocodile was an English version of Ahab", and there are other borrowings from Melville.


title: Captain Hook

text: Barrie states in the novel that "Hook was not his true name. To reveal who he really was would even at this date set the country in a blaze". He is said to be "Blackbeard's bo'sun" and "the only man of whom Barbecue was afraid". (In Robert Louis Stevenson's "Treasure Island", one of the names Long John Silver goes by is "Barbecue".)


title: Captain Hook

text: In the play, it is implied that Hook attended Eton College and Balliol College, Oxford, and his final words are "Floreat Etona", Eton's motto. In the novel, Hook's last words are a similarly upper-class "bad form", in disapproval of the way Peter Pan beats him by throwing him overboard.


title: Captain Hook

text: The book relates that Peter Pan began the ongoing rivalry between them by feeding the pirate's hand to a crocodile. After getting a taste of Hook, the crocodile pursues him relentlessly, but the ticking clock it has also swallowed warns Hook of its presence.


title: Captain Hook

text: Hook is described as "cadaverous" and "blackavised", with "eyes which were of the blue of the forget-me-not" ("save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly") and long dark curls resembling "black candles". In many pantomime performances of "Peter Pan", Hook's hair is a wig and is accompanied by thick bushy eyebrows and moustache. The hook is fixed to his right hand (often changed to the left hand in film adaptations) and is used as a weapon. He is also described as having a "handsome countenance" and an "elegance of ... diction" – "even when he [is] swearing". Barrie describes "an attire associated with the name of Charles II, having heard it said in some earlier period of his career that he bore a strange resemblance to the ill-fated Stuarts". Hook's cigar holder enables him to smoke two cigars at once. Barrie also stated in "Captain Hook at Eton" that he was, "in a word, the handsomest man I have ever seen, though, at the same time, perhaps slightly disgusting". Although Hook is callous and bloodthirsty, Barrie makes it clear that these qualities make him a magnificent pirate and "not wholly unheroic".


title: Captain Hook

text: In the animated film "Peter Pan", Hook is a far more comical villain than the original character: he is seen as a vain coward with a childish temper who is prone to crying out in terror. During the film's early development, the story department analysed Hook's character as "a fop... Yet very mean, to the point of being murderous. This combination of traits should cause plenty of amusement whenever he talks or acts".


title: Captain Hook

text: Frank Thomas was the directing animator of Hook. According to Disney's Platinum release bonus features, Hook was modeled after a Spanish King. One director insisted that Hook should be a darker villain with no comedic traits; but this was refused for fear of frightening a juvenile audience, and Hook became a comical villain, equally matched with Peter Pan.


title: Captain Hook

text: Actor Hans Conried set the tone for Disney's interpretation of Hook, as he was the original voice for the Captain, as well as, in the tradition of the stage play, Mr. Darling, and performed live-action reference for the two characters. In subsequent Disney animation, Hook is voiced by Corey Burton.


title: Captain Hook

text: Hook seeks revenge on Peter Pan for having fed the crocodile his left hand and refuses to leave Neverland prior to this revenge. Throughout the film, Hook is supported by Mr. Smee. After promising Tinker Bell not to lay a finger (or a hook) on Peter Pan, he plants a bomb in Peter's hideout (instead of Barrie's vial of poison). At the conclusion of the film, Hook is chased by the crocodile into the distance, with the rest of the crew trying to save Hook. Walt Disney insisted on keeping Hook alive, as he said: "The audience will get to liking Hook, and they don't want to see him killed."


title: Captain Hook

text: In the sequel "Return to Never Land", Hook mistakes Wendy's daughter Jane for Wendy and uses her as bait to lure Peter Pan to his death. After this fails, he promises to take Jane home if she will help him find the island's treasure, and "not to harm a single hair on Peter Pan's head". This last promise is kept when he pulls a single hair from Peter's head, declaring "the rest of him is mine". At the end of the film, he and the crew are pursued into the distance by a giant octopus.


title: Captain Hook

text: Captain Hook is one of the Disney Villains who have a main focus in the direct-to-video anthology film "Once Upon a Halloween".


title: Captain Hook

text: Captain Hook's origins are explored in the Disney Fairies film "The Pirate Fairy", voiced by Tom Hiddleston. In the story, a young James years before he lost his hand, pretended to be a pirate ship's cabin boy and befriended a rebellious fairy Zarina who had left Pixie Hollow after being dismissed as a dust-keeper when her unauthorised experiments with pixie dust led to a disaster. James foresaw the great potential of the pixie dust and let Zarina think she had the authority over pirates.


title: Captain Hook

text: In "The Simpsons" short film "Welcome to the Club", Captain Hook appears along with other Disney Villains trying to convince Lisa Simpson how fun it is to be a villain.


title: Captain Hook

text: Jude Law will play Hook in Disney's upcoming live-action film "Peter Pan & Wendy", which adapts material from the 1953 animated film.


title: Captain Hook

text: Joshua Colley will play a young Hook in the upcoming live-action film "", from the "Descendants" franchise. In the previous films of the franchise "Descendants 2" and "Descendants 3", appears his teenage son, Harry (Thomas Doherty), Captain Hook being only mentioned.


title: Captain Hook

text: Captain Hook made a special guest cameo on "Raw Toonage" in the episode hosted by Don Karnage (air pirate of "TaleSpin"), wherein he challenged Karnage to a sword fight for a treasure chest and won.


title: Captain Hook

text: Hook also appeared frequently on "House of Mouse", and its two direct-to-video films "" and "Mickey's House of Villains", being one of the main villains in the last one.


title: Captain Hook

text: In the Disney Junior series "Jake and the Never Land Pirates", Hook serves as the main antagonist, with his mother, Mama Hook, herself exclusive to the Disney Junior series, keeping him "honest" if he gets tempted.


title: Captain Hook

text: He stars in the Disney Interactive computer game "Disney's Villains' Revenge" as one of the main villains, wherein the player defeats Hook and returns Peter to his rightful age.


title: Captain Hook

text: appears in the Action/RPG game "Kingdom Hearts", in cooperation with Maleficent and other villains. He uses his pirate ship to travel between worlds.


title: Captain Hook

text: He takes Riku along with him, where Kairi is being held. Hook does not like Riku's bossiness and regrets taking him along; nonetheless, he follows his orders, as Riku now has control over the Heartless and would most likely unleash them on him should he disobey. When Sora, Donald, and Goofy arrive in Neverland, Riku throws them in the hold where they meet and escape with Peter Pan, who is searching for his friend Wendy. Captain Hook believed that Wendy was a "Princess of Heart" and that is why he captured her. However, Riku reports to him from Maleficent that Wendy is not a Princess of heart at all, irritating Hook (he hints that kidnapping Wendy was a very difficult task). After defeating the Heartless below deck, Sora fights a copy of himself summoned by Riku in Hook's office. After confronting Hook on the deck, learning that Riku took Kairi to Hollow Bastion, Sora and company are forced to surrender when Hook uses Tinker Bell as a hostage. When the crocodile appears, Hook flees to his office while telling Smee to have their prisoners walk the plank. However, Peter Pan returns to save Sora before imitating Smee to trick Hook out to the deck, resulting in the villain being thrown overboard and chased into the horizon by the crocodile.


title: Captain Hook

text: He later reappears in "Kingdom Hearts 358/2 Days", finding a large number of treasure maps all leading to boxes that are actually set to release Heartless once Hook opens the chest (unknown to Hook and Smee, however, is that these chests were set up to help build Pete's Heartless army). In "" he appears as a figment of Sora's memories and is absent in "Kingdom Hearts II". Hook later appears in the game series prequel, "Kingdom Hearts Birth by Sleep", where he tricks Terra into attempting to kill Peter Pan for him. He later kidnaps Tinker Bell and takes Mickey Mouse's star fragment, but is defeated by Ventus and thrown into the water, where the crocodile chases him off. His Japanese voice actor was Chikao Ōhtsuka up until "Birth by Sleep", where Chikao Ōhtsuka was cast as Master Xehanort and Hook thus voiced by Naoya Uchida. His English voice actor is Corey Burton.


title: Captain Hook

text: An animatronic version of Captain Hook is also featured prominently in the Wii game "Epic Mickey", wherein he has been converting his crew into animatronic, cyborg version of themselves (referred to in the game as Beetleworx) and is waging an attack against the non-converted pirates. Smee requests that Mickey Mouse find a way to save Hook and stop this machine that is turning pirates into Beetleworx. Players can either fight Hook by themselves and earn a thinner upgrade (and a "bad ending") or free the Sprite and have Pete Pan (a version of Pete dressed up as Peter Pan) defeat him and earn a paint upgrade (and a "good ending" showing Pete Pan and Captain Hook in a duel). In "", Hook has disappeared entirely, leaving his crew leaderless and having been run out of Tortooga by Blackbeard and Pete Pan having joined up with the Mad Doctor after losing his purpose. Some of Hook's clothes and items have been left behind in Ventureland, which the crew members seek to assert their authority to take over leadership of the other pirates and lead them to take back their home.


title: Captain Hook

text: The Cartoon World's version of Hook appears in "" as the first boss, having fallen under the control of Mizrabel to fight Mickey. Upon his defeat, he comes to his senses and offers his help to Mickey's quest to bring the toons back to the Cartoon World.


title: Captain Hook

text: Captain Hook is a playable character in the world builder game "Disney Magic Kingdoms", being a premium character to unlock in the main storyline of the game.


title: Captain Hook

text: Captain Hook appears at the Walt Disney Parks and Resorts as a meetable character along with Mr. Smee in Adventureland. He also appears as a figure during the dark ride "Peter Pan's Flight".


title: Captain Hook

text: In "Fantasmic!" at Disneyland, there is a scene in which we see Captain Hook and Peter Pan duelling aboard the Jolly Roger (portrayed by the Sailing Ship Columbia). This is replaced by a short re-enactment of Disney's "Pocahontas" at Disney's Hollywood Studios.


title: Captain Hook

text: At Disney World's "Dream-Along with Mickey" show, Hook, along with Smee, is one of the villains that crashes Mickey's party. This happens when Peter and Wendy appear to make Goofy's dream for some adventure come true and play a game of "Pretend to Be Pirates" with Donald Duck, who pretends to be the captain until the real Hook appears and challenges Peter to a duel. At first, Hook's appearance seems to take place for no reason other than to add some action to the show but is revealed to actually be working for Maleficent, who is insulted after not being invited to the party. He is defeated by Mickey Mouse, who leads the audience in a chant of "Dreams come true!", and scares off the villains.


title: Captain Hook

text: At the Disney Villains Mix and Mingle Halloween Dance Party at "Mickey's Not-So-Scary Halloween Party", Hook is summoned up by Maleficent along with the other villains, and co-hosts along with her, revealed by him being the only one of the villains besides her to sing and also being the villain that dances with her.


title: Captain Hook

text: Captain Hook was also featured in the "Disney on Ice" 2013 show 'Let's Party' as part of the Halloween celebration section, which takes the format of a party hosted by Jack Skellington where all the 'main' Disney villains attend (Evil Queen and Jafar being two other notable villains in the scene) and they plan to capture Mickey Mouse to plunge everyone into unhappiness.


title: Captain Hook

text: Occasionally, Hook appears in the Scrooge McDuck universe of comic books as the nemesis of Moby Duck, a whaler cousin of Donald Duck.


title: Captain Hook

text: In the "Kingdom Keepers" series book "Disney at Dawn" (2008), Captain Hook was snooping around Ariel's Grotto, having been sent by the Overtakers in investigate the meaning in Jess playing songs over the park speakers.


title: Captain Hook

text: In the "Descendants" franchise novels "Isle of the Lost" (2015) and its sequel "Rise of the Isle of the Lost" (2017), Captain Hook appears as one of the villains who live imprisoned on the titular island. He is also the father of Harriet (eldest daughter), Harry (middle son), and CJ (youngest daughter).


title: Captain Hook

text: Captain James Hook is played by Dustin Hoffman in "Hook". Hook kidnaps the children of the adult Peter to lure his arch-enemy back to Neverland and gives the middle-aged man three days to rekindle his spirit. Hook has been somewhat depressed since Peter Pan left Neverland to become Peter Banning (Robin Williams), and worries he has nothing left to accomplish; he has long since killed the crocodile and made a quiet clock tower out of its corpse. Despite killing the crocodile, he remains terrified of the sound of ticking clocks and has become increasingly paranoid of the crocodile coming back, often destroying clocks to cope. At Smee's suggestion, Hook attempts to persuade Peter's children that their father never loved them, in order to coerce them to stay in Neverland. He is successful with Jack, Peter's son, who soon sees Hook as the attentive father figure that Peter has never been, and Hook eventually sees Jack as a potential heir. Peter's daughter, Maggie, mistrusts Hook immediately and refuses to be swayed. Hook decides to hold Maggie hostage until Peter's failure to rescue her ruins her faith in him. This backfires when Peter and the Lost Boys rescue her immediately. Jack sees Hook stab Rufio to death in a duel and realises how much his father cares for the Lost Boys, rejecting the murderous Hook and embracing Peter once again. As Peter leaves the ship with his children and the Lost Boys, Hook orders him to come back. Maggie tells him off, stating Hook needs a mother to straighten his bad attitude. After Hook vows to kidnap future generations of children in Peter's family, Peter and Hook engage in a final duel amidst a circle of Lost Boys, Peter taunting Hook about the idea that the ticking clocks he fears are not reminders of the crocodile, but a reminder of time ticking away. After a close call where Tinker Bell deflects an attack with the hook, the crocodile clock tower seemingly comes to "life" and "eats" Hook when it falls on top of him.


title: Captain Hook

text: Hook's missing hand is his left and his stump takes other attachments, including a baseball mitt and a pointer. He dresses very elegantly in a gold-trimmed red coat, matching hat, and a wig that hides his balding head. He wears a ceremonial captain's sword at his side, but uses a proper duelling sword when fighting Rufio and Peter. Hook's physical appearance in the film is heavily influenced by Disney's portrayal, though with more elaborate clothing trim and his moustache is curled. He is closer to Barrie's characterisation as a gentleman pirate than in Disney's version, however; for instance, he frequently describes certain behaviours as "good form" or "bad form" (although he is willing to violate these rules when it suits him, such as trying to stab Peter in the back during their climatic duel). Hoffman claimed to have based the character's voice and mannerisms on conservative columnist William F. Buckley Jr.


title: Captain Hook

text: In the 2003 film adaptation of "Peter Pan", Captain Hook is portrayed by English actor Jason Isaacs, who also plays the role of George Darling, Wendy's father, following the tradition of the original play. Isaacs wears the hook on his right hand, supported by a shoulder harness. Hook is feared and ruthless, but also gentlemanly. In the climactic duel, he learns to fly, almost defeating Peter Pan, but the Lost Boys' taunts weaken the enthusiasm needed to fly, and he falls into the crocodile's mouth, accepting his fate.


title: Captain Hook

text: Geraldine McCaughrean's authorized sequel to "Peter Pan" gives Peter a new nemesis, while bringing back the old favourite.


title: Captain Hook

text: Ravello, a circus man in a constantly ragged woollen coat, offers Peter a servant and to ensure his well being in the search for the treasure. Ravello provides – through a red coat and a bad influence – that Peter Pan is increasingly in the direction of Captain Hook turns. He sees himself not as a living person, because he only eats eggs and no longer sleeps there. He is revealed in the middle of the book to be the old James Hook, who escaped the crocodile, when the muscle contractions of the stomach meant to crush and digest Hook, which broke the vial of poison Hook kept with him at all times. The poison killed the crocodile, and Hook used his hook to claw out, but he was mutated by the stomach acid, changing Hook to an uglier man. The scarred visage that emerged from the crocodile's stomach was not the noble pirate who went forthwith from the deck of the "Jolly Roger", but Ravello, the travelling man. Ravello has many animals in front: lions, bears, and tigers.


title: Captain Hook

text: Ravello gives another clue to his true identity when one of the Lost Boys asks Ravello his name: he thinks for a while as if trying to remember, and finally says the name his mother gave him was Crichton, but that names given by mothers don't mean anything.


title: Captain Hook

text: One of Ravello's trophies is an Eton trophy dated 1894. If Hook was 18 – the last year of an Etonian – in that year, then he was born in 1876, a full one-hundred and one years after his appearance at The Pirates' Conference [see below], and even further after the times of Blackbeard and Long John Silver. It must also be said that Hook in this book denies that he was ever with Blackbeard, claiming that he would never have served such an uneducated man and that all suggestions that he has are merely rumours started by his enemies. Only upon receiving Wendy's kiss, and five weeks' worth of sleep, does the real James Hook again reveal himself.


title: Captain Hook

text: According to the (2007 non-canon) novel "Capt. Hook: The Adventures of a Notorious Youth", Captain Hook was the illegitimate son of a nobleman, "Lord B", and an unnamed woman Hook has never met (implied to be the Queen). Disowned by Lord B., James Matthew is reared by a Shakespearean actress he calls Aunt Emily, and unwillingly attends Eton College as an Oppidan scholar, where he is an avid reader of Shakespeare and Shelley, and his motto is "Knowledge is Power". He describes many things as first-rate – "Topping Swank", and punctuates his sentences with "The End". He is very interested in the French Revolution.


title: Captain Hook

text: In the novel, James has only a few friends including Roger Peter Davies, whom he nicknames "Jolly Roger" (the name of his ship in later life), and the spider "Electra". A seventeen-year-old Colleger, Arthur Darling (named after Arthur Llewelyn Davies) is his rival in studies, fencing, sports, and the attentions of the visiting Ottoman Sultana Ananova Ariadne. When James successfully woos Ananova, their affection sets off political outrage that affects the noble position of Lord B., who arranges for James to leave Eton on his trading ship, the "Sea Witch". Upon leaving, James defeats Arthur in a final duel and burns his own school records to leave no traces of his behaviour. On the "Sea Witch", he befriends boatswain Bartholomew Quigley Smeethington, generally called Smee, frees the slaves aboard ship, overthrows the ship's captain (killed by Electra), and murders the quartermaster with a metal hook.


title: Captain Hook

text: Throughout "Capt. Hook", author J.V. Hart relates events in James Matthew Barrie's life and the lives of the Llewellyn Davies children. The narrative expands upon details of Barrie's original play and novel but ascribes James's unusual colouring and yellow blood to a blood disorder, makes James's long dark hair natural, rather than the usual wig, and has James titled "Hook" after murdering the quartermaster of the "Sea Witch", rather than in reference to his prosthetic hand.


title: Captain Hook

text: In the novel "Peter and the Starcatchers" by Dave Barry and Ridley Pearson, Captain Hook is distinguished by halitosis, beady black eyes, a pock-marked face, and perpetual filth of his person and surroundings contrasting strongly with J. M. Barrie's Etonian gentleman. The novel, which takes place before the Captain meets Peter Pan, calls Hook "Black Stache" for his prominent moustache, and his ship is called the "Sea Devil"; he captures the "Jolly Roger", originally a British ship called the "Wasp", later. Black Stache is renamed "Captain Hook" in the second instalment, "Peter and the Shadow Thieves". In Barry and Pearson's book, his left hand is accidentally cut off by Peter.


title: Captain Hook

text: In Rick Ellis' theatrical adaptation of the Barry-Pearson novel, Black Stache (portrayed in the original production by Christian Borle, who won a Tony Award for the role) is a witty, poetical, but psychotic pirate prone to malapropisms and the occasional pratfall. Similar to the Disney film character, Black Stache resembles both a dangerous villain and a comic buffoon. The last of a line of villains, he seeks to become a great villain by fighting a great hero, and finds one in Peter. His hand is cut off not by Peter, but accidentally severed when he slams the lid of a trunk in a fit of rage.


title: Captain Hook

text: In Leonard Bernstein's musical version, Boris Karloff starred as Mr. Darling/Captain Hook and Jean Arthur played Peter.


title: Captain Hook

text: Most notably, Cyril Ritchard played Captain Hook in the 1954 musical adaptation which starred Mary Martin as Peter Pan. George Rose played the role in the 1977 revival which featured Sandy Duncan as Pan.


title: Captain Hook

text: In 1989, the Japanese Nippon Animation produced 41 episodes of "Peter Pan – the Animated Series", aired on World Masterpiece Theater and in several other countries. Hook's personality was far closer to the original character from Barrie's novel. Apart from wanting to destroy Pan, he is also eager to become Neverland's first king. Hook has a second hook-hand that both looked and functioned like a crab claw.


title: Captain Hook

text: He is voiced by Chikao Ōhtsuka, who also portrayed the Disney incarnation of the character in Japanese media, particularly in "Kingdom Hearts" and "".


title: Captain Hook

text: In 1990, Fox produced the television series "Peter Pan and the Pirates", wherein Hook's costume was more early 18th century rather than the classic Charles II-Restoration period. He had white hair and wore black clothes. He was also clean-shaven, without a moustache. Hook's personality is closer to Barrie's original character: he terrifies his crew, brutalises his enemies, has no fear (except the crocodile), shows great intelligence, and is passionate about William Shakespeare's plays. He was voiced by Tim Curry, who won an Emmy for this part.


title: Captain Hook

text: In A. C. Crispin's 2011 novel "", Captain Hook appears in a conversation between Captain Teague and Pirate Lord Don Rafael: "You'll never guess who I encountered at Oporto a few months ago. [...] James. [...] He's lost a hand. [...]he said it wasn't so bad, the hook was as good as a dagger in a fight. [...] He didn't look a day older, not a day. [...] James was a lot more...subdued. [...] The taberna keeper's little lad came round to collect our plates, and when he turned and saw he, for just a second he looked—scared. No, worse than that. Terrified. [...] Can you imagine that? Afraid! Of a young boy!" One of the early concept arts for "" showed a pirate similar to Captain Hook as one of the Pirate Lords of the Fourth Brethren Court.


title: Captain Hook

text: Captain Hook is a minor character in the film "Shrek 2", playing "Little Drop of Poison" by Tom Waits and "People Just Ain't No Good" by Nick Cave and the Bad Seeds on the piano in the "Poisoned Apple" tavern. In "Shrek the Third", he has a greater role as a secondary villain and is voiced by Ian McShane.


title: Captain Hook

text: In the TV miniseries "Neverland", James Hook is played by Rhys Ifans. He is introduced as "Jimmy", a fencing teacher and leader of a small group of juvenile pickpockets including Peter Pan with whom he has developed a father-son relationship. Jimmy is seeking a mysterious orb, which Peter and his gang have discovered unbeknownst to him. In the course of the miniseries, it is revealed that he actually killed Peter's father because he was in love with Peter's mother, with the watch that Hook owns having once belonged to Peter's father; the watch is lost with Hook's hand in their final confrontation when the crocodile swallows both.


title: Captain Hook

text: During the film "Finding Neverland", a biopic about Peter Pan's creator James Matthew Barrie, James finds inspiration for the character of Captain Hook from Sylvia's strict mother as she is holding a coat hanger to one of Sylvia's boys. James envisions the hook in place of the left hand.


title: Captain Hook

text: Captain Hook appears as a regular character in the TV series "Once Upon a Time". He made his first appearance in the second-season episode "The Crocodile". The character is played by Colin O'Donoghue.


title: Captain Hook

text: Hook is born Killian Jones, who becomes captain of the Jolly Roger after his brother's death. His hand is cut off by the dark trickster Rumpelstiltskin as revenge for Hook running away with his wife. In order to find a way to kill Rumplestiltskin, Hook travels to Neverland, where he spends over 100 years before escaping back to the Enchanted Forest. Hook teams up with Cora, the Queen of Hearts, and they travel to the Land Without Magic after the curse is broken.


title: Captain Hook

text: Alongside other inflatable villains such as Lord Voldemort, the Queen of Hearts, Cruella de Vil, and The Child Catcher, Captain Hook made an appearance during the opening ceremony of the XXX Olympiad in London, representing one of the villains of British children's literature.


title: Captain Hook

text: Christopher Walken plays Captain Hook in the musical production "Peter Pan Live!" which was broadcast live by NBC in December 2014. Compared to the 1954 musical on which it was based, this show sought to "strengthen and deepen" the portrayal of Captain Hook. Hook and his pirate crew perform songs from the original musical, such as "Hook's Tango", in addition to new songs such as "Vengeance" and "Only Pretend".


title: Captain Hook

text: In this animated prequel, Tom Hiddleston voices a younger pirate named James who starts as a crew member of a ship captained by Zarina, a young fairy who steals blue pixie dust from Tinker Bell's home tree and turns pirate to pursue her alchemical experiments with pixie dust after being pushed away by the home tree's conservative leadership. As the story progresses, it becomes clear that James will one day become Captain Hook.


title: Captain Hook

text: In this prequel, Garrett Hedlund portrays a younger James Hook, one of the main protagonists, who teams up with Peter Pan to escape Blackbeard's mines in Neverland and joins forces with the native tribe. Although initially only interested in leaving Neverland, Hook is attracted to Tiger Lily (Rooney Mara) and assists her and Peter in the final confrontation in the fairy kingdom. At the film's conclusion, he joins Peter and Tiger Lily in rescuing other children from Peter's old orphanage back in London. Hook in this film is different from the original character, and is portrayed as a pioneer-era American without any connection with Eton, Blackbeard, or piracy in general.


title: Captain Hook

text: Hook is played by David Gyasi in the 2020 movie "Come Away" as CJ, a ruthless pawnbroker and crime lord who is also the son of the Mad Hatter, the paternal uncle of Alice and Peter Pan, and the paternal great-uncle of the Darling children, Wendy, Michael and John.


title: Bhagavata Purana

text: The Bhagavata Purana (; ), also known as the Srimad Bhagavatam, Srimad Bhagavata Mahapurana or simply Bhagavata, is one of Hinduism's eighteen great Puranas ("Mahapuranas"). Composed in Sanskrit by Veda Vyasa, it promotes "bhakti" (devotion) towards Krishna, integrating themes from the Advaita (monism) philosophy of Adi Shankara, the Vishishtadvaita (qualified monism) of Ramanujacharya and the Dvaita (dualism) of Madhvacharya. It is widely available in almost all Indian languages.


title: Bhagavata Purana

text: The "Bhagavata Purana", like other puranas, discusses a wide range of topics including cosmology, astronomy, genealogy, geography, legend, music, dance, yoga and culture. As it begins, the forces of evil have won a war between the benevolent "devas" (deities) and evil "asuras" (demons) and now rule the universe. Truth re-emerges as Krishna, (called "Hari" and "Vāsudeva" in the text) – first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and happiness – a cyclic theme that appears in many legends.


title: Bhagavata Purana

text: The "Bhagavata Purana" is a revered text in Vaishnavism, a Hindu tradition that reveres Vishnu. The text presents a form of religion ("dharma") that competes with that of the Vedas, wherein "bhakti" ultimately leads to self-knowledge, salvation ("moksha") and bliss. However the "Bhagavata Purana" asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil. An oft-quoted verse (1.3.40) is used by some Krishna sects to assert that the text itself is Krishna in literary form.


title: Bhagavata Purana

text: The date of composition is probably between the eighth and the tenth century CE, but may be as early as the 6th century CE. Manuscripts survive in numerous inconsistent versions revised through the 18th century creating various recensions both in the same languages and across different Indian languages.


title: Bhagavata Purana

text: The text consists of twelve books ("skandhas") totalling 332 chapters ("adhyayas") and 18,000 verses. The tenth book, with about 4,000 verses, has been the most popular and widely studied. It was the first "Purana" to be translated into a European language as a French translation of a Tamil version appeared in 1788 and introduced many Europeans to Hinduism and 18th-century Hindu culture during the colonial era.


title: Bhagavata Purana

text: 'Bhagavata Purana' can be translated as 'the history of the devotees of Vishnu'. 'Srimad Bhagavatam' can be translated as 'the glorious devotees of Vishnu'.


title: Bhagavata Purana

text: The 18,000 verses of the Srimad Bhagavatam consist of several interconnected, interwoven, and non-linear dialogues, teachings, and explanations espousing Bhakti Yoga that go back and forth in time and across its twelve cantos:


title: Bhagavata Purana

text: A unique and especial emphasis is placed on fostering transcendental loving devotion to Krishna as the ultimate good, i.e. for its own sake rather than for fruitive results or rewards such as detachment or worldly or heavenly gains, a practice known as Bhakti Yoga:


title: Bhagavata Purana

text: As detailed in the Matsya Mahapurana, all Puranas must cover at least five specific subjects or topics - referred to in Sanskrit as "Pancha Lakshana" (literally meaning 'consisting of five characteristics' - in addition to other information including specific deities and the four aims or goals of life. From the K.L. Joshi (editor) translation:


title: Bhagavata Purana

text: A sattvic Vaishnava Mahapurana (‘great purana’), the Srimad Bhagavatam adds another five characteristics, expanding this list to ten. From the J.M. Sanyal translation:


title: Bhagavata Purana

text: The Bhagavata further elaborates on the differences between lesser and greater Puranas possessing five or ten characteristics, respectively. From the "Disciples" of Swami Prabhupada / BBT translation:


title: Bhagavata Purana

text: Although the number of original Sanskrit shlokas is stated to be 18,000 by the Bhagavata itself - and by other Puranas such as the Matsya mahapurana - the number of equivalent verses when translated into other languages varies, even between translations into the same language and based on the same manuscript The English translation by Bibek Debroy (BD), for example, contains 78 more verses than the English translation by A.C. Bhaktivedanta Swami Prabhupada / BBT, despite likely being based on the same manuscript:


title: Bhagavata Purana

text: In his discussion on the issue of varying numbers of verses in translations of the Srimad Bhagavatam, Debroy states:


title: Bhagavata Purana

text: Contrary to the western cultural tradition of novelty, poetic or artistic license with existing materials is a strong tradition in Indian culture, a "'tradition of several hundred years of linguistic creativity"'. There are variations of original manuscripts available for each Purana, including the Srimad Bhagavatam. The common manuscript for translations of the Bhagavata Purana - seemingly used by both Swami Prabhupada and Bibek Debroy- is the "Bhāgavatamahāpurāṇam" (Nag Publishers, Delhi), a reprint of Khemraj Shri Krishnadas' manuscript (Venkateshvara Press, Bombay). In regards to variances in Puranic manuscripts, academic Dr. Gregory Bailey states:


title: Bhagavata Purana

text: "The Bhāgavata" "[Śrīmad Bhāgavata Mahāpurāṇa]: Critical Edition", edited by H. G. Shastri, et al., 4 vols. in 6 parts, Ahmedabad: B. J. Institute of Learning and Research, 1996-2002 (vol. 1, skandhas 1-3, ed. by H. G. Shastri, 1996; vol. 2, skandhas 4-6, ed. by Bharati K. Shelat, 1999; vol. 3, skandhas 7-9, ed. respectively by H. G. Shastri, B. K. Shelat, and K. K. Shastree, 1998; vol. 4, part 1, skandha 10, ed. by K. K. Shastree, 1997; vol. 4, part 2, skandhas 11-12, ed. by K. K. Shastree, 1998; vol. 4, part 3, Epilogue, by K. K. Shastree, 2002).


title: Bhagavata Purana

text: According to the "Bhagavata Purana" itself, it was spoken to Parikshit about 5,000 years ago and was recited and chanted by devotees up until to the present day. Academics estimate the date of composition is probably around the sixth century CE, but may be as early as the 1st century BCE. Manuscripts survive in numerous, inconsistent versions revised through the 18th century, creating various recensions both in the same languages and across different Indian languages.


title: Bhagavata Purana

text: All tables provided apply to all complete translations of the Bhagavata Purana. All tables can also be sorted by column title.


title: Bhagavata Purana

text: The table below is primarily based on the avatars listed in Canto 1, Chapter 3 (SB 1.3) and Canto 2, Chapter 7 (SB 2.7) of the Srimad Bhagavatam (SB). The number given in parenthesis "()" after a name indicates the order of incarnation as stated in Canto 1. Note that:


title: Bhagavata Purana

text: The table below does not include devotee avatars of Vishnu such as Narada, Kapila, or Prthu. Devotees featured or appearing repeatedly throughout the scripture are marked with "--" in the Canto column.


title: Bhagavata Purana

text: Many demons (villains) are mentioned throughout the Srimad Bhagavatam; cantos listed concern their primary (or only) appearances and/or descriptions. This table is not exhaustive.


title: Bhagavata Purana

text: For ease of reference, synopses of cantos cite the complete 18-volume A.C. Bhaktivedanta Swami Prabhupada / Bhaktivedanta Book Trust (BBT) translation of the Srimad Bhagavatam, available at the Bhaktivedanta Vedabase. It also provides original Sanskrit verses, transliterations, synonyms, and purports. Other translations of quoted verses have also been provided for comparison. The "non-exhaustive" overviews given apply to all complete translations.


title: Bhagavata Purana

text: Consisting of 19 chapters, the first canto opens with an invocation to Krishna and the assertion that the Srimad Bhagatavam, compiled by Vyasadeva, is sufficient alone to realise God. The overarching narration begins at the onset of Kali Yuga as a dialogue between Sukadeva Gosvami (the son of Vyasadeva) and a group of sages headed by Saunaka, as they perform a thousand-year sacrifice for Krishna and his devotees in the forest of Naimisaranya. Questioned by the sages, topics covered by Suta Gosvami include the:


title: Bhagavata Purana

text: Consisting of 10 chapters, the second canto opens with an invocation to Krishna. The second layer of overarching narration begins as a dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river (narrated by Sukadeva Gosvami to a group of sages headed by Saunaka in the forest of Naimisaranya). Questioned by Pariksit, the topics covered by Suta Gosvami include the:


title: Bhagavata Purana

text: Consisting of 33 chapters, the third canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Vidura, the sudra incarnation of Yama and devotee of Krishna, is the main protagonist narrated. After being thrown out of his home by King Dhritarashtra (his older half-brother) for admonishing the Kaurava's ignoble behaviour towards the Pandavas, Vidura went on a pilgrimage where he met other devotees of Krishna such as Uddhava and the sage Maitreya; their dialogues form a third layer of narration. Topics covered by Sukadeva Gosvami, Uddhava, and Maitreya include the:


title: Bhagavata Purana

text: Consisting of 31 chapters, the fourth canto continues the dialogues of Sukadeva Gosvami, Uddhava, and Maitreya. There are additional layers of dialogue, such as between the sage-avatar Narada and King Pracinabharhisat (as narrated by Maitreya to Vidura). Focusing on the female descendants of Svayambhuva Manu, topics covered include the:


title: Bhagavata Purana

text: Consisting of 26 chapters, the fifth canto focuses on the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between the avatar Rsabha and his sons, and between Bharata and King Rahugana (the former was perceived as a fool and made to carry the latter's palanquin). Topics covered include the:


title: Bhagavata Purana

text: Consisting of 19 chapters, the sixth canto continues with the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between Yama and his messengers (called the "Yamadatas"). With the main focus on the battles of the demon-devotee Vrtrasura and his armies against the demigods led by Indra, as well as the life of King Citraketu, topics covered include the:


title: Bhagavata Purana

text: Consisting of 15 chapters, the seventh canto continues with the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between Narada and Yudhishthira about Prahlada, the devotee-son of the demon-King Hiranyakasipu (brother of Hiranyaksa, destroyed by the Varaha avatar in the third canto; the demonic brothers are incarnations of Jaya and Vijaya). Prahlada, protected by Krishna, survives multiple attempts to kill him until the arrival of the Nrsimha avatar to destroy his father, who could not be killed by any weapon, by any man or beast, or in the water, air, or on land. Topics covered include the:


title: Bhagavata Purana

text: Consisting of 24 chapters, the eighth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between the Vamana avatar and King Bali about the demon-King Hiranyakasipu. Topics covered include the:


title: Bhagavata Purana

text: In 7th chapter of eighth canto mentioned Lord Shiva is also non different from Brahman. He is supreme ruler of the universe and the eternal refugee of all living beings.


title: Bhagavata Purana

text: Consisting of 24 chapters, the ninth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. With no notable additional layers of dialogue, the primary focus is upon the male dynasties of various ruling figures (the female sides are covered in the fourth canto). Topics covered include the:


title: Bhagavata Purana

text: Consisting of 90 chapters, the tenth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue all involve the "lila" (divine play) of the supreme and transcendental Krishna avatar. Thus focusing on the appearance and pastimes of Krishna, topics covered include the:


title: Bhagavata Purana

text: The largest canto with 4,000 verses, the tenth canto is also the most popular and widely studied part of the Bhagavata. It has also been translated, commented on, and published separately from the rest of the Srimad Bhagavatam. A. C. Bhaktivedanta Swami Prabhupada stated this canto is distinct from the others, albeit while warning against studying it before reading the previous nine:


title: Bhagavata Purana

text: Consisting of 31 chapters, the eleventh canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between Narada and Vasudeva, and between Krishna and Uddhava (and in turn, other dialogues such as that between the Hamsa (swan) avatar and Brahma). Topics covered include the:


title: Bhagavata Purana

text: Containing the final teachings of Krishna to His devotee Uddhava, the eleventh canto is also referred to as the 'Uddhava Gita' or 'Hamsa Gita'. Like the tenth canto, it has also been translated and published separately, usually as a companion or 'sequel' to the Bhagavad Gita. 'Hamsa' means 'swan' or 'spirit', and:


title: Bhagavata Purana

text: Consisting of 13 chapters, the twelfth and final canto completes the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river, and ends with the overarching dialogue between Sukadeva Gosvami and the group of sages led by Saunaka, at the forest of Naimisaranya. Focusing on prophecies and signs of Kali Yuga, topics covered in this canto include the:


title: Bhagavata Purana

text: While Bhakti Yoga and Dvaita Vedanta are the prominent teachings, states T. S. Rukmani, various passages show a synthesis that also includes Samkhya, Yoga, Vedanta, and Advaita Vedanta.


title: Bhagavata Purana

text: Cutler states the Bhagavata is among the most important texts on bhakti, presenting a fully developed teaching that originated with the Bhagavad Gita. Bryant states that while classical yoga attempts to shut down the mind and senses, Bhakti Yoga in the Bhagavata teaches that the mind is transformed by filling it with thoughts of Krishna.


title: Bhagavata Purana

text: Matchett states that in addition to various didactic philosophical passages the Bhagavata also describes one of the activities that can lead to liberation ("moksha") as listening to, reflecting on the stories of, and sharing devotion for Krishna with others. Bhakti is depicted in the Purana, adds Matchett, as both an overpowering emotion as well as a way of life that is rational and deliberately cultivated.


title: Bhagavata Purana

text: Surendranath Dasgupta describes the theistic Samkhya philosophy taught by Kapila in the Bhagavata as the dominant philosophy in the text.


title: Bhagavata Purana

text: Sheridan points out that in the Third Canto, Kapila is described as an avatar of Vishnu, born as the son of the sage Kardama Muni, in order to share the knowledge of self-realization and liberation with his mother, Devahuti; in the Eleventh Canto, Krishna also teaches Samkhya to Uddhava, describing the world as an illusion, and the individual as dreaming, even while in the waking state. Krishna expounds Samhkhya and Yoga as the way of overcoming the dream, with the goal being Krishna Himself.


title: Bhagavata Purana

text: Sheridan also states that the treatment of Samkhya in the Bhagavata is also changed by its emphasis on devotion, as does Dasgupta, adding it is somewhat different from other classical Samkhya texts.


title: Bhagavata Purana

text: Kumar Das and Sheridan state that the Bhagavata frequently discusses a distinctly advaitic or non-dualistic philosophy of Shankara. Rukmani adds that the concept of moksha is explained as "Ekatva" (Oneness) and "Sayujya" (Absorption, intimate union), wherein one is completely lost in Brahman (Self, Supreme Being, one's true nature). This, states Rukmani, is proclamation of a 'return of the individual soul to the Absolute and its merging into the Absolute', which is unmistakably advaitic. The Bhagavata Purana is also stated to parallel the non-duality of Adi Shankara by Sheridan. As an example:


title: Bhagavata Purana

text: Scholars describe this philosophy as built on the foundation of non-dualism in the Upanishads, and term it as "Advaitic Theism". This term combines the seemingly contradictory beliefs of a personal God that can be worshiped with a God that is immanent in creation and in one's own self. God in this philosophy is within and is not different from the individual self, states Sheridan, and transcends the limitations of specificity and temporality. Sheridan also describes Advaitic Theism as a "both/and" solution for the questions of whether God is transcendent or immanent, and credits the Bhāgavata with a 'truly creative religious moment' for introducing this philosophy. The text suggests that God Vishnu and the soul (atman) in all beings is one in quality (nirguna).


title: Bhagavata Purana

text: Bryant states that the monism in Bhagavata Purana is certainly built on Vedanta foundations, but not exactly the same as the monism of Adi Shankara. The Bhagavata asserts, according to Bryant, that the empirical and the spiritual universe are both metaphysical realities, and manifestations of the same Oneness, just like heat and light are "real but different" manifestations of sunlight.


title: Bhagavata Purana

text: Kurmas Das states the Bhagavata Purana conceptualizes a form of Dharma that competes with that of the Vedas, suggesting that Bhakti ultimately leads to Self-knowledge, Moksha (salvation) and bliss. The earliest mention of bhakti is found in the Shvetashvatara Upanishad verse 6.23, but scholars such as Max Muller state that the word Bhakti appears only once in this Upanishad; and that being in one last verse of the epilogue it could be a later addition, and that the context suggests that it is a panentheistic idea and not theistic.


title: Bhagavata Purana

text: Scholarly consensus sees bhakti as a post-Vedic movement that developed primarily during the Puranas era of Indian history. The Bhagavata Purana develops the Bhakti concept more elaborately, states Cutler, proposing "worship without ulterior motive and with kind disposition towards all" as Dharma. T.R. Sharma states the text includes in its scope intellectual and emotional devotion as well as Advaita Vedanta ideas.


title: Bhagavata Purana

text: The text does not subscribe, states Gupta and Valpey, to context-less "categorical notions of justice or morality", but suggests that "Dharma depends on context". They add that in a positive or neutral context, ethics and moral behavior must be adhered to; and when persistently persecuted by evil, anything that reduces the strength of the "evil and poisonous circumstances" is good. That which is motivated by, furthers, and enables bhakti is the golden standard of Dharma.


title: Bhagavata Purana

text: Sarma states that the Bhagavata Purana describes all steps of yoga practice, and characterizes yoga as bhakti, asserting that the most important aspect is the spiritual goal. According to Sarma and Rukmani, the text dedicates numerous chapters to yoga, such as Canto 10 (chapter 11), which begins with a declaration that Siddhi results from concentrating one's mind on Krishna, adding this substitutes the concept of a "personal god" in the Yogasutras of Patanjali, and contrasts with Patanjali's view that Siddhi is considered powerful but an obstacle to Samadhi.


title: Bhagavata Purana

text: In other chapters of the text, Rukmani states, Śuka describes different meditations on aspects of Krishna, in a way that is similar to the Yoga Sutras of Patanjali. However, adds Bryant, the Bhagavata Purana recommends the object of concentration as Krishna, thus folding in yoga as a form of bhakti and the "union with the divine". Bryant describes the synthesis of ideas in Bhagavata Purana as:


title: Bhagavata Purana

text: Sheridan as well as Pintchman affirm Bryant's view, adding that the Vedantic view emphasized in the Bhagavata is non-dualist, as described within a reality of plural forms.


title: Bhagavata Purana

text: The source of many popular stories of Krishna's pastimes for centuries in the Indian subcontinent, the Bhagavata Purana is widely recognized as the best-known and most influential of the "Puranas," and as a part of Vedic literature "("the Puranas, Itihasa epics, and Upanishads) is referred to as the "Fifth Veda". It is important in Indian religious literature for its emphasis on the practice of devotion compared to the more theoretical approach of the Bhagavad Gita, for challenging the ritualism of the Vedas, and for its extended description of a God in human form.


title: Bhagavata Purana

text: The stories in the Bhagavata Purana are also the legends quoted by one generation to the next in Vaishnavism, during annual festivals such as Holi and Diwali.


title: Bhagavata Purana

text: The International Society for Krishna Consciousness (ISKCON) celebrates the promise of Canto 12, Chapter 13, Verse 13 by distributing sets of Srimad Bhagavatam leading up to the full-moon day of the month of Bhādra (Bhādra Purnima) in India and around the world. "Disciples" of Swami Prabhupada translation:


title: Bhagavata Purana

text: The Bhagavata has played a significant role in the emergence of the Krishna-bhakti (Gaudiya Vaishnavism) movement of Lord Chaitanya (1486–1534 CE), in Bengal. The scriptural basis for the belief that Lord Chaitanya is an avatar of Krishna is found in verses such as the following ("Disciples" of Swami Prabhupada translation):


title: Bhagavata Purana

text: Chaitanya is commonly referred to as 'Gauranga' in regards to His golden complexion (as detailed in the Gauranga article, the Sanskrit word 'ākṛṣṇaṁ' means 'not blackish' and 'golden'), and is most notable for popularising the Hare Krishna maha-mantra. In regards to not being explicitly named as an avatar (unlike others such as Kalki) in the Bhagavata, this is also explained (Swami Prabhupada translation):


title: Bhagavata Purana

text: The key word in this verse in regards to Krishna incarnating in the age of Kali Yuga is 'channaḥ' ("S"anskrit छन्न")," which means ' hidden', 'secret', or 'disguised'. In Gaudiya Vaishnavism, Chaitanya is accepted as a hidden avatar of Krishna that appeared in the age of Kali (also known as 'the Iron Age' and 'the age of quarrel') as His own devotee to show the easiest way to achieve Krishna Consciousness. Modern Gaudiya movements such as the Gaudiya Math (established by Bhaktisiddhanta Sarasvati in 1920) and others established by disciples of Bhaktisiddhanta Sarasvati, such as the International Society for Krishna Consciousness (by A.C. Bhaktivedanta Prabhupada in 1966) and the Sri Chaitanya Saraswat Math (by Bhakti Rakshak Sridhar in 1941), trace their disciplic lineages back directly to Lord Chaitanya.


title: Bhagavata Purana

text: In the 15th–16th century Ekasarana Dharma in Assam, a panentheistic tradition whose proponents, Sankardeva and Madhavdeva, acknowledge that their theological positions are rooted in the "Bhagavata Purana", purged of doctrines that find no place in Assamese Vaishnavism and adding a monist commentary instead.


title: Bhagavata Purana

text: In northern and western India the "Bhagavata Purana" has influenced the "Hari Bhakti Vilasa" and "Haveli"-style Krishna temples found in Braj region near Mathura-Vrindavan. The text complements the Pancharatra Agama texts of Vaishnavism. While the text focuses on Krishna "Lord Narayana (Vishnu) himself appears and explains how Brahma and Shiva should never be seen as independent and different from him". The sixth book includes the feminine principle as "Shakti", or goddess Devi, conceptualizing her as the "energy and creative power" of the masculine yet a manifestation of a sexless Brahman, presented in a language suffused with Hindu monism.


title: Bhagavata Purana

text: The fifth canto of the "Bhagavata Purana" is significant for its inclusion of legends about the first Tirthankara of Jainism, Rishabha, as an avatar of Vishnu. Further, his father Nabhi is mentioned as one of the Manus and his mother Marudevi also finds a mention. It further mentions the 100 sons of Rishabha including Bharata. While homage to Shakyamuni Buddha is included in by declaring him as an avatar of Vishnu, the interpretation of Buddhism-related stories in the Purana range from honor to ambivalence to polemics wherein prophecies predict some will distort and misrepresent the teachings of the Vedas, and attempt to sow confusion. According to T. S. Rukmani, the Bhagavata Purana is also significant in asserting that Yoga practice is a form of Bhakti.


title: Bhagavata Purana

text: The Bhagavata Purana played a key role in the history of Indian theatre, music, and dance, particularly through the tradition of "Ras" and "Leela". These are dramatic enactments about Krishna's pastimes. Some of the text's legends have inspired secondary theatre literature such as the eroticism in Gita Govinda. While Indian dance and music theatre traces its origins to the ancient Sama Veda and Natyasastra texts, the "Bhagavata Purana" and other Krishna-related texts such as "Harivamsa" and "Vishnu Purana" have inspired numerous choreographic themes.


title: Bhagavata Purana

text: Many '"Ras"' plays dramatise episodes related in the "Rasa Panchadhyayi" ("Five chapters of the Celestial Dance"; Canto 10, Chapters 29–33) of the "Bhagavatam". The "Bhagavatam" also encourages theatrical performance as a means to propagate the faith (BP 11.11.23 and 36, 11.27.35 and 44, etc.), and this has led to the emergence of several theatrical forms centred on Krishna all across India. Canto 10 of "Bhagavatam" is regarded as the inspiration for many classical dance styles such as Kathak, Odissi, Manipuri and Bharatnatyam. Bryant summarizes the influence as follows,


title: Bhagavata Purana

text: The Bhagavata Purana is one of the most commented texts in Indian literature. There is a saying in Sanskrit - vidyā bhāgavatāvadhi - Bhāgavatam is the limit of one's learning. Hence throughout the centuries it attracted a host of commentators from all schools of Krishna worshippers. Over eighty medieval era "Bhāṣya" (scholarly reviews and commentaries) in Sanskrit alone are known, and many more commentaries exist in various Indian languages. The oldest exegetical commentary presently known is "Tantra-Bhagavata" from the Pancaratra school. Other commentaries include:


title: Bhagavata Purana

text: The "Bhagavata" has been rendered into various Indian and non-Indian languages. A version of it is available in almost every Indian language, with forty translations alone in the Bengali language. From the eighteenth century onwards, the text became the subject of scholarly interest and Victorian disapproval, with the publication of a French translation followed by an English one. The following is a partial list of translations:


title: Temple in Jerusalem

text: The Temple in Jerusalem, or alternatively the Holy Temple (; , ), refers to the two now-destroyed religious structures that served as the central places of worship for Israelites and Jews on the modern-day Temple Mount in the Old City of Jerusalem. According to the Hebrew Bible, the First Temple was built in the 10th century BCE, during the reign of Solomon over the United Kingdom of Israel. It stood until , when it was destroyed during the Babylonian siege of Jerusalem. Almost a century later, the First Temple was replaced by the Second Temple, which was built after the Neo-Babylonian Empire was conquered by the Achaemenid Persian Empire. While the Second Temple stood for a longer period of time than the First Temple, it was likewise destroyed during the Roman siege of Jerusalem in 70 CE.


title: Temple in Jerusalem

text: Projects to build the hypothetical "Third Temple" have not come to fruition in the modern era, though the Temple in Jerusalem still features prominently in Judaism. Today, the Temple Mount is the site of the Dome of the Rock and Al-Aqsa Mosque, with the latter having a high level of significance as the third-holiest site in Islam.


title: Temple in Jerusalem

text: The Hebrew name given in the Hebrew Bible for the building complex is either "Mikdash" (), as used in Exodus, or simply "Bayt" / "Beit Adonai" (), as used in 1 Chronicles.


title: Temple in Jerusalem

text: In rabbinic literature, the temple sanctuary is "Beit HaMikdash" (), meaning, "The Holy House", and only the Temple in Jerusalem is referred to by this name. In classic English texts, however, the word "Temple" is used interchangeably, sometimes having the strict connotation of the Temple precincts, with its courts (), while at other times having the strict connotation of the Temple Sanctuary (). While Greek and Hebrew texts make this distinction, English texts do not always do so.


title: Temple in Jerusalem

text: Jewish rabbi and philosopher Moses Maimonides gave the following definition of "Temple" in his "Mishne Torah" (Hil. "Beit Ha-Bechirah"):


title: Temple in Jerusalem

text: They are enjoined to make, in what concerns it (i.e. the building of the Temple), a holy site and an inner-sanctum, and where there is positioned in front of the holy site a certain place that is called a 'Hall' (). The three of these places are called 'Sanctuary' (). They are [also] enjoined to make a different partition surrounding the Sanctuary, distant from it, similar to the screen-like hangings of the court that were in the wilderness. All that which is surrounded by this partition, which, as noted, is like the court of the Tabernacle, is called 'Courtyard' (), whereas all of it together is called 'Temple' () [].


title: Temple in Jerusalem

text: The Hebrew Bible says that the First Temple was built by King Solomon, completed in 957 BCE. According to the Book of Deuteronomy, as the sole place of Israelite "korban" (sacrifice), the Temple replaced the Tabernacle constructed in the Sinai under the auspices of Moses, as well as local sanctuaries, and altars in the hills. This Temple was sacked a few decades later by Shoshenq I, Pharaoh of Egypt.


title: Temple in Jerusalem

text: Although efforts were made at partial reconstruction, it was only in 835 BCE when Jehoash, King of Judah, in the second year of his reign invested considerable sums in reconstruction, only to have it stripped again for Sennacherib, King of Assyria c. 700 BCE. The First Temple was totally destroyed in the Siege of Jerusalem by the Neo-Babylonian Empire in 586 BCE.


title: Temple in Jerusalem

text: According to the Book of Ezra, construction of the Second Temple was called for by Cyrus the Great and began in 538 BCE, after the fall of the Neo-Babylonian Empire the year before. According to some 19th-century calculations, work started later, in April 536 BCE (), and was completed on the 21st of February, 515 BCE, 21 years after the start of the construction. This date is obtained by coordinating Ezra 3:8–10 (the third day of Adar, in the sixth year of the reign of Darius the Great) with historical sources. The accuracy of these dates is contested by some modern researchers, who consider the biblical text to be of later date and based on a combination of historical records and religious considerations, leading to contradictions between different books of the Bible and making the dates unreliable. The new temple was dedicated by the Jewish governor Zerubbabel. However, with a full reading of the Book of Ezra and the Book of Nehemiah, there were four edicts to build the Second Temple, which were issued by three kings: Cyrus in 536 BCE (Ezra ch. 1), Darius I of Persia in 519 BCE (ch. 6), and Artaxerxes I of Persia in 457 BCE (ch. 7), and finally by Artaxerxes again in 444 BCE (Nehemiah ch. 2).


title: Temple in Jerusalem

text: According to classical Jewish sources, another demolition of the Temple was narrowly avoided in 332 BCE when the Jews refused to acknowledge the deification of Alexander the Great of Macedonia, but Alexander was placated at the last minute by astute diplomacy and flattery. After the death of Alexander on 13 June 323 BCE, and the dismembering of his empire, the Ptolemies came to rule over Judea and the Temple. Under the Ptolemies, the Jews were given many civil liberties and lived content under their rule. However, when the Ptolemaic army was defeated at Panium by Antiochus III of the Seleucids in 200 BCE, this policy changed. Antiochus wanted to Hellenise the Jews, attempting to introduce the Greek pantheon into the temple. Moreover, a rebellion ensued and was brutally crushed, but no further action by Antiochus was taken, and when Antiochus died in 187 BCE at Luristan, his son Seleucus IV Philopator succeeded him. However, his policies never took effect in Judea, since he was assassinated the year after his ascension. Antiochus IV Epiphanes succeeded his older brother to the Seleucid throne and immediately adopted his father's previous policy of universal Hellenisation. The Jews rebelled again and Antiochus, in a rage, retaliated in force. Considering the previous episodes of discontent, the Jews became incensed when the religious observances of Sabbath and circumcision were officially outlawed. When Antiochus erected a statue of Zeus in their temple and Hellenic priests began sacrificing pigs (the usual sacrifice offered to the Greek gods in the Hellenic religion), their anger began to spiral. When a Greek official ordered a Jewish priest to perform a Hellenic sacrifice, the priest (Mattathias) killed him. In 167 BCE, the Jews rose up en masse behind Mattathias and his five sons to fight and won their freedom from Seleucid authority. Mattathias' son Judah Maccabee, now called "The Hammer", re-dedicated the temple in 165 BCE and the Jews celebrate this event to this day as the central theme of the non-biblical festival of Hanukkah. The temple was rededicated under Judah Maccabee in 164 BCE.


title: Temple in Jerusalem

text: During the Roman era, Pompey entered (and thereby desecrated) the Holy of Holies in 63 BCE, but left the Temple intact. In 54 BCE, Crassus looted the Temple treasury.


title: Temple in Jerusalem

text: Around 20 BCE, the building was renovated and expanded by Herod the Great, and became known as Herod's Temple. It was destroyed by the Romans in 70 CE during the Siege of Jerusalem. During the Bar Kokhba revolt against the Romans in 132–135 CE, Simon bar Kokhba and Rabbi Akiva wanted to rebuild the Temple, but bar Kokhba's revolt failed and the Jews were banned from Jerusalem (except for Tisha B'Av) by the Roman Empire. The emperor Julian allowed the Temple to be rebuilt, but the Galilee earthquake of 363 ended all attempts ever since.


title: Temple in Jerusalem

text: After the Muslim conquest of Jerusalem in the 7th century, Umayyad Caliph Abd al-Malik ibn Marwan ordered the construction of an Islamic shrine, the Dome of the Rock, on the Temple Mount. The shrine has stood on the mount since 691 CE; the Jami Al-Aqsa, from roughly the same period, also stands in what used to be the Temple courtyard.


title: Temple in Jerusalem

text: Archaeological excavations have found remnants of both the First Temple and Second Temple. Among the artifacts of the First Temple are dozens of ritual immersion or baptismal pools in this area surrounding the Temple Mount, as well as a large square platform identified by architectural archaeologist Leen Ritmeyer as likely being built by King Hezekiah c. 700 BCE as a gathering area in front of the Temple.


title: Temple in Jerusalem

text: Concrete finds from the Second Temple include the Temple Warning inscriptions and the Trumpeting Place inscription, two surviving pieces of the Herodian expansion of the Temple Mount. The Temple Warning inscriptions forbid the entry of pagans to the Temple, a prohibition also mentioned by the 1st century CE historian Josephus. These inscriptions were on the wall that surrounded the Temple and prevented non-Jews from entering the temple's courtyard. The Trumpeting Place inscription was found at the southwest corner of Temple Mount, and is believed to mark the site where the priests used to declare the advent of Shabbat and other Jewish holidays.


title: Temple in Jerusalem

text: Ritual objects used in the temple service were carried off and many are likely located in museum collections, in particular, that of the Vatican Museums.


title: Temple in Jerusalem

text: There are three main theories as to where the Temple stood: where the Dome of the Rock is now located, to the north of the Dome of the Rock (Professor Asher Kaufman), or to the east of the Dome of the Rock (Professor Joseph Patrich of the Hebrew University).


title: Temple in Jerusalem

text: The exact location of the Temple is a contentious issue, as questioning the exact placement of the Temple is often associated with Temple denial. Since the Holy of Holies lay at the center of the complex as a whole, the Temple's location is dependent on the location of the Holy of Holies. The location of the Holy of Holies was even a question less than 150 years after the Second Temple's destruction, as detailed in the Talmud. Chapter 54 of the Tractate Berakhot states that the Holy of Holies was directly aligned with the Golden Gate, which would have placed the Temple slightly to the north of the Dome of the Rock, as Kaufman postulated. However, chapter 54 of the Tractate Yoma and chapter 26 of the Tractate Sanhedrin assert that the Holy of Holies stood directly on the Foundation Stone, which agrees with the traditional view that the Dome of the Rock stands on the Temple's location.


title: Temple in Jerusalem

text: In the case of the last and most elaborate structure, the Herodian Temple, the structure consisted of the wider Temple precinct, the restricted Temple courts, and the Temple building itself:


title: Temple in Jerusalem

text: According to the Talmud, the Women's Court was to the east and the main area of the Temple to the west. The main area contained the butchering area for the sacrifices and the Outer Altar on which portions of most offerings were burned. An edifice contained the "ulam" (antechamber), the "hekhal" (the "sanctuary"), and the Holy of Holies. The sanctuary and the Holy of Holies were separated by a wall in the First Temple and by two curtains in the Second Temple. The sanctuary contained the seven branched candlestick, the table of showbread and the Incense Altar.


title: Temple in Jerusalem

text: The main courtyard had thirteen gates. On the south side, beginning with the southwest corner, there were four gates:


title: Temple in Jerusalem

text: The Hall of Hewn Stones (Hebrew: לשכת הגזית "Lishkat haGazit"), also known as the Chamber of Hewn Stone, was the meeting place, or council-chamber, of the Sanhedrin during the Second Temple period (6th century BCE – 1st century CE). The Talmud deduces that it was built into the north wall of the Temple in Jerusalem, half inside the sanctuary and half outside, with doors providing access both to the temple and to the outside. The chamber is said to have resembled a basilica in appearance, having two entrances: one in the east and one in the west.


title: Temple in Jerusalem

text: On the east side was the Gate of Nicanor, between the Women's Courtyard and the main Temple Courtyard, which had two minor doorways, one on its right and one on its left. On the western wall, which was relatively unimportant, there were two gates that did not have any name.


title: Temple in Jerusalem

text: The Mishnah lists concentric circles of holiness surrounding the Temple: Holy of Holies; Sanctuary; Vestibule; Court of the Priests; Court of the Israelites; Court of the Women; Temple Mount; the walled city of Jerusalem; all the walled cities of the Land of Israel; and the borders of the Land of Israel.


title: Temple in Jerusalem

text: The Talmud speaks also of important presents which Queen Helena of Adiabene gave to the Temple at Jerusalem. "Helena had a golden candlestick made over the door of the Temple," to which statement is added that when the sun rose its rays were reflected from the candlestick and everybody knew that it was the time for reading the Shema'. She also made a golden plate on which was written the passage of the Pentateuch which the Kohen read when a wife suspected of infidelity was brought before him. In the Jerusalem Talmud, tractate Yoma iii. 8 the candlestick and the plate are confused.


title: Temple in Jerusalem

text: The Temple was the place where offerings described in the course of the Hebrew Bible were carried out, including daily morning and afternoon offerings and special offerings on Sabbath and Jewish holidays. Levites recited Psalms at appropriate moments during the offerings, including the Psalm of the Day, special psalms for the new month, and other occasions, the Hallel during major Jewish holidays, and psalms for special sacrifices such as the "Psalm for the Thanksgiving Offering" (Psalm 100).


title: Temple in Jerusalem

text: As part of the daily offering, a prayer service was performed in the Temple which was used as the basis of the traditional Jewish (morning) service recited to this day, including well-known prayers such as the Shema, and the Priestly Blessing. The Mishna describes it as follows:


title: Temple in Jerusalem

text: Seder Kodashim, the fifth order, or division, of the Mishnah (compiled between 200 and 220 CE), provides detailed descriptions and discussions of the religious laws connected with Temple service including the sacrifices, the Temple and its furnishings, as well as the priests who carried out the duties and ceremonies of its service. Tractates of the order deal with the sacrifices of animals, birds, and meal offerings, the laws of bringing a sacrifice, such as the sin offering and the guilt offering, and the laws of misappropriation of sacred property. In addition, the order contains a description of the Second Temple (tractate Middot), and a description and rules about the daily sacrifice service in the Temple (tractate Tamid).


title: Temple in Jerusalem

text: In the Babylonian Talmud, all the tractates have Gemara – rabbinical commentary and analysis – for all their chapters; some chapters of Tamid, and none on Middot and Kinnim. The Jerusalem Talmud has no Gemara on any of the tractates of Kodashim.


title: Temple in Jerusalem

text: The Talmud (Yoma 9b) describes traditional theological reasons for the destruction: "Why was the first Temple destroyed? Because the three cardinal sins were rampant in society: idol worship, licentiousness, and murder… And why then was the second Temple – wherein the society was involved in Torah, commandments and acts of kindness – destroyed? Because gratuitous hatred was rampant in society."


title: Temple in Jerusalem

text: Part of the traditional Jewish morning service, the part surrounding the Shema prayer, is essentially unchanged from the daily worship service performed in the Temple. In addition, the Amidah prayer traditionally replaces the Temple's daily "tamid" and special-occasion "Mussaf" (additional) offerings (there are separate versions for the different types of sacrifices). They are recited during the times their corresponding offerings were performed in the Temple.


title: Temple in Jerusalem

text: The Temple is mentioned extensively in Orthodox services. Conservative Judaism retains mentions of the Temple and its restoration, but removes references to the sacrifices. References to sacrifices on holidays are made in the past tense, and petitions for their restoration are removed. Mentions in Orthodox Jewish services include:


title: Temple in Jerusalem

text: The destruction of the Temple is mourned on the Jewish fast day of Tisha B'Av. Three other minor fasts (Tenth of Tevet, 17th of Tammuz, and Third of Tishrei), also mourn events leading to or following the destruction of the Temple. There are also mourning practices which are observed at all times, for example, the requirement to leave part of the house unplastered.


title: Temple in Jerusalem

text: The Temple Mount, along with the entire Old City of Jerusalem, was captured from Jordan by Israel in 1967 during the Six-Day War, allowing Jews once again to visit the holy site. Jordan had occupied East Jerusalem and the Temple Mount immediately following Israel's declaration of independence on May 14, 1948. Israel officially unified East Jerusalem, including the Temple Mount, with the rest of Jerusalem in 1980 under the Jerusalem Law, though United Nations Security Council Resolution 478 declared the Jerusalem Law to be in violation of international law. The Jerusalem Islamic Waqf, based in Jordan, has administrative control of the Temple Mount.


title: Temple in Jerusalem

text: According to Matthew 24:2, Jesus predicts the destruction of the Second Temple. This idea, of the Temple as the body of Christ, became a rich and multi-layered theme in medieval Christian thought (where Temple/body can be the heavenly body of Christ, the ecclesial body of the Church, and the Eucharistic body on the altar).


title: Temple in Jerusalem

text: The Temple Mount bears significance in Islam as it acted as a sanctuary for the Hebrew prophets and the Israelites. Islamic tradition says that a temple was first built on the Temple Mount by Solomon, the son of David. After the destruction of the second temple, it was rebuilt by the second Rashidun Caliph, Omar, which stands until today as Al-Aqsa Mosque. Traditionally referred to as the "Farthest Mosque" ("al-masjid al-aqṣa' " literally "utmost site of bowing (in worship)" though the term now refers specifically to the mosque in the southern wall of the compound which today is known simply as "al-haram ash-sharīf" "the noble sanctuary"), the site is seen as the destination of Muhammad's Night Journey, one of the most significant events recounted in the Quran and the place of his ascent heavenwards thereafter ("Mi'raj"). Muslims view the Temple in Jerusalem as their inheritance, being the followers of the last prophet of God and believers in every prophet sent, including the prophets Moses and Solomon. To Muslims, Al-Aqsa Mosque is not built on top of the temple, rather, it is the Third Temple, and they are the true believers who worship in it, whereas Jews and Christians are disbelievers who do not believe in God's final prophets Jesus and Muhammad.


title: Temple in Jerusalem

text: In Islam, Muslims are encouraged to visit Jerusalem and pray at Al-Aqsa Mosque. There are over forty hadith about Al-Aqsa Mosque and the virtue of visiting and praying in it, or at least sending oil to light its lamps. In a hadith compiled by Al-Tabarani, Bayhaqi, and Suyuti, the Prophet Muhammad said, "A prayer in Makkah (Ka’bah) is worth 1000,000 times (reward), a prayer in my mosque (Madinah) is worth 1,000 times and a prayer in Al-Aqsa Sanctuary is worth 500 times more reward than anywhere else." Another hadith compiled by imams Muhammad al-Bukhari, Muslim, and Abu Dawud expounds on the importance of visiting the holy site. In another hadith the prophet Muhammad said, "You should not undertake a special journey to visit any place other than the following three Masjids with the expectations of getting greater reward: the Sacred Masjid of Makkah (Ka’bah), this Masjid of mine (the Prophet’s Masjid in Madinah), and Masjid Al-Aqsa (of Jerusalem)."


title: Temple in Jerusalem

text: According to Seyyed Hossein Nasr, professor of Islamic Studies at George Washington University, Jerusalem (i.e., the Temple Mount) has the significance as a holy site/sanctuary ("haram") for Muslims primarily in three ways, the first two being connected to the Temple. First, Muhammad (and his companions) prayed facing the Temple in Jerusalem (referred to as ""Bayt Al-Maqdis"", in the Hadiths) similar to the Jews before changing it to the Kaaba in Mecca sixteen months after arriving in Medina following the verses revealed (Sura 2:144, 149–150). Secondly, during the Meccan part of his life, he reported to have been to Jerusalem by night and prayed in the Temple, as the first part of his otherworldly journey (Isra and Mi'raj).


title: Temple in Jerusalem

text: Imam Abdul Hadi Palazzi, leader of Italian Muslim Assembly, quotes the Quran to support Judaism's special connection to the Temple Mount. According to Palazzi, "The most authoritative Islamic sources affirm the Temples". He adds that Jerusalem is sacred to Muslims because of its prior holiness to Jews and its standing as home to the biblical prophets and kings David and Solomon, all of whom he says are sacred figures in Islam. He claims that the Quran "expressly recognizes that Jerusalem plays the same role for Jews that Mecca has for Muslims".


title: Temple in Jerusalem

text: Ever since the Second Temple's destruction, a prayer for the construction of a Third Temple has been a formal and mandatory part of the thrice-daily Jewish prayer services. However, the question of whether and when to construct the Third Temple is disputed both within the Jewish community and without; groups within Judaism argue both for and against construction of a new Temple, while the expansion of Abrahamic religion since the 1st century CE has made the issue contentious within Christian and Islamic thought as well. Furthermore, the complicated political status of Jerusalem makes reconstruction difficult, while Al-Aqsa Mosque and the Dome of the Rock have been constructed at the traditional physical location of the Temple.


title: Temple in Jerusalem

text: In 363 CE, the Roman emperor Julian had ordered Alypius of Antioch to rebuild the Temple as part of his campaign to strengthen non-Christian religions. The attempt failed, with contemporary accounts mentioning divine fire falling from Heaven but also perhaps due to sabotage, an accidental fire, or an earthquake in Galilee.


title: Temple in Jerusalem

text: The Book of Ezekiel prophesies what would be the Third Temple, noting it as an eternal house of prayer and describing it in detail.


title: Temple in Jerusalem

text: A journalistic depiction of the controversies around the Jerusalem Temple was presented in the 2010 documentary "Lost Temple" by Serge Grankin. The film contains interviews with religious and academic authorities involved in the issue. German journalist Dirk-Martin Heinzelmann, featured in the film, presents the point of view of Prof. Joseph Patrich (the Hebrew University), stemming from the underground cistern mapping made by Charles William Wilson (1836–1905).


title: Mitsubishi Lancer Evolution X

text: The Mitsubishi Lancer Evolution X is the tenth and final generation of the Lancer Evolution, a sports sedan produced by Japanese manufacturer Mitsubishi Motors.


title: Mitsubishi Lancer Evolution X

text: By September 2005, Mitsubishi introduced a concept version of the next-gen Evolution at the 39th Tokyo Motor Show named the Concept-X, designed by Omer Halilhodžić at the company's European design centre.


title: Mitsubishi Lancer Evolution X

text: Mitsubishi unveiled a second concept car, the Prototype-X, at the 2007 North American International Auto Show (NAIAS).


title: Mitsubishi Lancer Evolution X

text: The Lancer Evolution X sedan features a 4B11T 2.0L (1998cc) turbocharged, all-aluminium inline-4 "GEMA" engine. Power and torque depend on the market but all versions have at least . (JDM version), the American market version has slightly more. The UK models were reworked by Mitsubishi UK, in accordance with previous MR Evolutions bearing the FQ badge. Options for the UK Evolutions are and .


title: Mitsubishi Lancer Evolution X

text: Two versions of the car are offered in the U.S. The Lancer Evolution MR, with 6-speed Twin Clutch Sportronic Shift Transmission (TC-SST). The other version is the GSR which has a 5-speed manual transmission system. The car also has a new full-time four-wheel drive system named S-AWC (Super All Wheel Control), an advanced version of Mitsubishi's AWC system used in previous generations. The S-AWC uses torque vectoring technology to send different amounts of torque to the rear wheels.