document_title: The Grapes of Wrath (film)

question_text: who played tom joad in grapes of wrath

question_tokens: who played tom joad in grapes of wrath

text: The Grapes of Wrath (film)

text: Plot[edit]

text: The film opens with Tom Joad (Henry Fonda), released from prison and hitchhiking his way back to his parents' family farm in Oklahoma. Tom finds an itinerant ex-preacher named Jim Casy (John Carradine) sitting under a tree by the side of the road. Casy was the preacher who baptized Tom, but now Casy has "lost the spirit" and his faith. Casy goes with Tom to the Joad property only to find it deserted. There, they meet Muley Graves (John Qualen) who is hiding out. In a flashback, he describes how farmers all over the area were forced from their farms by the deed holders of the land. A local boy (Irving Bacon), hired for the purpose, is shown knocking down Muley's house with a Caterpillar tractor. The large Joad family of twelve leaves at daybreak, along with Casy, who decides to accompany them. They pack everything into a dilapidated 1926 Hudson "Super Six" sedan adapted to serve as a truck in order to make the long journey to the promised land of California.

text: The trip along Highway 66 is arduous, and it soon takes a toll on the Joad family. The elderly Grandpa (Charley Grapewin) dies along the way. Tom writes the circumstances surrounding the death on a page from the family Bible and places it on the body before they bury it so that if his remains were found, his death would not be investigated as a possible homicide. They park in a camp and meet a man, a migrant returning from California, who laughs at Pa's optimism about conditions in California. He speaks bitterly about his experiences in the West.

text: The family arrives at the first transient migrant campground for workers and finds the camp is crowded with other starving, jobless and desperate travelers. Their truck slowly makes its way through the dirt road between the shanty houses and around the camp's hungry-faced inhabitants. Tom says, "Sure don't look none too prosperous."

text: After some trouble with a so-called "agitator", the Joads leave the camp in a hurry. The Joads make their way to another migrant camp, the Keene Ranch. After doing some work in the fields, they discover the high food prices in the company store for meat and other products. The store is the only one in the area, by a long shot. Later they find a group of migrant workers are striking, and Tom wants to find out all about it. He goes to a secret meeting in the dark woods. When the meeting is discovered, Casy is killed by one of the camp guards. As Tom tries to defend Casy from the attack, he inadvertently kills the guard.

text: Tom suffers a serious wound on his cheek, and the camp guards realize it will not be difficult to identify him. That evening the family hides Tom under the mattresses of the truck just as guards arrive to question them; they are searching for the man who killed the guard. Tom avoids being spotted and the family leaves the Keene Ranch without further incident. After driving for a while, they have to stop at the top of a hill when the engine overheats due to a broken fan belt; they have little gas, but decide to try coasting down the hill to some lights. The lights are from a third type of camp: Farmworkers' Wheat Patch Camp (Weedpatch in the book), a clean camp run by the Department of Agriculture, complete with indoor toilets and showers, which the Joad children had never seen before.

text: Tom is moved to work for change by what he has witnessed in the various camps. He tells his family that he plans to carry on Casy's mission in the world by fighting for social reform. He leaves to seek a new world and to join the movement committed to social justice.

text: Tom Joad says:

text: I'll be all around in the dark. I'll be everywhere. Wherever you can look, wherever there's a fight, so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there. I'll be in the way guys yell when they're mad. I'll be in the way kids laugh when they're hungry and they know supper's ready, and when the people are eatin' the stuff they raise and livin' in the houses they build, I'll be there, too.

text: As the family moves on again, they discuss the fear and difficulties they have had. Ma Joad concludes the film, saying:

text: I ain't never gonna be scared no more. I was, though. For a while it looked as though we was beat. Good and beat. Looked like we didn't have nobody in the whole wide world but enemies. Like nobody was friendly no more. Made me feel kinda bad and scared too, like we was lost and nobody cared.... Rich fellas come up and they die, and their kids ain't no good and they die out, but we keep a-coming. We're the people that live. They can't wipe us out, they can't lick us. We'll go on forever, Pa, cos we're the people.

text: Cast[edit]

text:
Henry Fonda as Tom Joad
Jane Darwell as Ma Joad
John Carradine as Jim Casy
Charley Grapewin as William James "Grandpa" Joad
Dorris Bowdon as Rosasharn
Russell Simpson as Pa Joad
O. Z. Whitehead as Al Joad
John Qualen as Muley Graves
Eddie Quillan as Connie Rivers
Zeffie Tilbury as Grandma Joad
Frank Sully as Noah Joad
Frank Darien as Uncle John
Darryl Hickman as Winfield Joad
Shirley Mills as Ruth "Ruthie" Joad
Roger Imhof as Thomas
Grant Mitchell as Caretaker
Charles D. Brown as Wilkie
John Arledge as Davis
Ward Bond as Policeman
Harry Tyler as Bert
William Pawley as Bill
Charles Tannen as Joe
Selmer Jackson as Inspection Officer
Charles Middleton as Leader
Eddie Waller as Proprietor
Paul Guilfoyle as Floyd
David Hughes as Frank
Cliff Clark as City Man
Joseph Sawyer as Bookkeeper
Frank Faylen as Tim
Adrian Morris as Agent
Hollis Jewell as Muley's Son
Robert Homans as Spencer
Irving Bacon as Driver
Kitty McHugh as Mae
Tom Tyler as Deputy (uncredited)
Joe Bordeaux as Migrant (uncredited)

text: Novel[edit]

text: According to The New York Times, The Grapes of Wrath was the best-selling book of 1939 and 430,000 copies had been printed by February 1940.[4] In that month it won the National Book Award, favorite fiction book of 1939, voted by members of the American Booksellers Association.[4] Soon it won the Pulitzer Prize for Fiction.[5]

text: In 1962, the Nobel Prize committee cited The Grapes of Wrath as a "great work" and as one of the committee's main reasons for granting Steinbeck the Nobel Prize for Literature.[6] Time magazine included the novel in its "TIME 100 Best English-language Novels from 1923 to 2005".[7] In 2009, The Daily Telegraph also included the novel in its "100 novels everyone should read".[8] In 1998, the Modern Library ranked The Grapes of Wrath tenth on its list of the 100 best English-language novels of the 20th century.

text: Differences from the novel[edit]

text: The first part of the film follows the book fairly closely. However, the second half and the ending in particular are significantly different from the book. While the book ends with the downfall and break-up of the Joad family, the film switches the order of sequences so that the family ends up in a "good" camp provided by the government, and events turn out relatively well.[9]

text: The novel's original ending was considered far too controversial to be included in the film.[citation needed] In the novel, Rose-of-Sharon ("Rosasharn") Rivers (played in the film by Dorris Bowdon) gives birth to a stillborn baby. Later she offers her milk-filled breasts to a starving man, dying in a barn. These scenes were not included in the film.

text: While the film is somewhat stark, it has a more optimistic and hopeful view than the novel, especially when the Joads land at the Department of Agriculture camp – the clean camp.[citation needed] Also, the producers decided to tone down Steinbeck's political references, such as eliminating a monologue using a land owner's description of "reds" as anybody "that wants thirty cents an hour when we're payin' twenty-five," to show that under the prevalent conditions that definition applies to every migrant worker looking for better wages.

text: The film emphasizes Ma Joad's pragmatic, forward-looking way of dealing with their situation despite Tom's departure, as it concludes with her spiritual "We're the people" speech.[citation needed][10]

text: Ivy and Sairy Wilson, who attend to Grandpa's death and travel with the Joads until they reach California, are left out of the movie. Noah's departure from the family is passed over in the movie. Instead, he simply disappears without explanation. In the book, Floyd tells Tom about how the workers were being exploited, but in the movie he does not appear until after the deputy arrives in Hooverville. Sandry, the religious fanatic who scares Rose of Sharon, is left out of the movie.

text: Vivian Sobchack argued that the film uses visual imagery to focus on the Joads as a family unit, whereas the novel focuses on their journey as a part of the "family of man". She points out that their farm is never shown in detail, and that the family members are never shown working in agriculture; not a single peach is shown in the entire film. This subtly serves to focus the film on the specific family, as opposed to the novel's focus on man and land together.[11]

text: In the film, most family members are either reduced, such as Al, Noah and Uncle John, to background characters or, like Rose of Sharon and Connie, to being the focus of only one or two relatively minor scenes. Instead, the film is largely concerned with Tom, Ma and, to a lesser extent, Jim Casy. Thus, despite the film's focus on the Joads as a specific family rather than a part of the "family of man", the movie explores very little of the members of the family itself.

text: Soundtrack[edit]

text:
Henry Fonda – "Red River Valley"
Eddie Quillan – "Going Down the Road Feeling Bad" (Traditional)
"A Tisket, A Tasket" (Words & music by Ella Fitzgerald & Van Alexander)

text: Production[edit]

text: According to critic Roger Ebert, both executive producer Darryl F. Zanuck and director John Ford were odd choices to make this film because both were considered politically conservative.[12] Zanuck was nervous about the left-wing political views of the novel, especially the ending. Due to the red-baiting common to the era, Darryl Zanuck sent private investigators to Oklahoma to help him legitimize the film.

text: When Zanuck's investigators found that the "Okies'" predicament was indeed terrible, Zanuck was confident he could defend political attacks that the film was somehow pro-Communist.[13] Ebert believes that World War II also helped sell the film's message, as Communism received a brief respite from American demonizing during that period.[12]

text: Production on the film began on October 4, 1939, and was completed on November 16, 1939. Some of the filming locations include: McAlester, Sayre both in Oklahoma; Gallup, Laguna Pueblo, and Santa Rosa, all in New Mexico; Lamont, Needles, San Fernando Valley, all in California; Topock, Petrified Forest National Park, all in Arizona.[14]

text: The film score by Alfred Newman is based on the song "Red River Valley". Additionally, the song "Goin' Down The Road Feelin' Bad" is sung in a nighttime scene at a labor camp.

text: The film premiered in New York City on January 24, 1940, and Los Angeles on January 27, 1940. The wide release date in the United States was March 15, 1940.

text: Originally allowed to be shown in the Soviet Union in 1948 because of its depiction of the plight of people under capitalism, it was subsequently withdrawn because audiences were noticing that, as shown in the film, even the poorest Americans could afford a car.[15]

text: Reception[edit]

text: Critical response[edit]

text: Frank Nugent of The New York Times wrote:

text: In the vast library where the celluloid literature of the screen is stored there is one small, uncrowded shelf devoted to the cinema's masterworks, to those films which by dignity of theme and excellence of treatment seem to be of enduring artistry, seem destined to be recalled not merely at the end of their particular year but whenever great motion pictures are mentioned. To that shelf of screen classics Twentieth Century-Fox yesterday added its version of John Steinbeck's The Grapes of Wrath, adapted by Nunnally Johnson, directed by John Ford and performed at the Rivoli by a cast of such uniform excellence and suitability that we should be doing its other members an injustice by saying it was "headed" by Henry Fonda, Jane Darwell, John Carradine and Russell Simpson.[16]

text: When critic Bosley Crowther retired in 1967, he named The Grapes of Wrath one of the best fifty films ever made. (N.B.: 40 percent of the works Crowther named were not American-made, so he was placing this work in a large context.)[17]

text: In a film review written for Time magazine by its editor Whittaker Chambers, he separated his views of Steinbeck's novel from Ford's film, which he liked.

text: Chambers wrote:

text: But people who go to pictures for the sake of seeing pictures will see a great one. For The Grapes of Wrath is possibly the best picture ever made from a so-so book...Camera craft purged the picture of the editorial rash that blotched the Steinbeck book. Cleared of excrescences, the residue is a great human story which made thousands of people, who damned the novel's phony conclusions, read it. It is the saga of an authentic U.S. farming family who lose their land. They wander, they suffer, but they endure. They are never quite defeated, and their survival is itself a triumph.[18]

text: A review in Variety reported, "Here is outstanding entertainment, projected against a heart-rending sector of the American scene," concluding, "It possesses an adult viewpoint and its success may lead other producers to explore the rich field of contemporary life which films long have neglected and ignored."[19] John Mosher wrote in The New Yorker, "With a majesty never before so constantly sustained on any screen, the film never for an instant falters. Its beauty is of the sort found in the art of Burchfield, Benton and Curry, as the landscape and people involved belong to the world of these painters."[20]

text: The Film Daily year-end poll of 546 critics nationwide ranked The Grapes of Wrath as the second-best film of 1940, behind only Rebecca.[21]

text: Awards[edit]

text: Academy Awards wins (1941)[22]

text:
Best Supporting Actress, Jane Darwell as Ma Joad.
Best Director, John Ford.

text: Academy Awards nominations (1941)

text:
Best Actor in a Leading Role, Henry Fonda as Tom Joad.
Best Film Editing, Robert L. Simpson.
Best Picture, Darryl F. Zanuck and Nunnally Johnson.
Best Sound Recording, Edmund H. Hansen.
Best Writing Adapted Screenplay, Nunnally Johnson.

text: Other wins

text:
National Board of Review of Motion Pictures: NBR Award; Best Picture- 1940.
New York Film Critics: NYFCC Award; Best Director, John Ford; Best Film- 1940.
Blue Ribbon Awards, Japan: Blue Ribbon Award Best Foreign Language Film, John Ford- 1963.
National Film Registry – 1989.

text: American Film Institute recognition

text:
AFI's 100 Years... 100 Movies – #21
AFI's 100 Years... 100 Heroes and Villains:

Tom Joad – #12 Hero

AFI's 100 Years... 100 Movie Quotes:

"Wherever there's a fight so hungry people can eat, I'll be there." – Nominated

100 Years...100 Cheers – #7
100 Years...100 Movies (10th Anniversary) – #23

text: Video and DVD[edit]

text: A video of the film was released in 1988 by Key Video (then a division of CBS/Fox).

text: Later it was released in video format on March 3, 1998 by 20th Century Fox on its Studio Classic series.

text: A DVD was released on April 6, 2004 by 20th Century Fox Entertainment. The DVD contains a special commentary track by scholars Joseph McBride and Susan Shillinglaw. It also includes various supplements: an A&E Network biography of Daryl F. Zanuck, outtakes, a gallery, Franklin D. Roosevelt lauds motion pictures at Academy featurette, Movietone news: three drought reports from 1934, etc.


document_title: Tip of My Tongue

question_text: who sings it was right on the tip of my tongue

root

text: Tip of My Tongue

text:
"Tip of My Tongue"

Single by Tommy Quickly

B-side
"Heaven Only Knows"

Released
August 1963 (UK)

Format
7"

Recorded
1963

Genre
Beat

Label
Pye Piccadilly 7N 35137 (UK)

Songwriter(s)
Lennon-McCartney

Tommy Quickly singles chronology

"Tip of My Tongue"
(1963)
"Kiss Me Now"
(1963)

"Tip of My Tongue"
(1963)
"Kiss Me Now"
(1963)

tag: table

text:
"Tip of My Tongue"

Single by The Badbeats

B-side
"One and One Is Two"

Released
January 1979 (USA)

Format
7"

Recorded
27 December 1978

Genre
Power Pop

Label
Beat Bad Records1000 (USA)

Songwriter(s)
Lennon–McCartney

Producer(s)
Barry Knoedl & Bill Kern

text: "Tip of My Tongue" is a single by Tommy Quickly backed by The Remo Four. Written by Paul McCartney and attributed to the songwriting partnership of Lennon–McCartney, it was one of their relatively few songs that were never officially released by the Beatles. Several takes of this song were apparently recorded on 26 November 1962 at EMI Studios, although George Martin was dissatisfied with the results. This session has yet to emerge on any of the Beatles bootlegs.

tag: p

text: Surprisingly, although Quickly's version was released in the UK as Beatlemania was taking off, the single was a flop and proved merely the first of a series of career disappointments for the singer. "Tip of My Tongue" remains one of only two original A-sides written by Lennon–McCartney not to have at least made the UK charts upon its initial release; the other was Peter and Gordon's "I Don't Want to See You Again", which did at least chart in the US, peaking at #16.

text: Covers[edit]

text: "Tip of My Tongue" was also recorded by the Badbeats on Beat Bad Records (USA) in 1979. The single was backed with another Lennon–McCartney song, "One and One Is Two". This single was the first release for either of these songs in the USA.

text: Recordings of "Tip of My Tongue" as the Beatles may have performed it are available on the 1989 album by Bas Muys entitled Secret Songs: Lennon & McCartney[1][2] and on the 1998 release It's Four You by the Australian tribute band The Beatnix.[3][4] Liverpool band Revolver included this song on their album Northern Songs in 1990, an album full of songs written by the Beatles, but not released by them.

text: It has also been covered by Seattle-based Beatles cover band Apple Jam on their album Off the Beatle Track.

text: Notes[edit]

text:
Jump up ^ "Bas Muys, Lennon & McCartney Secret Songs (Vinyl)". Tagtuner.com. 2006-12-18. Retrieved 2011-08-21.
Jump up ^ "Bas Muys - Lennon & McCartney Secret Songs (Vinyl)". Gnudb.org. Retrieved 2011-08-21.
Jump up ^ "It's Four You". Answers.com. 1998-08-21. Retrieved 2011-08-21.
Jump up ^ "It's Four You". Amazon.com. Retrieved 2011-08-21.

tag: ol

text:
This article about a song by one or more members of the Beatles is a stub. You can help Wikipedia by expanding it.

v
t
e

text: 1963 singlesSongs written by Lennon–McCartneyPye Records singles1963 songsThe Beatles song stubs

tag: ul

text: All stub articles


document_title: List of water deities

question_text: who is the hawaiian god of the sea

question_tokens: who is the hawaiian god of the sea

text: List of water deities

text: Aztec mythology[edit]

text:
Tlaloc, god of thunder, rain, and earthquakes.
Chalchiuhtlicue, goddess of water, lakes, rivers, seas, streams, horizontal waters, storms, and baptism.
Huixtocihuatl, goddess of salt.
Opochtli, god of fishing.
Tlaloques, gods of drops.
Tlaloquetotontli, goddess of the rivers.

text: Ainu mythology[edit]

text:
Amemasu, monster in the lakes
Hoyau Kamui, or Oyau Kamui, Rapushinupurukuru, or Sakusomoai~epu, serpentine or dragon-like god with wings and stench (possessing both natures of evil god and guardian), master of Lake Tōya
Repun Kamui, god of the sea, often referring to orca

text: Armenian mythology[edit]

text:
Astghik, goddess of water sources
Tsovinar, goddess of seas and storms

text: Australian aboriginal mythology[edit]

text:
Eingana, mother of all
Rainbow Serpents, creators of dreamtime
Ungud, serpent god bring fortunes
Wirnpa, creator of rain
Yurlungur, the copper serpent

text: Benin mythology[edit]

text: Ezili, goddess of sweet water, beauty, and love

text: Canaanite mythology[edit]

text:
Lotan, sea monster
Yam (god), god of death for creatures in rivers and the sea

text: Celtic mythology[edit]

text:
Acionna (Gaulish) - a water goddess/genius loci of the Orleanais region and the Essonne
Belisama, goddess of lakes and rivers, fire, crafts and light
Boann - goddess of the River Boyne (Irish)
Condatis, (Gaulish) - god of the River Wear and healing
Danu (Dana) - goddess of the Danube (Celtic overlords ruled Germanic tribes before Rome attacked Gaul). Later her name was added to the Tuath Dé.
Dylan Eil Ton (Welsh)
Grannus, a god associated with spas, the sun, fires and healing thermal and mineral springs
Lí Ban (Irish), water goddess
Lir (Irish), god of the sea
Llŷr (Welsh), god of the sea
Manannán mac Lir (Irish), god of the sea
Nantosuelta, river goddess of fire, the earth, healing, and fertility [2]
Nodens, god associated with healing, the sea, hunting and dogs
Sinann (Irish), goddess of the River Shannon
Sequana (Gaulish), goddess of the River Seine

text: Chinese mythology[edit]

text:
Gonggong, red-haired dragon with the head of man, and water god who is responsible for the great floods, together with his associate, Xiang Yao
Mazu, water goddess and protector of seafarers
Hebo, God of the Yellow River
Longmu, Goddess of the Xijiang River in the Lingnan area
Ehuang & Nuying, Goddesses of the Xiang River
Tam Kung, sea deity worshiped in Hong Kong and Macau with the ability to forecast weather

text: Honorable Kings of the Water Immortals (Shuixian Zunwang)

text:
Yu the Great, tamer of China's Great Flood
Qu Yuan, Wu Zixu, and Xiang Yu, famous suicides lost in rivers
Han Ao or Lu Ban, the inventors

text: Dragon Kings of the Four Seas

text:
Ao Kuang, Dragon King of the Eastern Sea
Ao Qin, Dragon King of the Southern Sea
Ao Run, Dragon King of the Western Sea
Ao Shun, Dragon King of the Northern Sea

text: Dogon mythology[edit]

text: Nommos, amphibious spirits that are worshipped as ancestors

text: Egyptian mythology[edit]

text:
Hapi, God of the annual flooding of the Nile
Anuket, Goddess of the Nile, and nourisher of the fields
Nephthys, Goddess of rivers, death, mourning, the dead and night
Nu, uncreated God, personification of the primordial waters
Khnum, God of the Nile River
Satet, Goddess of the Nile River's floods
Sobek, God of the Nile river, depicted as a crocodile or a man with the head of a crocodile.
Tefnut, Goddess of water, moisture and fertility.
Osiris, God of the dead and afterlife. Originally god of water and vegetation.

text: Fon/Ewe mythology[edit]

text:
Agwé, a sea loa
Mami Wata, a water loa
Clermeil, a river loa
Pie, a lake and river loa

text: Fijian mythology[edit]

text:
Daucina, god of seafaring
Dakuwaqa, a shark god

text: Finnish mythology[edit]

text:
Ahti, god of the depths and fish
Iku-Turso, a malevolent sea monster
Vedenemo, a goddess of water
Vellamo, the wife of Ahti, goddess of the sea, lakes and storms.

text: Greek mythology[edit]

text:
Aegaeon, god of violent sea storms and ally of the Titans
Achelous, Greek river god
Akheilos, shark-shaped sea spirit
Alpheus, river god in Arcadia
Amphitrite, sea goddess and consort of Poseidon
Anapos, water god of eastern Sicily
Brizo, goddess of sailors
Carcinus, a giant crab who allied itself with the Hydra against Heracles. When it died, Hera placed it in the sky as the constellation Cancer
Ceto, goddess of the dangers of the ocean and of sea monsters
Charybdis, a sea monster and spirit of whirlpools and the tide
Cymopoleia, a daughter of Poseidon and goddess of giant storm waves
Delphin, the leader of the dolphins, Poseidon placed him in the sky as the constellation Delphinus
Doris, goddess of the sea's bounty and wife of Nereus
Eidothea, prophetic sea nymph and daughter of Proteus
Electra, an Oceanid, consort of Thaumas
Eurybia, goddess of the mastery of the seas
Galene (Γαλήνη), goddess of calm seas
Glaucus, the fisherman's sea god
Gorgons, three monstrous sea spirits

Stheno
Euryale
Medusa

The Graeae, three ancient sea spirits who personified the white foam of the sea; they shared one eye and one tooth between them
The Harpies, winged spirits of sudden, sharp gusts of wind
Hippocampi, the horses of the sea
The Ichthyocentaurs, a pair of centaurine sea-gods with the upper bodies of men, the lower fore-parts of horses, ending in the serpentine tails of fish

Bythos
Aphros

Ladon, a one hundred-headed sea serpent who guarded the western reaches of the sea, and the island and golden apples of the Hesperides
Leucothea, a sea goddess who aided sailors in distress
Nerites, watery consort of Aphrodite and/or beloved of Poseidon
Nereus, the old man of the sea, and the god of the sea's rich bounty of fish
Nymphs

Naiades, fresh water nymphs
Nereides, sea nymphs
Oceanides, Ocean water nymphs

Oceanus, Titan god of the Earth-encircling river Okeanos, the font of all the Earth's fresh-water
Pan, Patron God of fishing
Palaemon, a young sea god who aided sailors in distress
Phorcys, god of the hidden dangers of the deep
Pontus, primeval god of the sea, father of the fish and other sea creatures
Poseidon, Olympian God of the Oceans and king of the sea gods; also god of rivers, storms, flood and drought, earthquakes, and horses. He controlled every aspect of the seas. His Roman equivalent is Neptune.
Potamoi, deities of rivers, fathers of Naiads, brothers of the Oceanids, and as such, the sons of Oceanus and Tethys.
Proteus, a shape-shifting, prophetic old sea god, and the herdsman of Poseidon's seals
Psamathe, goddess of sand beaches
Scylla, a Nereid metamorphosed into a sea monster
The Sirens, three sea nymphs who lured sailors to their death with their song
The Telchines, sea spirits native to the island of Rhodes; the gods killed them when they turned to evil magic
Tethys, Titan goddess of the sources fresh-water, and the mother of the rivers (Potamoi), springs, streams, fountains and clouds
Thalassa, primordial goddess of the sea
Thaumas, god of the wonders of the sea and father of the Harpies and the rainbow goddess Iris
Thetis, leader of the Nereids who presided over the spawning of marine life in the sea, mother of Achilles
Triteia, daughter of Triton and companion of Ares
Triton, fish-tailed son and herald of Poseidon
Tritones, fish-tailed spirits in Poseidon's retinue
Σέργιο, god of the frogs and amphibians, often taking a frog form himself when on Earth

text: Hawaiian mythology[edit]

text:
Kanaloa or Tangaroa, god of the ocean and magics and underworld with forms of cephalopod
Kamohoalii, shark god
Nāmaka, sea goddess
Ukupanipo, shark god who controls the amount of fish close enough for the fisherman to catch

text: Hittite mythology[edit]

text: Illuyanka, dragon of the ocean

text: Hindu/Vedic mythology[edit]

text:
Apam Napat, god of fresh water, such as in rivers and lakes
Apah, god of fresh water, such as in rivers and lakes
Ap, group of water goddesses
Danu, goddess of primordial waters, mother of Vritra and the Danavas
Dewi Danu Goddess Danu of the lake and waters of life, Balinese Hinduism
Ganga goddess of the Ganges river and purity.
Makara, mystical creature of waters
Samundra, goddess of seas
Sarasvati, goddess of knowledge and Sarasvati river
Tapti, goddess of Tapti river
Varuna, god of the water and the celestial ocean
Yami, goddess of Yamuna river

text: Igbo mythology[edit]

text:
Idemili, a river alusi
Ogbuide, a lake alusi
Urashi, a river alusi
Oboshi river goddess

text: Incan mythology[edit]

text:
Pariacaca, god of water and rainstorms
Paricia, god who sent a flood to kill humans who did not respect him adequately

text: Inuit mythology[edit]

text:
Aipaloovik, an evil sea god associated with death and destruction
Alignak, a lunar deity and god of weather, water, tides, eclipses, and earthquakes
Arnapkapfaaluk, a fearsome sea goddess
Idliragijenget, god of the ocean
Nootaikok, god who presided over icebergs and glaciers
Sedna, goddess of the sea

text: Japanese mythology[edit]

text:
Ebisu, god of fortunes and fishery, often being referred to marine megafaunas such as whales and whale sharks (hence being also called "Ebisu-shark")[3][4]
Hanzaki Daimyojin, gigantic Japanese giant salamander and master of the water
Kuraokami, one of Suijin
Mizuchi, Japanese dragon and sea god
Miwa Myojin or Omononushi-no-kami, serpentine deity of waters
Ōhoyamatsumi, god of mountains, sea and war
Ryūjin or Watatsumi, Japanese dragon and tutelary deity of the sea
Suijin, Shinto god of water
Sumiyoshi sanjin, god of ocean and sailing
Susanoo, Shinto god of storms and the sea
Watatsumi, dragon king and ocean god
Yamata no Orochi, serpentine monster but also regarded as an incarnation of violent river

text: Korean mythology[edit]

text:
Imoogi or Imugi, giant serpents of Korean folklore which later become true dragons
King Munmu, a king who wished to become a dragon before his death to protect Korea from the East Sea
Dragon King, an undersea deity believed to determine the fortunes of fishermen and sailors

text: Kyrgyz mythology[edit]

text:
Martuv, river goddess
Presno, god of storms

text: Lithuanian mythology[edit]

text:
Atrimpas, god of the sea and water
Bangpūtys, god of sea and storm
Divytis, deified hero of fishermen's legends
Dugnė, nymph goddess of rivers
Ežerinis, god of lakes
Gardaitis, spirit of ships and sailors
Juratė, goddess of the sea
Laumė, goddess of wild spaces, including waters
Lietuvonis, god of rain
Neris, nymph goddess of the Neris River
Neringa, goddess of seacoasts
Upinė, goddess of rivers and water springs
Upinis Dievas, god of rivers

text: Luganda mythology[edit]

text: Sezibwa, goddess of the Sezibwa River

text: Lusitanian mythology[edit]

text:
Bandua, theonym associated with fountains
Duberdicus, god of the sea and rivers
Durius, personification of the Douro river

text: Māori mythology[edit]

text:
Ikatere, a fish god, the father of all the sea creatures including mermaids
Rongomai, a whale god.
Taniwha, deities or monsters (often take forms resembling to dragons)
Tangaroa, god of the sea
Tohora (Maori name for southern right whales), the great whale who saved legendary hero Paikea, famously known as the Whale Rider, (also the Maori name for humpback whales) from drowning and carried him to land. This led to the creation of New Zealand.

text: Mayan mythology[edit]

text: Chaac, god of rain

text: Mesopotamian mythology[edit]

text:
Amathaunta, goddess of the ocean
Abzu, god of fresh water, father of all other gods
Asherah, Mother goddess whose title is "She Who Walks Upon the Sea"
Enbilulu, god of rivers and canals
Enki, god of water and of the River Tigris
Marduk, god associated with water, vegetation, judgment, and magic
Nammu, goddess of the primeval sea
Nanshe, goddess of Persian Gulf, social justice, prophecy, fertility and fishing
Sirsir, god of mariners and boatmen
Tiamat, goddess of salt water and chaos, also mother of all gods

text: Micronesian mythology[edit]

text: Latmikaik, ocean goddess in the region of micronesia

text: Native American mythology[edit]

text:
Ktchi at'husis and Weewilmekq, giant serpents or leeches in [[>Mi'kmaq people|Mi'kmaq]] lore
Also, in Native Choctaw [5] (Origin: Mississippi, Removal to: Oklahoma) has Sinti Holo. Sinti Holo is a giant, horned serpent. He who sees this creature in times of fasting or pain, will be granted spiritual gifts.

text: Norse/Germanic mythology[edit]

text:
Ægir, personification of the sea
Nine Daughters of Ægir, who personify the characteristics of waves
Mímir, god of the spring of Mímisbrunnr, which gives the drinker wisdom, from which Odin sacrificed an eye to drink
Rán, sea goddess of death who collects the drowned in a net
Njord, god of the sea, particularly of seafaring
Nehalennia, goddess of the North Sea
Nerthus, goddess of lakes, springs, and holy waters
Nix, water spirits who usually appear in human form
Sága, goddess in the form of a waterfall
Freyr, god of rain, sunlight, fertility, life, and summer
Tiddy Mun, a bog deity once worshipped in Lincolnshire, England who had the ability to control floods
Father Thames, personification of the River Thames in England

text: Persian/Zoroastrian mythology[edit]

text:
Anahita, the divinity of 'the Waters' (Aban) and hence associated with fertility, healing and wisdom.
Tishtrya, Zoroastrian benevolent divinity associated with life-bringing rainfall and fertility.
Haurvatat, the Amesha Spenta associated with water, prosperity, and health in post-Gathic Zoroastrianism
Ahurani, Ahurani is a water goddess from ancient Persian mythology. She watches over rainfall as well as standing water. She was invoked for health, healing, prosperity, and growth. She is either the wife or the daughter of the great god of creation and goodness, Ahura Mazda. Her name means "She who belongs to Ahura".

text: Philippine mythology[edit]

text:
Amanikable, ill- tempered god of the sea
Haik, another god of the sea
Amansinaya, god of fishermen
Sirena, mermaid
Siyokoy, merman
Magwayen, goddess of the sea and death
Lidagat, second goddess of the sea. Known as the daughter of Magwayen

text: Physiologus[edit]

text: Aspidochelone, colossal sea monster

text: Pirate lore[edit]

text: Davy Jones, the Devil of the seas

text: Roman mythology[edit]

text:
Fontus, god of wells and springs
Juturna, goddess of fountains, wells, and springs
Neptune, King of the sea. Greek counterpart: Poseidon
Salacia, Neptune's queen
Tiberinus, the genius of the river Tiber.
Volturnus, god of the waters
Coventina, Goddess of a sacred spring at Carrawburgh, on Hadrian's Wall

text: Shilluk mythology[edit]

text: Nyakaio, river goddess

text: Slavic mythology[edit]

text:
Nepra, river goddess of the Dneiper River
Omutnitsa, river goddess
Czar Morskoy, god of the sea
Vodyaanoi, water demon who lived in lakes and rivers
Rusalki, female ghosts, water nymphs, succubi or mermaid-like demons that dwell in waterways.
Veles, god of earth, waters, and the underworld
Perepllut (rus. Переплу́т), god of alcohol and rivers
Mokosh, moistness, lady of waters, goddess of moisture
Mati-syra-zemla, moist mother, also the earth goddess
Sur-mumy, mother of the river
Viz-Anya, water mother (Hungarian - Finno-Ugraic)
Viz-Leany, water maiden (Hungarian - Finno-Ugraic)
Vu-ava, water woman
Vut-kuva, wataer grandmother
Ziimarzla, snow goddess

text: Island Nations mythology[edit]

text:
Agunua, serpentine god of the sea of Solomon Islands
Ayida-Weddo, serpentine spirit among several island nations

text: Taíno mythology[edit]

text: Atabey (goddess), Mother goddess of fresh water and fertility. Female counterpart of the god Yúcahu.

text: Tonga mythology[edit]

text: Nyami Nyami, a river spirit of the BaTonga of Zambia and Zimbabwe

text: Yoruba mythology[edit]

text:
Yemoja, an ocean orisha
Oshun, a river orisha
Olokun, an ocean orisha

text: Vietnamese mythology[edit]

text:
Lạc Long Quân, legendary ancestor of Vietnamese people.
Cá Ông (Vietnamese name for blue whales, also dolphins and whale sharks in some cases), king of the sea and patron of fishermen.

text: Viking lore[edit]

text: Raudkembingur, a demonic whale with red hair


document_title: White Heat

question_text: who said made it ma top of the world

question_tokens: who said made it ma top of the world

text: White Heat

text: Plot[edit]

text: Arthur "Cody" Jarrett is a ruthless, psychotic criminal and leader of the Jarrett gang. Although married to Verna, he is overly attached to his equally crooked and determined mother, "Ma" Jarrett, his only true confidante.

text: Cody and his gang rob a mail train in the Sierra Nevada, resulting in the deaths of four bystanders. With the help of informants, the authorities close in on a motor court in Los Angeles where Cody, Verna and Ma are holed up. Cody shoots and wounds US Treasury investigator Philip Evans and makes his escape. He then comes up with a scheme: to confess to a lesser crime committed in Springfield, Illinois, which an associate committed at the same time as the train robbery, thus providing him with a false alibi. He turns himself in and is sent back to Illinois, where he receives a one to three-year sentence in state prison. This doesn't fool Evans, however, who plants undercover agent Hank Fallon (aka Vic Pardo) in Cody's cell in the Illinois State Penitentiary. His task is to find the "Trader", a fence who launders stolen money for Cody.

text: On the outside, "Big Ed" Somers, Cody's ambitious right-hand man, takes leadership of the gang. Verna betrays Cody and joins Ed, feeling assured Cody will never make it out of prison because Big Ed has paid Roy Parker, an associate, to kill Cody. In the prison workshop, Parker drops a heavy piece of machinery on Cody, but Hank pushes him out of the way, saving his life. Ma visits and vows to take care of Big Ed, despite Cody's frantic attempts to dissuade her. He starts worrying and decides to break out, but before he can, he learns of Ma's death and goes berserk in the mess hall, hitting a number of guards before being overpowered and dragged to the infirmary. He concocts a plan to escape by feigning a psychosis. In the infirmary, he's diagnosed as having a "homicidal psychosis" and is recommended for a transfer to an asylum.

text: Cody takes hostages and escapes, along with his cell mates, including Hank. He takes Parker along with him as hostage, for "payback." He locks Parker in the trunk of a getaway car and shoots him dead after making his escape. He then heads for California with his men. On hearing of Cody's escape, Big Ed anxiously awaits his arrival. Verna tries slipping away but Cody catches her. Although Verna murdered Ma, she convinces Cody that Big Ed killed her, so Cody guns him down. The gang welcome the escapees, including Hank, for whom Cody has developed a keen liking.

text: A stranger shows up at the gang's isolated hideout, asking to use the phone. To Hank's surprise, Cody introduces the stranger as Daniel "The Trader" Winston, the fence whom Hank has been trying to track down. Cody intends to steal the payroll at a chemical plant in Long Beach, California, by using a large and empty tanker truck as a trojan horse. Hank manages to get a message to Evans and an ambush is laid. The gang get into the plant and makes their way to the payroll office, but as they begin to cut through the safe, the tanker's driver, "Bo" Creel, recognizes Hank as the man who arrested him four years prior.

text: The police surround the building and call on Cody to surrender, but Cody decides to fight it out. When the police fire tear gas into the office, Hank escapes. In the ensuing gun battle, the police kill most of Cody's gang, and in frustration, Cody shoots one of his men for trying to surrender. Verna, who was parked in a getaway car across from the plant, is arrested. She tries to barter with Evans for leniency, saying she can convince Cody to surrender, but Evans turns her down and she is taken away. Cody flees to the top of a gigantic, globe-shaped gas storage tank. When Hank, a marksman, shoots Cody several times with a rifle, Cody starts firing at the tank and shouts, "Made it, Ma! Top of the world!" The tank and several adjoining ones explode, killing Cody instantly.

text: Cast[edit]

text:
James Cagney as Arthur "Cody" Jarrett[3][4]
Virginia Mayo as Verna Jarrett[3][4]
Edmond O'Brien as Hank Fallon, alias "Vic Pardo"[3][5]
Margaret Wycherly as "Ma" Jarrett[3][4]
Steve Cochran as "Big Ed" Somers[3][5]
John Archer as Philip Evans
Wally Cassell as "Cotton" Valletti
Fred Clark as Daniel "The Trader" Winston

text: Uncredited:

text:
G. Pat Collins as "Reader" Curtin
Paul Guilfoyle as Roy Parker
Ian MacDonald as "Bo" Creel
Robert Osterloh as Tommy Ryley
Ford Rainey as "Zuckie" Hommel

text: Pre-production[edit]

text: Background[edit]

text:
"I used to like to walk out on him, frankly, whenever my contract didn't suit me. I'd cuss him out in Yiddish, which I had learned from Jewish friends in my days at Stuyvesant High School. Drove him wild. 'What'd he say?!' he'd yell. 'What'd he just call me?!'"

— Cagney on his relationship with Jack Warner, Rolling Stone Magazine (1982).[6]

tag: div

text: After winning an Oscar for Yankee Doodle Dandy, Cagney left Warner Brothers in 1942 to form his own production company with his business manager and brother, William. After making four unsuccessful movies (including the well-regarded, but "financially disastrous" adaptation of William Saroyan's The Time of Your Life),[5] Cagney returned to Warner in mid-1949.[4] His decision to return was purely financial; Cagney admitted he "needed the money,"[5] and that he never forgot the "hell" Warner put him through in the 1930s when it came to renewing his contract. Likewise, the last thing Jack Warner wanted to see was Cagney back on his lot; referring to him as "that little bastard",[4] he vowed to never take him back.[7] Cagney's new contract with Warner enabled him to make $250,000 per film on a schedule of one film per year, plus script approval and the opportunity to develop projects for his own company.[5]

text: To make good on his comeback, Cagney settled on the script for White Heat;[5] on May 6, 1949, he signed on to portray Arthur "Cody" Jarrett.[1] Much to Jack Warner's dismay, it was writers Ivan Goff and Ben Roberts who suggested him for the lead, claiming "there's only one man who can play [Jarrett] and make the rafters rock."[7] For years, Cagney resisted gangster roles in an effort to avoid typecasting, but decided to return to the genre after feeling his box office power waning.[5] Following Cagney's attachment, Warner increased the production budget to $1 million[1] and hired Raoul Walsh to direct. Walsh had previously worked with Cagney on The Roaring Twenties (in 1939) and The Strawberry Blonde (in 1941). However, Cagney was unhappy with the studio's decision to hire Walsh; in part, because he requested Frank McHugh be in the film, but Warner turned his friend down in an attempt to cut costs.[5]

text: Writing[edit]

text: Warner bought the rights to the story from Virginia Kellogg for $2,000.[1] Being "methodical craftsmen", it took Goff and Roberts six months to complete the first draft. They "would plot in complete detail before even beginning to write, then write their dialogue together, line by line."[7] When Walsh saw it, he pleaded with Cagney's brother, William, to talk Cagney out of doing the picture. According to him, the draft was "bad - a real potboiler," but William reassured Walsh that "Jimmy [would] rewrite it as much as possible."[8]

text: White Heat was meant to be based on the true story of Ma Barker, a bank robber who raised her four sons as criminals. However, this was changed along with Cagney's involvement; Ma Barker became Ma Jarrett, and her four children were reduced to one. Arthur Barker became Arthur "Cody" Jarrett, a psychopath with a mother fixation.[9][5] Cody's mental illness and the exact cause of his migraines remain a mystery throughout the film. This was done intentionally, enabling viewers to use their imaginations and draw their own conclusions.[5] In total, the script received several rewrites, with input being given from some of Cagney's closest friends. Humphrey Bogart and Frank McHugh worked "after hours" on revisions; with McHugh writing the film's opening scene.[8]

text: The script is notable for reworking many themes from Cagney's previous films with Warner. Most notably, in The Public Enemy, Cagney smashed a grapefruit into Mae Clarke's face; in White Heat he kicks Virginia Mayo off a chair. In Each Dawn I Die, his character suffers the ill effects of prison; while here, his character has a breakdown in the prison mess hall. Furthermore, in The Roaring Twenties Cagney fought with rival gangsters in a similar fashion to how Cody Jarrett stalks the double-crossing "Big Ed" Somers (portrayed by Steve Cochran).[5]

text: Production[edit]

text: Principal photography[edit]

text: Filming began on May 6, 1949 and lasted six weeks; until completion on June 20. Walsh made use of a number of locations in southern California; first by going to the Santa Susana Mountains (near his home) to shoot "chase scenes".[4] He then moved on to an old Southern Pacific tunnel near Chatsworth to stage the opening robbery scenes.[10] Urban street scenes along with the "Milbank Hotel" were shot in and around Van Nuys.[10] The "hideaway lodge sequences" were shot at the Warner ranch, the interior scenes in the studio itself, and the climax scene at an oil refinery near Torrance, south of Los Angeles on 198th Street and Figueroa.[4][10] The drive-in theater scenes were shot at the now demolished San Val Drive-In in Burbank.[11]

text: Jack Warner wanted the prison mess hall scene replaced for budgetary reasons, stating the "cost of a single scene with 600 extras and only one line of dialogue would be exorbitant." For this reason, Warner wanted the scene shot in a chapel, but relented when "the writers pointed out that, apart from the fact that Jarrett would [never be willingly caught in a] chapel", the whole point of the scene was to "have a lot of noise, with rattling knives and forks and chatter, that suddenly goes completely silent when Jarrett first screams." The scream was improvised by Cagney, and the shock on everyone's face was real, for neither Cagney nor Walsh informed any of the extras of what was going to happen.[10] Warner agreed to the scene on the condition that it be shot in three hours, so "that the extras were through by lunchtime."[7]

text: A number of scenes were improvised; Walsh's "personal touches go beyond the script." When Cody and his gang hide out in their cabin just after the train heist, Cody has one of his "debilitating headaches", causing him to fall from his chair and leave off a round from his .45. This was Walsh's idea, as was the showing of Virginia Mayo's upper thigh on screen. Another scene involved Cody giving his wife, Verna, a "seething look", but Walsh improvised and had Cagney knock her off of her chair.[7] Cagney claimed it was his idea "to have Cody climb onto Ma Jarrett's lap and sit there; being soothed during one of his psychotic [episodes]", but Walsh has always denied this; claiming many years later that it was his idea.[12]

text: Reception[edit]

text: Critical reaction to the film was positive, and today it is considered a classic. Bosley Crowther of The New York Times called it "the acme of the gangster-prison film" and praised its "thermal intensity".[3]

text: This classic film anticipated the heist films of the early '50s (for example John Huston's 1950 The Asphalt Jungle and Stanley Kubrick's 1956 The Killing), accentuated the semi-documentary style of films of the period (the 1948 The Naked City), and contained film-noirish elements, including the shady black-and-white cinematography, the femme fatale character, and the twisted psyche of the criminal gangster.

text: White Heat was listed in Time magazine's top 100 films of all time. Based upon both contemporary and more recent film reviews, the film has a 100% "fresh" rating on film review aggregate website Rotten Tomatoes.[13]

text: Awards and honors[edit]

text: In 1950, Virginia Kellogg was nominated for the Academy Award for Best Story, while Ivan Goff and Ben Roberts were nominated for the Edgar Award for Best Motion Picture. In 2003, the United States Library of Congress selected White Heat for preservation in the National Film Registry.[14]

text:
List of awards and nominations

Date of ceremony
Award / Film festival
Category
Recipient(s) and nominee(s)
Result
Ref(s)

March 23, 1950
Academy Awards
Best Story
Virginia Kellogg
Nominated
[15]

1950 (exact date unknown)
Edgar Awards
Best Motion Picture
Ivan Goff and Ben Roberts
Nominated
[16]

text: On June 4, 2003, the American Film Institute named Cody Jarrett in its list of the best heroes and villains of the past 100 years.[N 1] Furthermore, in June 2005, "Made it, Ma! Top of the World!" was voted 18th in AFI's 100 Years...100 Movie Quotes;[18] while, in June 2008, White Heat was voted 4th in AFI's 10 Top 10 list of gangster movies.[19] The film was nominated for inclusion into three other lists by the American Film Institute.[N 2]

text: Cultural references[edit]

text: Scenes with Cagney were used in the comedy film Dead Men Don't Wear Plaid putting Steve Martin to act with Cagney in scenes, as well as in the 1992 crime-drama film Juice. The "Made it ma, top of the world" scene also appears in the 1991 Ricochet starring Denzel Washington. Denzel recites the quote in the final scene atop a tower. A variation of this quote was also used in the 1986 movie Tough Guys by Eli Wallach. When he's shooting at the cops from the train he yells "top o' the world, ma". A short clip was also played in a scene from Hart to Hart, Season 3, Episode 21, titled "Hart and Sole", airing 6 April 1982. Quotes from the film were also used in the album track "White Heat" by Madonna, on her third album True Blue (released June 30, 1986 after Cagney's death); the song was also dedicated to Cagney.[23] Several quotes from the film were used in the hip-hop single "Back In Business" by E-40 and produced by his son Droop-E, on this 2010 album Revenue Retrievin': Day Shift. In 2013, Americana music artist Sam Baker included the song "White Heat" on his 2013 CD, "Say Grace;" the song's lyrics include many references to action in the Cagney film.[24] It is mentioned in season 2 episode 12 of Breaking Bad. In the Mixels series finale "Nixel Nixel Go Away", King Nixel's quote, "Top of the world, ma!" is a reference to a scene of the film. George Wendt (as Norm Peterson) also makes reference to the film with his line, "Top of the world, Ma!" in the fifth season episode of Cheers, "Norm's First Hurrah."


document_title: Flag of India

question_text: what do the symbols on the indian flag represent

text: Flag of India

text: Design and construction details

text:
Sizes of the National Flag

Flag size[1][2]

Length and width (mm)

Size of Ashoka Chakra (mm)[3]

1

6300 × 4200

1295

2

3600 × 2400

740

3

2700 × 1800

555

4

1800 × 1200

370

5

1350 × 900

280

6

900 × 600

185

7

450 × 300

90[4]

8

225 × 150

40

9

150 × 100

25[4]

text: According to the Flag code of India, the Indian flag has a ratio of two by three (where the length of the flag is 1.5 times that of the width). All three stripes of the flag (saffron, white and green) are to be equal in width and length. The size of the Ashoka Chakra is not specified in the Flag code, but it has twenty-four spokes that are evenly spaced.[5] In section 4.3.1 of "IS1: Manufacturing standards for the Indian Flag", there is a chart that details the size of the Ashoka Chakra on the nine specific sizes of the national flag.[3] In both the Flag code and IS1, they call for the Ashoka Chakra to be printed or painted on both sides of the flag in navy blue.[3][5] Below is the list of specified shades for all colours used on the national flag, with the exception of Navy Blue, from "IS1: Manufacturing standards for the Indian Flag" as defined in the 1931 CIE Colour Specifications with illuminant C.[3] The navy blue colour can be found in the standard IS:1803-1973.[3]

text:
Materials 3.1.2.2: Colours[3]

Colour

X

Y

Z

Brightness

India saffron (Kesari)

0.538

0.360

0.102

21.5

White

0.313

0.319

0.368

72.6

India green

0.288

0.395

0.317

8.9

text: Note that the values given in the table correspond to CIE 1931 color space. Approximate RGB values for use may be taken to be: India saffron #FF9933, white #FFFFFF, India green #138808, navy blue #000080.[6] Pantone values closest to this are 130 U, White, 2258 C and 2735 C.

text: Symbolism

text: Gandhi first proposed a flag to the Indian National Congress in 1921. The flag was designed by Pingali Venkayya. In the centre was a traditional spinning wheel, symbolising Gandhi's goal of making Indians self-reliant by fabricating their own clothing. The design was then modified to include a white stripe in the centre for other religious communities, and provide a background for the spinning wheel. Subsequently, to avoid sectarian associations with the colour scheme, saffron, white and green were chosen for the three bands, representing courage and sacrifice, peace and truth, and faith and chivalry respectively.[7]

text: A few days before India became independent on 15 August 1947, the specially constituted Constituent Assembly decided that the flag of India must be acceptable to all parties and communities.[8] A modified version of the Swaraj flag was chosen; the tricolour remained the same saffron, white and green. However, the charkha was replaced by the Ashoka Chakra representing the eternal wheel of law. The philosopher Sarvepalli Radhakrishnan, who later became India's first Vice President and second President, clarified the adopted flag and described its significance as follows:

text:
“

Bhagwa or the Saffron denotes renunciation or disinterestedness. Our leaders must be indifferent to material gains and dedicate themselves to their work. The white in the centre is light, the path of truth to guide our conduct. The green shows our relation to (the) soil, our relation to the plant life here, on which all other life depends. The "Ashoka Chakra" in the centre of the white is the wheel of the law of dharma. Truth or satya, dharma or virtue ought to be the controlling principle of those who work under this flag. Again, the wheel denotes motion. There is death in stagnation. There is life in movement. India should no more resist change, it must move and go forward. The wheel represents the dynamism of a peaceful change.[9]

”

text: History

text: A number of flags with varying designs were used in the period preceding the Indian Independence Movement by the rulers of different princely states; the idea of a single Indian flag was first raised by the British rulers of India after the rebellion of 1857, which resulted in the establishment of direct imperial rule. The first flag, whose design was based on western heraldic standards, were similar to the flags of other British colonies, including Canada and South Africa; its red field included the Union Flag in the upper-left quadrant and a Star of India capped by the royal crown in the middle of the right half. To address the question of how the star conveyed "Indianness", Queen Victoria created the Knight Commander of the Order of the Star of India to honour services to the empire by her Indian subjects. Subsequently, all the Indian princely states received flags with symbols based on the heraldic criteria of Europe including the right to fly defaced British red ensigns.[10][11][12]

text: In the early twentieth century, around the coronation of Edward VII, a discussion started on the need for a heraldic symbol that was representative of the Indian empire. William Coldstream, a British member of the Indian Civil Service, campaigned the government to change the heraldic symbol from a star, which he considered to be a common choice, to something more appropriate. His proposal was not well received by the government; Lord Curzon rejected it for practical reasons including the multiplication of flags.[13] Around this time, nationalist opinion within the realm was leading to a representation through religious tradition. The symbols that were in vogue included the Ganesha, advocated by Bal Gangadhar Tilak, and Kali, advocated by Aurobindo Ghosh and Bankim Chandra Chattopadhyay. Another symbol was the cow, or Gau Mata (cow mother). However, all these symbols were Hindu-centric and did not suggest unity with India's Muslim population.[14]

text: The partition of Bengal (1905) resulted in the introduction of a new flag representing the Indian independence movement that sought to unite the multitude of castes and races within the country. The Vande Mataram flag, part of the Swadeshi movement against the British, comprised Indian religious symbols represented in western heraldic fashion. The tricolour flag included eight white lotuses on the upper green band representing the eight provinces, a sun and a crescent on the bottom red band, and the Vande Mataram slogan in Hindi on the central yellow band. The flag was launched in Calcutta bereft of any ceremony and the launch was only briefly covered by newspapers. The flag was not covered in contemporary governmental or political reports either, but was used at the annual session of the Indian National Congress. A slightly modified version was subsequently used by Madam Bhikaji Cama at the second International Socialist Congress in Stuttgart in 1907. Despite the multiple uses of the flag, it failed to generate enthusiasm amongst Indian nationalists.[15]

text: Around the same time, another proposal for the flag was initiated by Sister Nivedita, a Hindu reformist and disciple of Swami Vivekananda. The flag consisted of a thunderbolt in the centre and a hundred and eight oil lamps for the border, with the Vande Mataram caption split around the thunderbolt. It was also presented at the Indian National Congress meeting in 1906.[16] Soon, many other proposals were initiated, but none of them gained attention from the nationalist movement.

text: In 1909, Lord Ampthill, former Governor of the Madras Presidency, wrote to The Times of London in the run up to Empire Day pointing out that there existed "no flag representative of India as a whole or any Indian province... Surely this is strange, seeing that but for India there would be no Empire."[17]

text: In 1916, Pingali Venkayya submitted thirty new designs, in the form of a booklet funded by members of the High Court of Madras. These many proposals and recommendations did little more than keep the flag movement alive. The same year, Annie Besant and Bal Gangadhar Tilak adopted a new flag as part of the Home Rule Movement. The flag included the Union Jack in the upper left corner, a star and crescent in the upper right, and seven stars displayed diagonally from the lower right, on a background of five red and four green alternating bands. The flag resulted in the first governmental initiative against any nationalistic flag, as a magistrate in Coimbatore banned its use. The ban was followed by a public debate on the function and importance of a national flag.[18]

text: In the early 1920s, national flag discussions gained prominence across most British dominions following the peace treaty between Britain and Ireland. In November 1920, the Indian delegation to the League of Nations wanted to use an Indian flag, and this prompted the British Indian government to place renewed emphasis on the flag as a national symbol.

text: In April 1921, Mohandas Karamchand Gandhi wrote in his journal Young India about the need for an Indian flag, proposing a flag with the charkha or spinning wheel at the centre.[20] The idea of the spinning wheel was put forth by Lala Hansraj, and Gandhi commissioned Pingali Venkayya to design a flag with the spinning wheel on a red and green banner, the red colour signifying Hindus and the green standing for Muslims. Gandhi wanted the flag to be presented at the Congress session of 1921, but it was not delivered on time, and another flag was proposed at the session. Gandhi later wrote that the delay was fortuitous since it allowed him to realise that other religions were not represented; he then added white to the banner colours, to represent all the other religions. Finally, owing to the religious-political sensibilities, in 1929, Gandhi moved towards a more secular interpretation of the flag colours, stating that red stood for the sacrifices of the people, white for purity, and green for hope.[21]

text: On 13 April 1923, during a procession by local Congress volunteers in Nagpur commemorating the Jallianwala Bagh massacre, the Swaraj flag with the spinning wheel, designed by Pingali Venkayya, was hoisted. This event resulted in a confrontation between the Congressmen and the police, after which five people were imprisoned. Over a hundred other protesters continued the flag procession after a meeting. Subsequently, on the first of May, Jamnalal Bajaj, the secretary of the Nagpur Congress Committee, started the Flag Satyagraha, gaining national attention and marking a significant point in the flag movement. The satyagraha, promoted nationally by the Congress, started creating cracks within the organisation in which the Gandhians were highly enthused while the other group, the Swarajists, called it inconsequential.

text: Finally, at the All India Congress Committee meeting in July, 1923, at the insistence of Jawaharlal Nehru and Sarojini Naidu, Congress closed ranks and the flag movement was endorsed. The flag movement was managed by Sardar Vallabhbhai Patel with the idea of public processions and flag displays by common people. By the end of the movement, over 1500 people had been arrested across all of British India. The Bombay Chronicle reported that the movement drew from diverse groups of society including farmers, students, merchants, labourers and "national servants". While Muslim participation was moderate, the movement enthused women, who had hitherto rarely participated in the independence movement.[22]

text: While the flag agitation got its impetus from Gandhi's writings and discourses, the movement received political acceptance following the Nagpur incident. News reports, editorials and letters to editors published in various journals and newspapers of the time attest to the subsequent development of a bond between the flag and the nation. Soon, the concept of preserving the honour of the national flag became an integral component of the independence struggle. While Muslims were still wary of the Swaraj flag, it gained acceptance among Muslim leaders of the Congress and the Khilafat Movement as the national flag.

text: Detractors of the flag movement, including Motilal Nehru, soon hailed the Swaraj flag as a symbol of national unity. Thus, the flag became a significant structural component of the institution of India. In contrast to the subdued responses of the past, the British Indian government took greater cognisance of the new flag, and began to define a policy of response. The British parliament discussed public use of the flag, and based on directives from England, the British Indian government threatened to withdraw funds from municipalities and local governments that did not prevent the display of the Swaraj flag.[24] The Swaraj flag became the official flag of Congress at the 1931 meeting. However, by then, the flag had already become the symbol of the independence movement.[25]

text: A few days before India gained its independence in August 1947, the Constituent Assembly was formed. To select a flag for independent India, on 23 June 1947, the assembly set up an ad hoc committee headed by Rajendra Prasad and including Maulana Abul Kalam Azad, Sarojini Naidu, C. Rajagopalachari, K. M. Munshi and B. R. Ambedkar as its members.

text: On 14 July 1947, the committee recommended that the flag of the Indian National Congress be adopted as the National Flag of India with suitable modifications, so as to make it acceptable to all parties and communities. It was also resolved that the flag should not have any communal undertones.[5] The spinning wheel of the Congress flag was replaced by the Chakra (wheel) from the Lion Capital of Ashoka. According to Sarvepalli Radhakrishnan, the chakra was chosen as it was representative of dharma and law. However, Jawaharlal Nehru explained that the change was more practical in nature, as unlike the flag with the spinning wheel, this design would appear symmetrical. Gandhi was not very pleased by the change, but eventually came around to accepting it.

text: The flag was proposed by Nehru at the Constituent Assembly on 22 July 1947 as a horizontal tricolour of deep saffron, white and dark green in equal proportions, with the Ashoka wheel in blue in the centre of the white band. Nehru also presented two flags, one in Khadi-silk and the other in Khadi-cotton, to the assembly. The resolution was approved unanimously.[28] It served as the national flag of the Dominion of India between 15 August 1947 and 26 January 1950, and has served as the flag of the Republic of India since then.[8]

text: Manufacturing process

text: The design and manufacturing process for the national flag is regulated by three documents issued by the Bureau of Indian Standards (BIS). All of the flags are made out of khadi cloth of silk or cotton. The standards were created in 1968 and were updated in 2008.[29]  Nine standard sizes of the flag are specified by law.[1]

text: In 1951, after India became a republic, the Indian Standards Institute (now the BIS) brought out the first official specifications for the flag. These were revised in 1964 to conform to the metric system which was adopted in India. The specifications were further amended on 17 August 1968.[5] The specifications cover all the essential requirements of the manufacture of the Indian flag including sizes, dye colour, chromatic values, brightness, thread count and hemp cordage. The guidelines are covered under civil and criminal laws and defects in the manufacturing process can result in punishments that include fines or jail terms.[30][31]

text: Khadi or hand-spun cloth is the only material allowed to be used for the flag, and flying a flag made of any other material is punishable by law with imprisonment up to three years, besides a fine. Raw materials for khadi are restricted to cotton, silk and wool. There are two kinds of khadi used: The first is the khadi-bunting which makes up the body of the flag, and the second is the khadi-duck, which is a beige-coloured cloth that holds the flag to the pole. The khadi-duck is an unconventional type of weave that meshes three threads into a weave, compared to the two threads used in conventional weaving. This type of weaving is extremely rare, and there are fewer than twenty weavers in India professing this skill. The guidelines also state that there should be exactly 150 threads per square centimetre, four threads per stitch, and one square foot should weigh exactly 205 grams (7.2 oz).[5][30][31][32]

text: There are four places in the country licensed to make the cloth for the national flag, they are in Karnataka, Marathwada, Barabanki in UP, and Banetha in Rajasthan.[33] The woven khadi is obtained from two handloom units in the Dharwad and Bagalkot districts of northern Karnataka. Currently, Karnataka Khadi Gramodyoga Samyukta Sangha based in Hubli is the only licensed flag production and supply unit in India.[31] Permission for setting up flag manufacturing units in India is allotted by the Khadi Development and Village Industries Commission, though the BIS has the power to cancel the licences of units that flout guidelines.[5] The hand-woven khadi for the National Flag was initially manufactured at Garag, a small village in the Dharwad district. A Centre was established at Garag in 1954 by a few freedom fighters under the banner of Dharwad Taluk Kshetriya Seva Sangh and obtained the Centre's licence to make flags.[5]

text: Once woven, the material is sent to the BIS laboratories for testing. After quality testing, the material, if approved, is returned to the factory. It is then separated into three lots which are dyed saffron, white and green. The Ashoka Chakra is screen printed, stencilled or suitably embroidered onto each side of the white cloth. Care also has to be taken that the chakra is completely visible and synchronised on both sides. Three pieces of the required dimension, one of each colour, are then stitched together according to specifications and the final product is ironed and packed. The BIS then checks the colours and only then can the flag be sold.[30][31]

text: Protocol

text: Display and usage of the flag is governed by the Flag Code of India, 2002 (successor to the Flag Code – India, the original flag code); the Emblems and Names (Prevention of Improper Use) Act, 1950; and the Prevention of Insults to National Honour Act, 1971.[5] Insults to the national flag, including gross affronts or indignities to it, as well as using it in a manner so as to violate the provisions of the Flag Code, are punishable by law with imprisonment up to three years, or a fine, or both.[34]

text: Official regulation states that the flag must never touch the ground or water, or be used as a drapery in any form.[5] The flag may not be intentionally placed upside down, dipped in anything, or hold any objects other than flower petals before unfurling. No sort of lettering may be inscribed on the flag. When out in the open, the flag should always be flown between sunrise and sunset, irrespective of the weather conditions. Prior to 2009, the flag could be flown on a public building at night under special circumstances; currently, Indian citizens can fly the flag even at night, subject to the restriction that the flag should be hoisted on a tall flagpole and be well-illuminated.[5][35]

text: The flag should never be depicted, displayed or flown upside down. Tradition also states that when draped vertically, the flag should not merely be rotated 90degrees, but also reversed. One "reads" a flag like the pages of a book, from top to bottom and from left to right, and after rotation the results should be the same. It is considered insulting to display the flag in a frayed or dirty state, and the same rule applies to the flagpoles and halyards used to hoist the flag, which should always be in a proper state of maintenance.[1]

text: The original flag code of India did not allow private citizens to fly the national flag except on national days such as Independence Day or Republic Day. In 2001, Naveen Jindal, an industrialist used to the more egalitarian use of the flag in the United States where he studied, flew the Indian flag on his office building. The flag was confiscated and he was warned of prosecution. Jindal filed a public interest litigation petition in the High Court of Delhi; he sought to strike down the restriction on the use of the flag by private citizens, arguing that hoisting the national flag with due decorum and honour was his right as a citizen, and a way of expressing his love for the country.[36][37]

text: At the end of the appeals process, the case was heard by the Supreme Court of India; the court ruled in Jindal's favour, asking the Government of India to consider the matter. The Union Cabinet of India then amended the Indian Flag Code with effect from 26 January 2002, allowing private citizens to hoist the flag on any day of the year, subject to their safeguarding the dignity, honour and respect of the flag.[5] It is also held that the code was not a statute and restrictions under the code ought to be followed; also, the right to fly the flag is a qualified right, unlike the absolute rights guaranteed to citizens, and should be interpreted in the context of Article 19 of the Constitution of India.[5]

text: The original flag code also forbade use of the flag on uniforms, costumes and other clothing. In July 2005, the Government of India amended the code to allow some forms of usage. The amended code forbids usage in clothing below the waist and on undergarments, and forbids embroidering onto pillowcases, handkerchiefs or other dress material.[38]

text: Disposal of damaged flags is also covered by the flag code. Damaged or soiled flags may not be cast aside or disrespectfully destroyed; they have to be destroyed as a whole in private, preferably by burning or by any other method consistent with the dignity of the flag.[1]

text: Display

text: The rules regarding the correct methods to display the flag state that when two flags are fully spread out horizontally on a wall behind a podium, their hoists should be towards each other with the saffron stripes uppermost. If the flag is displayed on a short flagpole, this should be mounted at an angle to the wall with the flag draped tastefully from it. If two national flags are displayed on crossed staffs, the hoists must be towards each other and the flags must be fully spread out. The flag should never be used as a cloth to cover tables, lecterns, podiums or buildings, or be draped from railings.[1]

text: Whenever the flag is displayed indoors in halls at public meetings or gatherings of any kind, it should always be on the right (observers' left), as this is the position of authority. So when the flag is displayed next to a speaker in the hall or other meeting place, it must be placed on the speaker's right hand. When it is displayed elsewhere in the hall, it should be to the right of the audience. The flag should be displayed completely spread out with the saffron stripe on top. If hung vertically on the wall behind the podium, the saffron stripe should be to the left of the onlookers facing the flag with the hoist cord at the top.[1]

text: The flag, when carried in a procession or parade or with another flag or flags, should be on the marching right or alone in the centre at the front. The flag may form a distinctive feature of the unveiling of a statue, monument, or plaque, but should never be used as the covering for the object. As a mark of respect to the flag, it should never be dipped to a person or thing, as opposed to regimental colours, organisational or institutional flags, which may be dipped as a mark of honour. During the ceremony of hoisting or lowering the flag, or when the flag is passing in a parade or in a review, all persons present should face the flag and stand at attention. Those present in uniform should render the appropriate salute. When the flag is in a moving column, persons present will stand at attention or salute as the flag passes them. A dignitary may take the salute without a head dress. The flag salutation should be followed by the playing of the national anthem.[1]

text: The privilege of flying the national flag on vehicles is restricted to the President, the Vice-President or the Prime Minister, Governors and Lieutenant Governors of states, Chief Ministers, Union Ministers, members of the Parliament of India and state legislatures of the Indian states (Vidhan Sabha and Vidhan Parishad), judges of the Supreme Court of India and High Courts, and flag officers of the Army, Navy and Air Force. The flag has to be flown from a staff affixed firmly either on the middle front or to the front right side of the car. When a foreign dignitary travels in a car provided by government, the flag should be flown on the right side of the car while the flag of the foreign country should be flown on the left side.[5]

text: The flag should be flown on the aircraft carrying the President, the Vice-President or the Prime Minister on a visit to a foreign country. Alongside the National Flag, the flag of the country visited should also be flown; however, when the aircraft lands in countries en route, the national flags of the respective countries would be flown instead. When carrying the president within India, aircraft display the flag on the side the president embarks or disembarks; the flag is similarly flown on trains, but only when the train is stationary or approaching a railway station.[1]

text: When the Indian flag is flown on Indian territory along with other national flags, the general rule is that the Indian flag should be the starting point of all flags. When flags are placed in a straight line, the rightmost flag (leftmost to the observer facing the flag) is the Indian flag, followed by other national flags in alphabetical order. When placed in a circle, the Indian flag is the first point and is followed by other flags alphabetically. In such placement, all other flags should be of approximately the same size with no other flag being larger than the Indian flag. Each national flag should also be flown from its own pole and no flag should be placed higher than another. In addition to being the first flag, the Indian flag may also be placed within the row or circle alphabetically. When placed on crossed poles, the Indian flag should be in front of the other flag, and to the right (observer's left) of the other flag. The only exception to the preceding rule is when it is flown along with the flag of the United Nations, which may be placed to the right of the Indian flag.[1]

text: When the Indian flag is displayed with non-national flags, including corporate flags and advertising banners, the rules state that if the flags are on separate staffs, the flag of India should be in the middle, or the furthest left from the viewpoint of the onlookers, or at least one flag's breadth higher than the other flags in the group. Its flagpole must be in front of the other poles in the group, but if they are on the same staff, it must be the uppermost flag. If the flag is carried in procession with other flags, it must be at the head of the marching procession, or if carried with a row of flags in line abreast, it must be carried to the marching right of the procession.[1]

text: Half-mast

text: The flag should be flown at half-mast as a sign of mourning. The decision to do so lies with the President of India, who also decides the period of such mourning. When the flag is to be flown at half mast, it must first be raised to the top of the mast and then slowly lowered. Only the Indian flag is flown half mast; all other flags remain at normal height.

text: The flag is flown half-mast nationwide on the death of the president, Vice-president or prime minister. It is flown half-mast in New Delhi and the state of origin for the Speaker of the Lok Sabha, Chief Justice of the Supreme Court, and Union Ministers. On deaths of Governors, Lt. Governors and Chief Ministers, the flag is flown at half-mast in the respective states and union territories.

text: The Indian flag cannot be flown at half-mast on Republic Day (26 January), Independence day (15 August), Gandhi Jayanti (2 October), National Week (6–13 April) or state formation anniversaries, except over buildings housing the body of the deceased dignitary. However, even in such cases, the flag must be raised to full-mast when the body is moved from the building.

text: Observances of State mourning on the death of foreign dignitaries are governed by special instructions issued from the Ministry of Home Affairs in individual cases. However, in the event of death of either the Head of the State or Head of the Government of a foreign country, the Indian Mission accredited to that country may fly the national flag at half-mast.

text: On occasions of state, military, central para-military forces funerals, the flag shall be draped over the bier or coffin with the saffron towards the head of the bier or coffin. The flag should not be lowered into the grave or burnt in the pyre.[1]