title: Riau Islands

text: "Badik Tumbuk Lado" is a traditional weapon originating from the Riau Islands. "Badik" itself is a term for traditional weapons which is known among the Bugis community and some regions in Sumatra. Meanwhile, Tumbuk Lada is a traditional weapon of the Malay people. No wonder the "Badik Tumbuk Lado" has similarities with weapons from other Malay-populated region. The Riau Islands are inhabited by various races and ethnicity. However, the majority of indigenous people are Malay people. Therefore, the culture of the Riau region has a lot in common with other indigenous Malay regions. "Badik Tumbuk Lado" is a type of stabbing weapon measuring 27 to 29 cm and its width is around 3.5 to 4 cm. This weapon is not only used by the people of Jambi, and also has similarities with the Buginese "Badik", it only differs in the shape and motive of the holster. Not only domestically, Malaysia also has the same traditional weapons, both in name and form. This is inseparable from the background of Malay communities spread throughout Indonesia, Malaysia, the Philippines, Vietnam and along the Malay peninsula. Similar to the "keris", "badik" is also one of the identities that characterizes the Malay people. Until now the "Badik Tumbuk Lado" is still used by the people of the Riau islands to do production work such as farming or hunting. Some local customs also still maintain the "badik" as a complement to men's custom clothing.


title: Riau Islands

text: The "Jenawi" is a type of sword that became the most popular traditional weapon in the Riau area. This sword was often used by Malay warlords in the face of his enemies. The sword has a length of about 1 meter so it is often used for close combat. "Jenawi" sword is similar to a typical Japanese katana. Historians and cultural experts argue that this weapon originated from ancient Japan which experienced acculturation with Malay culture. Regardless of this opinion, the sword of genius remains a Malay people's identity on the national scene.


title: Riau Islands

text: Cuisine in the Riau Islands are mostly similar to the one in Peninsular Malaysia, owing to its similar culture. There are also some dishes that is influenced by other parts of Indonesia, such as Java. Due to its cultural diversity, the people of the Riau Islands has developed a unique dishes that cannot be found in other parts of Indonesia. The Riau Islands cuisine is strongly influenced by the culture of the Malay, Indian and Chinese. Some foods are also influenced by the culture of the Javanese, Balinese, Bugis, other ethnic groups in Sumatra and Borneo, as well as European cultures, especially the British and Dutch.


title: Riau Islands

text: One of the most popular dish in the Riau Islands is its variety of the Nasi lemak, with some notable differences compared to the variety found in neighboring Malaysia and Singapore. In archipelago region like Riau Islands, usually seafood are used to accompany nasi lemak, such as "ikan bilis" (anchovy), "ikan tamban" ("Sardinella longiceps"), "ikan selar kuning" ("Selaroides leptolepis"), "sotong" or "cumi-cumi" (squid) or small Prawns. The Riau islands traditional nasi lemak is quite similar to Malaysian version; it comes as a platter of coconut rice wrapped in banana leaf, with cucumber slices, small dried anchovies ("ikan bilis"), roasted peanuts, hard boiled egg, and hot spicy sauce ("sambal"). The Riau islands version however, comes with an addition of small fish locally known as "ikan tamban", usually fried with "sambal" chili paste and very crispy, the whole fish is edible. Prawns and Squids are also commonly stir-fried in chili paste as "sambal udang" or "sambal cumi".


title: Riau Islands

text: Another notable dish that can be found in the Riau Islands is the laksa. Laksa or Lakse in local dialect is a kind of noodle food mixed with typical Chinese and Malay spice blend. Lakse has a round white and slightly thick noodle shape. The name of lakse is taken from Sanskrit which has a lot meaning. It shows that lute noodle is made with various spices. Lakse in the Riau Islands presented in several kinds, one of which is a typical Anambas lakse which is included in the category of lakse curry with a fatty and spicy sauce and rich in spices. One of the most typical mackerel soups of Batam, popularly known as the Batam Fish Soup (Indonesian: "Sup Ikan Batam"). This Batam Fish soup is served with a slice of mackerel fish that had previously been separated from its bones. This piece of fish is smeared with egg whites to remove the fishy smell, then cooked with spices and mixed with starfruit and green tomatoes. Pieces of white or green mustard greens are also incorporated into this soup.


title: Riau Islands

text: The Bak kut teh (肉骨茶) is another dish found in the Riau Islands, usually consumed by the Chinese people in the province. the dish can only be found in the region as well as neighboring Singapore and Malaysia. Bak kut means meat tea bone. "Bak kut" itself is pork ribs, while the word "teh", which means tea in Hokkien, comes from either the dish brown sauce which is similar to the color of a tea, or that it was originally served with tea to mollify the taste.. This gravy is a pork broth, with spices such as garlic and strong pepper.


title: Riau Islands

text: Snacks and drinks such as the teh tarik and curry puff can also be found in the province. Teh Tarik is not originally an original beverage from the Riau Islands. This drink is familiar in Southeast Asia especially easily found in Malaysia and Singapore. However, in the Riau Islands, such as Batam, Tanjung Pinang and Tanjung Balai Karimun, this drink is commonly available everywhere. The condition of the Riau Islands, which is close to Malaysia and Singapore has made Teh Tarik to spread around the Riau Islands. Curry puff, also known as "epok-epok" in the local Riau Islands Malay, is a famous local snack that can be commonly found everywhere in the province. This pastry is made from flour and potatoes is very easy to find in the Malay world. In Malaysia or Singapore, for example. Epok-epok is better known as "karipap". Whereas in Java, the pastry is usually called pastel. Epok-epok is a pastry made from flour dough which is printed with a special mold, with a filling typical for epok-epok. In the past, epok-epok are usually made of spicy potatoes, but now many other ingredients have been added to epok-epok as variations of flavor.


title: Philippine one thousand-peso note

text: The Philippine one thousand-peso note (Filipino: "Sanlibong Piso") (₱1000; PHP1000) is a denomination of Philippine currency. It is the largest denomination in general circulation in the Philippines. It is currently the only Philippine peso denomination that has a polymer banknote version.


title: Philippine one thousand-peso note

text: The cotton-abaca version, features José Abad Santos, Vicente Lim, and Josefa Llanes Escoda on the front side of the notes, while the Tubbataha Reefs Natural Park and the South Sea pearl are featured on the back side of the note.


title: Philippine one thousand-peso note

text: The polymer version, first issued in April 2022 features the Philippine eagle on its obverse side while its reverse side has similar design elements with the cotton-abacá version.


title: Philippine one thousand-peso note

text: In 1948, due to hyperinflation caused by the ongoing event of World War II, the Japanese were forced to issue higher denominations of their fiat peso. The banknotes ceased becoming legal tender after the liberation.


title: Philippine one thousand-peso note

text: The Central Bank of the Philippines introduced the one thousand peso denomination in December 1991. The note features the portraits of former Chief Justice José Abad Santos; Josefa Llanes Escoda, civic worker and one of the founders of the Girl Scouts of the Philippines; and Vicente Lim, a general in the Philippine Army who was the first Filipino graduate of West Point. The three are considered heroes of the resistance against the Japanese occupation of the Philippines. The obverse also features the eternal flame and laurel leaves. The note is predominantly blue in color. The reverse features the Banaue Rice Terraces, Manunggul Jar cover, and Langgal (a mosque), representing the three island groups of the Philippines (Luzon, Visayas, and Mindanao, respectively). This is also the only note for the series that uses optically variable ink. The banknote was designed by Romeo Mananquil.


title: Philippine one thousand-peso note

text: After the creation of the Bangko Sentral ng Pilipinas, its new logo was incorporated on all the New Design series bills in 1993.


title: Philippine one thousand-peso note

text: In 1998, the year of printing was added at the bottom of the denomination value located at the upper left corner of the obverse.


title: Philippine one thousand-peso note

text: In 1999, the signature of the Philippine president was moved slightly to the left to accommodate the names of the signatories on the bills and added them starting with banknotes featuring the signature of President Joseph Estrada.


title: Philippine one thousand-peso note

text: In 2001, additional security features were added, such as the optically variable ink used for the "1000" on the lower left side of the obverse. Other features that were added are the security thread on the right side and the fluorescent printing on the left side across the portrait. To deplete the BSP's inventory of cotton-linen banknote paper, banknotes featuring the signatures of President Gloria Macapagal Arroyo and BSP governor Rafael Buenaventura were introduced earlier than the features mentioned before which makes the only banknote with the 2001 year mark to not feature the signature of President Joseph Estrada.


title: Philippine one thousand-peso note

text: The portraits of Abad Santos, Escoda, and Lim were revised, and a scene from the Centennial celebration of Philippine independence was added on the lower left and an image of the Order of Lakandula medal (mislabeled as the "Medal of Honor") in the lower middle. The reverse now features the Tubbataha Reefs Natural Park and the South Sea pearl.


title: Philippine one thousand-peso note

text: In 2017, an updated version of the 1000-peso banknote was released with changes in the font size of the year of issue and the italicization of the scientific name on the reverse side. The image of the Order of Lakandula and its description on the front side of the note were also removed.


title: Philippine one thousand-peso note

text: In 2018, additional security features in the 1000 peso note, a blue 5mm-wide "3D security thread" (trademarked "Motion" by Crane Currency).


title: Philippine one thousand-peso note

text: In 2020, an enhanced version of the 1000 peso "New Generation Currency" banknote was released. Four notable changes were made. First, it added color-changing indigenous patterns to the security threads. Second, a rolling bar effect was also added in the 1000 located at the upper-left corner. Third, the 1000 number located at the bottom-left were added with a color-changing feature depending on what angle it is tilted. Finally, ten tactile marks were placed for the elderly and the visually impaired, five tactile marks were placed on the extreme left and right side of the front of the note.


title: Philippine one thousand-peso note

text: In mid-2021, the Bangko Sentral ng Pilipinas announced that new polymer bills featuring the flora and fauna of the country will be in circulation. The portraits of Escoda, Abad Santos and Lim were replaced by a portrait of a Philippine Eagle. Reactions to the design were mixed, with the descendants of Escoda, Abad Santos, and Lim all criticizing the decision as disrespectful to their memory and urging the BSP to retain the three portraits in the new bill. Other critics viewed the redesign as the first step in the removal of the portraits of Senator Benigno Aquino and President Corazon Aquino on the 500 peso bill.


title: Philippine one thousand-peso note

text: Throughout its existence, the one thousand peso bill have been overprinted to commemorate certain events, namely:


title: Philippine one thousand-peso note

text: On July 9, 2009, the Bangko Sentral ng Pilipinas introduced 12 million banknotes (2 million banknotes for each denomination) with an overprint commemorating 60 years of central banking. The overprint appears on the watermark area on all six circulating denominations.


title: Tales of the Abyss

text: Taking place in a fantasy world, the story focuses on Luke fon Fabre, a young swordsman whose pampered life turns upside down when he unwittingly becomes the target of a military-religious organization known as the Order of Lorelei, who believe him to be the key to an ancient prophecy. Together with his companions, Luke attempts to discover the truth and significance of his own birth, as well as unravel the mystery of The Score, the prophecy that has bound humanity's actions for thousands of years.


title: Tales of the Abyss

text: Reviews for both its original console and handheld releases were mostly positive, with critics praising the title's combat system yet remarking that the game's plot had a tendency to move slowly and adhered to many stock Japanese role-playing game conventions. The PlayStation 2 version has sold approximately 734,000 copies worldwide. A 26-episode anime adaptation by Sunrise was also produced, which first aired in Japan on MBS between October 2008 and March 2009.


title: Tales of the Abyss

text: The game's "Flex Range Linear Motion Battle System" (FR-LMBS) is real-time. The game controls are very similar to other "Tales" games, especially Tales of Symphonia, except with increased maneuverability. The player can attack, defend, perform a skill or call up a menu with multiple functions, such as using items or commanding an ally to perform an action. This system offers multiplayer co-op battles, and the camera for this mode is improved over the one found in "Tales of Symphonia", zooming out as characters move away from each other so that other players are now always on screen. A new feature, "Free Run," allows the player character to run in any direction, unlike previous "Tales" games.


title: Tales of the Abyss

text: The game features many skills and spells to unleash upon enemies. Characters can learn "AD Skills," which can be equipped and unequipped at will, to help them in battles. The game features a large number of these skills, acquired through the use of "Capacity Cores" — items that give stat bonuses when a character levels up. Once a certain statistic has a large enough bonus, the AD skill is learned automatically. A new addition to the system is the "Field of Fonons" (often abbreviated as FOF). Whenever a character uses a spell or battle technique that features an elemental alignment, a circle will appear on the ground, corresponding to that element. After being reinforced with more techniques of the same element, the circle will light up in that element's color to signify that an FOF change is available. Finally, if a character stands in the circle and performs a specific skill that corresponds with the FOF circle, the skill will be upgraded into a more powerful version. Enemies can also use and create FOF fields. As with other "Tales" games, characters can engage in "Over Limit" mode when their green OVL bar is full. This can be filled by completing combos and making critical hits. During Over Limit, characters can use their Mystic Artes (Hi-Ougis), powerful skills that can only be performed when certain conditions are fulfilled. Every character has one standard Mystic Arte, along with an additional hidden one unlockable only on repeat plays. Enemy boss characters have Mystic Artes as well.


title: Tales of the Abyss

text: Many recurring features in the "Tales" series return, such as skits, grade, cooking, and titles. Skits are short conversations that may be viewed when prompted. During a skit, anime-style faces of the characters taking part in the skit appear and interact with each other.


title: Tales of the Abyss

text: "Grade" is awarded after each battle, either raising or lowering the player's total number of points depending on how the battle was played. For example, defeating the enemies within a short period or time or getting a large combo will increase the grade awarded; characters being killed or having negative status effects on them will lower the grade acquired. At the end of the game, players can use earned Grade to purchase bonuses for the next playthrough.


title: Tales of the Abyss

text: "Abyss" also features a cooking system. The player collects recipes and ingredients throughout the game, and can use them to cook either after battles or between battles. Unlike Tales of Symphonia, up to four different recipes can be set to the control pad for use after battle. Different recipes require different items and have different effects. The player can increase characters' cooking stats for each recipe by having them cook the recipe frequently.


title: Tales of the Abyss

text: "Abyss" features titles which each character gains through a series of tasks or events. Titles have various effects, some of which are stat-related. In the tradition of newer "Tales" games, some of these titles also change costumes. Each character has unique costumes; to acquire additional costumes, the player must accomplish certain tasks. Unlike some other "Tales" games, every title in "Tales of the Abyss" carries a special effect, varying from discounts in shops to recovering small amounts of HP periodically.


title: Tales of the Abyss

text: "Tales of the Abyss" takes place on , a planet composed of elementary particles called . For much of Auldrant's history, only six fonons were known to exist, representing the elements of Shadow, Earth, Wind, Water, Fire and Light; but eventually a seventh fonon, controlling Sound, is discovered. Its discovery brings great chaos: using this newest Seventh Fonon allows one to read the future. One such Seventh Fonist, Yulia Jue, an important religious figure in the game, puts in place a future for the world for thousands of years to come, with the promise of unlimited prosperity at its end. This prophecy of the future's set path becomes known as the "Score" and is documented on "Fonstones" scattered throughout the world. The nations of Kimlasca-Lanvaldear and Malkuth have fought over the fragments of these tablets for generations, each uncovering them and hoping to discover the future before the other. Meanwhile, a holy order emerges dedicated to the reading of the Score and the keeping of the peace. This is headed by a Fon Master and maintains both religious/political and military branches. Finally, the Score and its promise of prosperity lead to a dangerous complacency within the general population of Auldrant; the slaughter of an entire people living on the island of Hod and the destruction of that landmass was countenanced because it was predicted in the Score.


title: Tales of the Abyss

text: Luke fon Fabre is a teenager who has been held in his manor for years by his uncle, the King of Kimlasca-Lanvaldear, after being kidnapped and started suffering amnesia. As Luke's teacher and the Commandant of the Oracle Knight, Van, has to leave to search for the Fon Master Ion, a proud woman known as Tear Grants tries to kill him. As Luke intervenes, the Seventh Fonons in the two individuals' bodies react causing a hyperresonance, a reaction that sends the two flying to a land faraway. Tear then decides to escort Luke back to the manor in Kimlasca-Lanvaldear. However, the duo finds themselves in Malkuth. The two meet Fon Master Ion as well as Colonel Jade Curtiss from the Malkuth forces who informs them of an impending war. Jade requires Luke's status as a noble to convince the King of Kimlasca to stop his forces and prevent the war.


title: Tales of the Abyss

text: As Luke's group heads back to Kimlasca, they are aided by Fon Master Guardian Anise and Luke's servant Guy Cecil. Luke learns that Tear is Van's younger sister, who suspects Van of scheming to threaten the world. They also encounter the members from the Oracle Knights with one of them, Asch, sharing an extreme resemblance to Luke. In Kimlasca, Luke, Jade and Ion inform the King of their worries. Luke is then made an ambassador and is sent to Akzeriuth to help the people who are being poisoned by miasma. Van tells Luke he can neutralize the miasma by using his own hyperresonance which the King has been aware of to use him as a weapon. Luke decides to follow his master's plan. However, in Akzeriuth the hyperresonance destroys the land's Sephiroth tree, making the entire town be consumed by the miasma.


title: Tales of the Abyss

text: Blaming Luke for his actions, Asch also reveals Luke is the result of fomicry, a replica based on the real Luke fon Fabre: Asch. As Luke's friends abandon him for what he did to Akzeriuth, Luke starts detesting his current form and makes a promise to Tear to change for the best. He then starts working with Jade to protect the people of St. Binah whose town is also collapsing like Akzeriuth. In order to prevent more of these collapses, the group takes advantage of Luke's hyperresonance skills to move the land to the subarea, the Qliphoth. In the meantime, they are opposed by Van's forces except Asch who is against his master's wishes of a new world populated by replicas in order to go against the score. After making a peace treaty between Kimlasca and Malkuth, Luke's group defeats Van who falls to the Planet's Core.


title: Tales of the Abyss

text: A month after Van's defeat and moving the world population to the Qliphoth, the miasma starts affecting mankind. Additionally, a large number of replicas start appearing. Luke and Asch learn from the spirit of the Seventh Fonon, Lorelei, that Van has survived and took it. Grand Maestro Mohs from the Order of Lorelei forces Ion to read the Planet Score, killing him in the process. Mohs then forms the New Order of Lorelei with the Oracle Knights who are awaiting Van's return. Jade reveals that the miasma can be neutralized through a hyperresonance that sacrifices a large amount of lives. The replicas offer themselves in exchange that the rest of their kind are given home. Luke offers himself to perform the hyperresonance and although the plan is a success, Luke is left with little time to live.


title: Tales of the Abyss

text: The group then heads to confront the New Order of Lorelei who wish to follow Van's will. In confronting the remaining God Generals, Asch dies while helping Luke to reach Van. The group defeats Van who had sealed Lorelei inside his right arm and kill him. As the area starts collapsing, Luke decides to stay behind to free Lorelei. Two years later, he reappears to meet Tear and the rest of his friends.


title: Tales of the Abyss

text: The first mention of "Tales of the Abyss" occurred when Namco filed a trademark for the game in December 2004, and first formally announced the title in an August 2005 issue of "Weekly Shōnen Jump" magazine, where the company also announced that the title would be released in celebration of the series' tenth anniversary. The first gameplay trailer was featured on a pre-order bonus DVD included with "Tales of Legendia" released later that month, which also revealed that the game would be developed by the same team that produced "Tales of Symphonia" for the GameCube and PlayStation 2, including producer Makoto Yoshidumi and character designer Kōsuke Fujishima. In April 2006, four months after the game's Japanese release, Namco Bandai Games announced that "Tales of the Abyss" would be headed to North America the following fall, and would later showcase the game at the 2006 Electronic Entertainment Expo in Los Angeles in June.


title: Tales of the Abyss

text: The game was directed by Yoshito Higuchi who also acted as director of "Tales of Symphonia" and previously served on the development team of Namco's fighting game franchises "Tekken" and "Soulcalibur". "Abyss"s Free Run battle system was originally designed for "Symphonia" and implemented in the middle of development, but was removed due to possible player exploitation of the game's enemy AI making battle too easy. This problem was avoided in "Abyss" by designing the battle system around this feature from the beginning. The "Field of Fonons" (FOF) feature was added to supplement the Free Run system, with Higuchi stating that "we needed to have battle positioning play a more important role if we wanted players to use Free Run at all," with the concept becoming more streamlined as development when on. The North American version of "Tales of the Abyss" includes new Mystic Arte attacks for most of the main characters not seen in the original Japanese release, but also removed all spoken dialogue from the optional skit cutscenes, translating only the text.


title: Tales of the Abyss

text: The 3DS port of "Tales of the Abyss" was first announced in September 2010 during Nintendo of Japan's "Nintendo Conference" press event, along with a tentative release date of spring 2011. The following April, Namco Bandai announced that the 3DS port for Japan had been delayed and would miss its originally intended deadline, with a commercial release eventually coming the following June. In May 2011, Namco Bandai confirmed a North American release alongside "Tales of Graces F" for some time later that year. A European release was confirmed a few days later for a spring 2012 time-frame, which also marked the first official release of the game in the region. Namco's European branch would later feature the game at the 2011 Gamescom event in Germany.


title: Tales of the Abyss

text: The port made use of the handheld's 3D and dual screen capabilities, including the ability to register combat skills on the bottom screen for quick access, which is replaced by a world map while outside battle. Artist Kousuke Fujishima, who had worked on the previous version of the game, provided a new title logo graphic and promotional character art for the release. In addition, the Japanese version includes the new Mystic Arte attacks added to the original North American PlayStation 2 version.


title: Tales of the Abyss

text: The music for "Tales of the Abyss" was mostly composed by series veterans Motoi Sakuraba and Shinji Tamura. The Japanese version features the theme song by J-Rock group Bump of Chicken, with group's lead vocalist, Motoo Fujiwara, also providing compositions for certain songs in the game that later appeared on his album "Song for Tales of the Abyss". "Karma" was also used as the opening theme of the anime adaption. The western version uses the instrumental version of the theme song. The incidental vocal theme performed by Tear throughout the game, , was sung by Yukana.


title: Tales of the Abyss

text: A commercial soundtrack was released in Japan in March 2006 by King Records featuring 115 tracks across four discs. A number of radio drama albums featuring the Japanese voice cast were also produced by Frontier Works, including a five-volume set titled released between September 2006 and February 2008, and a two-volume set called released in July and August 2008.


title: Tales of the Abyss

text: "Tales of the Abyss" was well received in Japan, with "Weekly Famitsu" magazine awarding it a 36 out of 40 based on individual scores of 9, 9, 9, and 9, which earned it the publication's Platinum Award, and was later ranked 44th in a "Famitsu" reader poll of the 100 greatest games of all time in March 2006. The game would go on to sell 440,225 copies in the region by the end of 2005, becoming the 23rd most-bought software title that year, and over 556,000 copies in Japan by the end of 2006, with worldwide sales totaling approximately 734,000 copies by December 2007.


title: Tales of the Abyss

text: Overall, English reviews for the game became "favorable" according to video game review aggregator Metacritic. The game has been praised for its diverse cast with IGN particularly placing attention on the game's protagonist and his ensuing character development. Others likewise praised the game's dialogue and cut-scene direction, although some questioned both the overabundance of "skits" which popped up from time to time as well as the localization team's decision to omit the voice-acting that accompanied the skits in the Japanese version. Most reviewers praised the battle system, stating that it was an improvement from earlier "Tales" installments while at the same time noting that it often devolved into "mindless button mashing". The graphics have received mixed attention. In particular, 1UP.com felt that they were "rough around the edges" and GameSpot pointed out a drop in frame-rate on the world map, along with a generic mix of RPG locales.


title: Tales of the Abyss

text: "Famitsu" granted the 3DS version a lower score than its predecessor based on individual reviews of 8, 8, 7, and 8, primarily due to the lack of new features compared to the original, with one editor remarking that "It's well-made and doesn't feel old, but there also hasn't been much added to it, although touch-screen skill selection on the bottom screen is nice." It would enter the Japanese sales charts as the top-selling game of its debut week with 74,173 copies sold, and would go on to sell a total of 126,808 copies in the region by the end of 2011.


title: Tales of the Abyss

text: The Nintendo 3DS port also received "favorable" reviews, though slightly less than the PS2 original, according to Metacritic. GameSpot called the game "entertaining" and "engrossing", but felt that it was not well-suited to the handheld's stereoscopic 3D, remarking that "for those who have already played the game on the PS2, it's harder to recommend a repeat purchase when the central new feature actively makes the game worse." While IGN praised the fact that the portable title had not lost any features from the console version, they nonetheless felt that the title "hasn’t aged well in all respects," adding that "Having fallen in love with games like "Xenoblade Chronicles" and "Dragon Quest IX" in the past few years, it's difficult to return to this complex world of menus and jargon without a bit of reluctance." "Game Informer" called the game a "well-executed port", but ultimately felt that the story moved too slowly and adhered to too many stock "JRPG" conventions. In 2012, the magazine would name Jade and Tear among the best characters in the "Tales" series. That same year, "Nintendo Power" would name the 3DS version the 228th greatest game released for a Nintendo console in their farewell issue.


title: Tales of the Abyss

text: Although exact numbers were not disclosed, a representative from Namco Bandai stated that sales of the game in Europe exceeded the company's expectations, and had to reprint the title "three or four times" to meet demand. The success of "Tales of the Abyss" in the region encouraged the publisher to reconsider their western markets and potentially localize more "Tales" games in the future.


title: Tales of the Abyss

text: A 26-episode animated TV adaptation of "Tales of the Abyss", produced by Bandai Visual, Namco, and Sunrise Animation Studios, began airing on October 4, 2008, and ended its run on March 28, 2009. The episodes were directed by Kenji Kodama and written by Akemi Omode. The game's theme song, "Karma" by Bump of Chicken, was reused as the opening theme; as well, most of the voice actors from the game returned to voice the same roles.


title: Tales of the Abyss

text: On July 22, 2010, Anime News Network announced that the North American anime distributor Bandai Entertainment acquired the license to the "Tales of the Abyss" anime. Originally set to release on July 7, 2011, it was later delayed to October 11, 2011. Following the closure of Bandai Entertainment in 2012, Sunrise announced at their panel at Otakon 2013, that Funimation has rescued the series, along with a handful of other former Bandai Entertainment titles.


title: Tales of the Abyss

text: Three manga adaptations of the "Tales of the Abyss" game have been created and released in Japan. The first, which is simply named "Tales of the Abyss" and is written and illustrated by Rei was serialized in "Dengeki Maoh". The second, , written by Rin Nijō and illustrated Hana Saitō ran in the official "Tales of Magazine". A third manga adaptation, was written by newer artist Ayumi Kano and is a side story piece focusing on character Jade Curtiss' background. The first chapter premiered in "Asuka" magazine's April 24, 2009 issue.


title: Propeller (aeronautics)

text: An aircraft propeller, also called an airscrew, converts rotary motion from an engine or other power source into a swirling slipstream which pushes the propeller forwards or backwards. It comprises a rotating power-driven hub, to which are attached several radial airfoil-section blades such that the whole assembly rotates about a longitudinal axis. The blade pitch may be fixed, manually variable to a few set positions, or of the automatically variable "constant-speed" type.


title: Propeller (aeronautics)

text: The propeller attaches to the power source's driveshaft either directly or through reduction gearing. Propellers can be made from wood, metal or composite materials.


title: Propeller (aeronautics)

text: Propellers are most suitable for use at subsonic airspeeds generally below about , although supersonic speeds were achieved in the McDonnell XF-88B experimental propeller-equipped aircraft. Supersonic tip-speeds are used in some aircraft like the Tupolev Tu-95, which can reach .


title: Propeller (aeronautics)

text: The earliest references for vertical flight came from China. Since around 400 BC, Chinese children have played with bamboo flying toys. This bamboo-copter is spun by rolling a stick attached to a rotor between one's hands. The spinning creates lift, and the toy flies when released. The 4th-century AD Daoist book "Baopuzi" by Ge Hong (抱朴子 "Master who Embraces Simplicity") reportedly describes some of the ideas inherent to rotary wing aircraft.


title: Propeller (aeronautics)

text: It was not until the early 1480s, when Leonardo da Vinci created a design for a machine that could be described as an "aerial screw", that any recorded advancement was made towards vertical flight. His notes suggested that he built small flying models, but there were no indications for any provision to stop the rotor from making the craft rotate. As scientific knowledge increased and became more accepted, man continued to pursue the idea of vertical flight. Many of these later models and machines would more closely resemble the ancient bamboo flying top with spinning wings, rather than Leonardo's screw.


title: Propeller (aeronautics)

text: In July 1754, Russian Mikhail Lomonosov had developed a small coaxial modeled after the Chinese top but powered by a wound-up spring device and demonstrated it to the Russian Academy of Sciences. It was powered by a spring, and was suggested as a method to lift meteorological instruments. In 1783, Christian de Launoy, and his mechanic, Bienvenu, used a coaxial version of the Chinese top in a model consisting of contrarotating turkey flight feathers as rotor blades, and in 1784, demonstrated it to the French Academy of Sciences. A dirigible airship was described by Jean Baptiste Marie Meusnier presented in 1783. The drawings depict a streamlined envelope with internal ballonets that could be used for regulating lift. The airship was designed to be driven by three propellers. In 1784 Jean-Pierre Blanchard fitted a hand-powered propeller to a balloon, the first recorded means of propulsion carried aloft. Sir George Cayley, influenced by a childhood fascination with the Chinese flying top, developed a model of feathers, similar to that of Launoy and Bienvenu, but powered by rubber bands. By the end of the century, he had progressed to using sheets of tin for rotor blades and springs for power. His writings on his experiments and models would become influential on future aviation pioneers.


title: Propeller (aeronautics)

text: William Bland sent designs for his "Atmotic Airship" to the Great Exhibition held in London in 1851, where a model was displayed. This was an elongated balloon with a steam engine driving twin propellers suspended underneath. Alphonse Pénaud developed coaxial rotor model helicopter toys in 1870, also powered by rubber bands. In 1872 Dupuy de Lome launched a large navigable balloon, which was driven by a large propeller turned by eight men. Hiram Maxim built a craft that weighed , with a wingspan that was powered by two steam engines driving two propellers. In 1894, his machine was tested with overhead rails to prevent it from rising. The test showed that it had enough lift to take off. One of Pénaud's toys, given as a gift by their father, inspired the Wright brothers to pursue the dream of flight. The twisted airfoil (aerofoil) shape of an aircraft propeller was pioneered by the Wright brothers. While some earlier engineers had attempted to model air propellers on marine propellers, the Wright Brothers realized that a propeller is essentially the same as a wing, and were able to use data from their earlier wind tunnel experiments on wings, introducing a twist along the length of the blades. This was necessary to maintain a more uniform angle of attack of the blade along its length. Their original propeller blades had an efficiency of about 82%, compared to 90% for a modern (2010) small general aviation propeller, the 3-blade McCauley used on a Beechcraft Bonanza aircraft. Roper quotes 90% for a propeller for a human-powered aircraft.


title: Propeller (aeronautics)

text: Mahogany was the wood preferred for propellers through World War I, but wartime shortages encouraged use of walnut, oak, cherry and ash. Alberto Santos Dumont was another early pioneer, having designed propellers before the Wright Brothers for his airships. He applied the knowledge he gained from experiences with airships to make a propeller with a steel shaft and aluminium blades for his 14 bis biplane in 1906. Some of his designs used a bent aluminium sheet for blades, thus creating an airfoil shape. They were heavily undercambered, and this plus the absence of lengthwise twist made them less efficient than the Wright propellers. Even so, this was perhaps the first use of aluminium in the construction of an airscrew. Originally, a rotating airfoil behind the aircraft, which pushes it, was called a propeller, while one which pulled from the front was a tractor. Later the term 'pusher' became adopted for the rear-mounted device in contrast to the tractor configuration and both became referred to as 'propellers' or 'airscrews'. The understanding of low speed propeller aerodynamics was fairly complete by the 1920s, but later requirements to handle more power in a smaller diameter have made the problem more complex.


title: Propeller (aeronautics)

text: Propeller research for National Advisory Committee for Aeronautics (NACA) was directed by William F. Durand from 1916. Parameters measured included propeller efficiency, thrust developed, and power absorbed. While a propeller may be tested in a wind tunnel, its performance in free-flight might differ. At the Langley Memorial Aeronautical Laboratory, E. P. Leslie used Vought VE-7s with Wright E-4 engines for data on free-flight, while Durand used reduced size, with similar shape, for wind tunnel data. Their results were published in 1926 as NACA report #220.


title: Propeller (aeronautics)

text: Lowry quotes a propeller efficiency of about 73.5% at cruise for a Cessna 172. This is derived from his "Bootstrap approach" for analyzing the performance of light general aviation aircraft using fixed pitch or constant speed propellers. The efficiency of the propeller is influenced by the angle of attack (α). This is defined as α = Φ - θ, where θ is the helix angle (the angle between the resultant relative velocity and the blade rotation direction) and Φ is the blade pitch angle. Very small pitch and helix angles give a good performance against resistance but provide little thrust, while larger angles have the opposite effect. The best helix angle is when the blade is acting as a wing producing much more lift than drag. However, 'lift-and-drag' is only one way to express the aerodynamic force on the blades. To explain aircraft and engine performance the same force is expressed slightly differently in terms of thrust and torque since the required output of the propeller is thrust. Thrust and torque are the basis of the definition for the efficiency of the propeller as shown below. The advance ratio of a propeller is similar to the angle of attack of a wing.


title: Propeller (aeronautics)

text: Propellers are similar in aerofoil section to a low-drag wing and as such are poor in operation when at other than their optimum angle of attack. Therefore, most propellers use a variable pitch mechanism to alter the blades' pitch angle as engine speed and aircraft velocity are changed.


title: Propeller (aeronautics)

text: A further consideration is the number and the shape of the blades used. Increasing the aspect ratio of the blades reduces drag but the amount of thrust produced depends on blade area, so using high-aspect blades can result in an excessive propeller diameter. A further balance is that using a smaller number of blades reduces interference effects between the blades, but to have sufficient blade area to transmit the available power within a set diameter means a compromise is needed. Increasing the number of blades also decreases the amount of work each blade is required to perform, limiting the local Mach number – a significant performance limit on propellers.


title: Propeller (aeronautics)

text: The performance of a propeller suffers when transonic flow first appears on the tips of the blades. As the relative air speed at any section of a propeller is a vector sum of the aircraft speed and the tangential speed due to rotation, the flow over the blade tip will reach transonic speed well before the aircraft does. When the airflow over the tip of the blade reaches its critical speed, drag and torque resistance increase rapidly and shock waves form creating a sharp increase in noise. Aircraft with conventional propellers, therefore, do not usually fly faster than Mach 0.6. There have been propeller aircraft which attained up to the Mach 0.8 range, but the low propeller efficiency at this speed makes such applications rare.


title: Propeller (aeronautics)

text: The tip of a propeller blade travels faster than the hub. Therefore, it is necessary for the blade to be twisted so as to decrease the angle of attack of the blade gradually from the hub to the tip.


title: Propeller (aeronautics)

text: There have been efforts to develop propellers and propfans for aircraft at high subsonic speeds. The 'fix' is similar to that of transonic wing design. Thin blade sections are used and the blades are swept back in a scimitar shape (scimitar propeller) in a manner similar to wing sweepback, so as to delay the onset of shockwaves as the blade tips approach the speed of sound. The maximum relative velocity is kept as low as possible by careful control of pitch to allow the blades to have large helix angles. A large number of blades are used to reduce work per blade and so circulation strength. Contra-rotating propellers are used. The propellers designed are more efficient than turbo-fans and their cruising speed (Mach 0.7–0.85) is suitable for airliners, but the noise generated is tremendous (see the Antonov An-70 and Tupolev Tu-95 for examples of such a design).


title: Propeller (aeronautics)

text: Forces acting on the blades of an aircraft propeller include the following. Some of these forces can be arranged to counteract each other, reducing the overall mechanical stresses imposed.


title: Propeller (aeronautics)

text: The purpose of varying pitch angle is to maintain an optimal angle of attack for the propeller blades, giving maximum efficiency throughout the flight regime. This reduces fuel usage. Only by maximising propeller efficiency at high speeds can the highest possible speed be achieved. Effective angle of attack decreases as airspeed increases, so a coarser pitch is required at high airspeeds.


title: Propeller (aeronautics)

text: The requirement for pitch variation is shown by the propeller performance during the Schneider Trophy competition in 1931. The Fairey Aviation Company fixed-pitch propeller used was partially stalled on take-off and up to on its way up to a top speed of . The very wide speed range was achieved because some of the usual requirements for aircraft performance did not apply. There was no compromise on top-speed efficiency, the take-off distance was not restricted to available runway length and there was no climb requirement.


title: Propeller (aeronautics)

text: The variable pitch blades used on the Tupolev Tu-95 propel it at a speed exceeding the maximum once considered possible for a propeller-driven aircraft using an exceptionally coarse pitch.


title: Propeller (aeronautics)

text: Early pitch control settings were pilot operated, either with a small number of preset positions or continuously variable.


title: Propeller (aeronautics)

text: The simplest mechanism is the ground-adjustable propeller, which may be adjusted on the ground, but is effectively a fixed-pitch prop once airborne. The spring-loaded "two-speed" VP prop is set to fine for takeoff, and then triggered to coarse once in cruise, the propeller remaining coarse for the remainder of the flight.


title: Propeller (aeronautics)

text: After World War I, automatic propellers were developed to maintain an optimum angle of attack. This was done by balancing the centripetal twisting moment on the blades and a set of counterweights against a spring and the aerodynamic forces on the blade. Automatic props had the advantage of being simple, lightweight, and requiring no external control, but a particular propeller's performance was difficult to match with that of the aircraft's power plant.


title: Propeller (aeronautics)

text: The most common variable pitch propeller is the constant-speed propeller. This is controlled by a hydraulic constant speed unit (CSU). It automatically adjusts the blade pitch in order to maintain a constant engine speed for any given power control setting. Constant-speed propellers allow the pilot to set a rotational speed according to the need for maximum engine power or maximum efficiency, and a propeller governor acts as a closed-loop controller to vary propeller pitch angle as required to maintain the selected engine speed. In most aircraft this system is hydraulic, with engine oil serving as the hydraulic fluid. However, electrically controlled propellers were developed during World War II and saw extensive use on military aircraft, and have recently seen a revival in use on home-built aircraft.


title: Propeller (aeronautics)

text: On most variable-pitch propellers, the blades can be rotated parallel to the airflow to stop rotation of the propeller and reduce drag when the engine fails or is deliberately shut down. This is called "feathering", a term borrowed from rowing. On single-engined aircraft, whether a powered glider or turbine-powered aircraft, the effect is to increase the gliding distance. On a multi-engine aircraft, feathering the propeller on an inoperative engine reduces drag, and helps the aircraft maintain speed and altitude with the operative engines.


title: Propeller (aeronautics)

text: Most feathering systems for reciprocating engines sense a drop in oil pressure and move the blades toward the feather position, and require the pilot to pull the propeller control back to disengage the high-pitch stop pins before the engine reaches idle RPM. Turboprop control systems usually utilize a "negative torque sensor" in the reduction gearbox which moves the blades toward feather when the engine is no longer providing power to the propeller. Depending on design, the pilot may have to push a button to override the high-pitch stops and complete the feathering process, or the feathering process may be totally automatic.


title: Propeller (aeronautics)

text: The propellers on some aircraft can operate with a negative blade pitch angle, and thus reverse the thrust from the propeller. This is known as Beta Pitch. Reverse thrust is used to help slow the aircraft after landing and is particularly advantageous when landing on a wet runway as wheel braking suffers reduced effectiveness. In some cases reverse pitch allows the aircraft to taxi in reverse – this is particularly useful for getting floatplanes out of confined docks.


title: Propeller (aeronautics)

text: Counter-rotating propellers are sometimes used on twin-engine and multi-engine aircraft with wing-mounted engines. These propellers turn in opposite directions from their counterpart on the other wing to balance out the torque and p-factor effects. They are sometimes referred to as "handed" propellers since there are left hand and right hand versions of each prop.


title: Propeller (aeronautics)

text: Generally, the propellers on both engines of most conventional twin-engined aircraft spin clockwise (as viewed from the rear of the aircraft). To eliminate the critical engine problem, counter-rotating propellers usually spin "inwards" towards the fuselage – clockwise on the left engine and counter-clockwise on the right – but there are exceptions (especially during World War II) such as the P-38 Lightning which spun "outwards" away from the fuselage from the WW II years, and the Airbus A400 whose inboard and outboard engines turn in opposite directions even on the same wing.


title: Propeller (aeronautics)

text: A contra-rotating propeller or contra-prop places two counter-rotating propellers on concentric drive shafts so that one sits immediately 'downstream' of the other propeller. This provides the benefits of counter-rotating propellers for a single powerplant. The forward propeller provides the majority of the thrust, while the rear propeller also recovers energy lost in the swirling motion of the air in the propeller slipstream. Contra-rotation also increases the ability of a propeller to absorb power from a given engine, without increasing propeller diameter. However the added cost, complexity, weight and noise of the system rarely make it worthwhile and it is only used on high-performance types where ultimate performance is more important than efficiency.


title: Propeller (aeronautics)

text: A fan is a propeller with a large number of blades. A fan therefore produces a lot of thrust for a given diameter but the closeness of the blades means that each strongly affects the flow around the others. If the flow is supersonic, this interference can be beneficial if the flow can be compressed through a series of shock waves rather than one. By placing the fan within a shaped duct, specific flow patterns can be created depending on flight speed and engine performance. As air enters the duct, its speed is reduced while its pressure and temperature increase. If the aircraft is at a high subsonic speed this creates two advantages: the air enters the fan at a lower Mach speed; and the higher temperature increases the local speed of sound. While there is a loss in efficiency as the fan is drawing on a smaller area of the free stream and so using less air, this is balanced by the ducted fan retaining efficiency at higher speeds where conventional propeller efficiency would be poor. A ducted fan or propeller also has certain benefits at lower speeds but the duct needs to be shaped in a different manner than one for higher speed flight. More air is taken in and the fan therefore operates at an efficiency equivalent to a larger un-ducted propeller. Noise is also reduced by the ducting and should a blade become detached the duct would help contain the damage. However the duct adds weight, cost, complexity and (to a certain degree) drag.


title: Miguel Bosé

text: Luis Miguel González Bosé (born 3 April 1956), usually known as Miguel Bosé, is a Spanish pop new wave singer and actor.


title: Miguel Bosé

text: Bosé was born in San Fernando Hospital in Panama City, Panama, the son of Italian actress Lucia Bosè (1931–2020) and Spanish bullfighter Luis Miguel Dominguín. Bosé grew up surrounded by art and culture: Pablo Picasso and Ernest Hemingway were close friends of the family. The film director Luchino Visconti was his godfather while Pablo Picasso was the godfather to his sister Paola Dominguín.


title: Miguel Bosé

text: Propelled by his famous family and their friends, Bosé started a career as an actor in 1971, taking part in various movies. He quickly found work on the basis of his talent and good looks rather than his family name. He studied acting as well as dancing and singing. Due to the lack of acting opportunities, he started exploring his talents as a singer in 1975. With the assistance of Camilo Sesto he recorded his first singles. Two years later, in 1977, Bosé signed a contract with CBS Records and he remained with them until 1984. Between 1977 and 1982, Bosè was a major teen idol in Italy, Spain, Southern Europe and in all Latin America. He had 7 top ten hits that earned him a secure spot in every televised song festival held in the aforementioned countries. By 1983 his star had severely waned in Italy, and he rarely performed there again until the 2000s, retreating to Latin American markets instead.


title: Miguel Bosé

text: From 1983 to 1985, he participated in the "Llena Tu Cabeza De Rock" television specials on Puerto Rican WAPA-TV. In 1985 he enjoyed his greatest success with "Amante bandido" which topped the charts all over Latin America and in Spain. The video to that song also became one of the most widely seen Spanish music videos, with Bose playing both a Superman style superhero and an Indiana Jones type of adventurer.


title: Miguel Bosé

text: In Italy, where he had a parallel career singing in both Italian and English his greatest success would be in 1994 by winning Festivalbar, the second largest musical event after the Sanremo Music Festival), for the third time.


title: Miguel Bosé

text: On 20 March 2007, to celebrate his 30 years as a singer, he released "Papito", an album that contains remakes of his previous songs as duets with Juanes, Alejandro Sanz, Fangoria, Ivete Sangalo, Laura Pausini, Shakira, Julieta Venegas, Ricky Martin, Amaia Montero (past member of the Spanish band La Oreja de Van Gogh), Michael Stipe, along with many other singers. Three singles were released off "Papito": the first is a re-make of his hit "Nena", featuring Mexican superstar Paulina Rubio; the second was "Morena Mía", with Mexican pop diva Julieta Venegas. The third single "Como un lobo" featured his niece Bimba Bosé. "Nena" was by far the most successful single off the album. It was nominated for a Latin Grammy for best song and became the best selling download of Spain in 2007. In the same year, Bosé was awarded the Billboard Latin Music Lifetime Achievement Award.


title: Miguel Bosé

text: In 2008, Colombian President Álvaro Uribe offered him Colombian citizenship because of his efforts towards peace in Colombia, including his participation in two concerts in 2008. On 16 March 2010 he received Colombian citizenship during a ceremony in the presidential palace, Casa de Nariño.


title: Miguel Bosé

text: After several "hints" on Twitter, on 4 September 2012 he released the album "Papitwo", a follow-up to his successful "Papito". The album contained additional remakes of well-known songs from his career, again featuring artists such as Juanes on "Partisano", Bimba Bosé on "Shoot Me in the Back" and Alejandro Sanz on "Te Comería El Corazón". It also included new collaborations with singers such as Pablo Alborán on "Puede Que", Juan Luis Guerra on "Creo En Ti", Tiziano Ferro on "Amiga", Jovanotti on "Mirarte", Malú on his first hit "Linda" (first single in Spain), Joaquín Sabina on "Sol Forastero", Ximena Sariñana on "Aire Soy" (first single in the Americas) and Dani Martín on "Te Digo Amor", among others. The Hollywood actress Penélope Cruz collaborated on the unreleased song "Decirnos Adiós", composed by her brother for Bosé.


title: Miguel Bosé

text: The album has two versions, a single disc with 14 previous hits remade with different artists and a deluxe one, with another CD containing 14 collaborations that Bosé made with singers during his career, including Hombres G on "Lo Noto", Raphael on "Morir de Amor", Natalia Lafourcade on "Si No Pueden Quererte", Spanknox on "Wrong in the Right Way", among others.


title: Miguel Bosé

text: On 7 October 2016 he released "Bosé MTV Unplugged", a live album that contains remakes of his previous songs as duets with Sasha Sokol, Pablo Alborán, Marco Antonio Solís, Fonseca, along with many other singers. Four singles were released off "Bosé MTV Unplugged": the first "Bambú", featuring Fonseca; the second was "Gulliver", with Mexican singer Natalia Lafourcade. The third single "Olvídame tú" with Marco Antonio Solís. "Estaré", was released as the fourth single from the album on 7 February 2017.


title: Miguel Bosé

text: On 20 February 2018 Miguel Bosé performed in the 2018 Viña del Mar International Song Festival, to a sold-out audience. Bosé performed "Si Tú No Vuelves" with American duo Ha*Ash. On 6 December 2019 Bosé featured on Ha*Ash's single "Si Tú No Vuelves" from the duo's "" album.


title: Miguel Bosé

text: Bosé was in a long-term relationship with sculptor Ignacio Palau from 1992 to 2018. In 2011, Bosé's twins Diego and Tadeo were born via surrogacy. Seven months later, Ivo and Telmo were born through the same method with Palau's biological gene.


title: Miguel Bosé

text: During the COVID-19 pandemic Bosé became one of the most active denialists, questioning the effectiveness of masks and other aspects of the virus. Some of his videos have been removed from YouTube and Facebook.


title: Kingdom of Libya

text: The Kingdom of Libya (; ), known as the United Kingdom of Libya from 1951 to 1963, was a constitutional monarchy in North Africa which came into existence upon independence on 24 December 1951 and lasted until a coup d'état on 1 September 1969. The coup, led by Muammar Gaddafi, overthrew King Idris and established the Libyan Arab Republic.


title: Kingdom of Libya

text: Under the constitution of October 1951, the federal monarchy of Libya was headed by King Idris as chief of state, with succession to his designated male heirs (Art. 44 and 45 of the 1951 Constitution). Substantial political power resided with the king. The executive arm of the government consisted of a prime minister and Council of Ministers designated by the king but also responsible to the Chamber of Deputies, the lower house of a bicameral legislature. The Senate, or upper house, consisted of eight representatives from each of the three provinces. Half of the senators were nominated by the king, who also had the right to veto legislation and to dissolve the lower house. Local autonomy in the provinces was exercised through provincial governments and legislatures. Tripoli and Benghazi served alternately as the national capital.


title: Kingdom of Libya

text: The Constitution was drafted under the auspices of the United Nations, and was seen to include significant mechanisms for the protection of human rights. Ultimately, the document established an institutional apparatus that promoted transparency and safeguards against antidemocratic power accumulation. In particular, the Constitution envisioned mechanisms to guarantee accountability in the exercise of public functions and equality of all Libyan citizens before the law. At the time it was produced, it was received as a positive and forward-thinking model of good governance and balance of powers for the region.


title: Kingdom of Libya

text: Several factors, rooted in Libya's history, affected the political development of the newly independent country. They reflected the differing political orientations of the provinces and the ambiguities inherent in Libya's monarchy. First, after the first Libyan general election, 1952, which was held on 19 February, political parties were abolished. The National Congress Party, which had campaigned against a federal form of government, was defeated throughout the country. The party was outlawed, and Bashir Saadawi was deported. Second, provincial ties continued to be more important than national ones, and the federal and provincial governments were constantly in dispute over their respective spheres of authority. A third problem derived from the lack of a direct heir to the throne. To remedy this situation, Idris in 1953 designated his sixty-year-old brother to succeed him. When the original heir apparent died, the king appointed his nephew, Prince Hasan ar Rida, his successor.


title: Kingdom of Libya

text: When a group of young officers and soldiers seized power under the leadership of Muammar Gaddafi on 1 September 1969, the Crown Prince, who was then ruling the country on behalf of King Idris was imprisoned for two years and subsequently reduced to complete isolation during the following seven years under house arrest. Publicly humiliated by Gaddafi's circle, he suffered a stroke that led him to seek medical treatment in the UK in 1988. He then travelled to Europe with his second son, Prince Mohammed El Hassan El Rida El Senussi, and died in 1992 in London surrounded by his family. When, on 18 June 1992, the last will of the late Crown Prince was read at a press conference at the presence of the press and of his five children, Prince Mohammed was formally appointed as the legitimate heir to the throne of Libya.


title: Kingdom of Libya

text: In its foreign policy, the Kingdom of Libya was recognized as belonging to the conservative traditionalist bloc in the League of Arab States, of which it became a member in 1953.


title: Kingdom of Libya

text: The government was in close alliance with the United States and United Kingdom; both countries maintained military base rights in Libya. The U.S. supported the United Nations resolution providing for Libyan independence in 1951 and raised the status of its office at Tripoli from a consulate general to a legation. Libya opened a legation at Washington, D.C. in 1954. Both countries subsequently raised their missions to the embassy level and exchanged ambassadors.


title: Kingdom of Libya

text: In 1953, Libya concluded a twenty-year treaty of friendship and alliance with the United Kingdom under which the latter received military bases in exchange for financial and military assistance. The next year, Libya and the United States signed an agreement under which the United States also obtained military base rights, subject to renewal in 1970, in return for economic aid to Libya. The most important of the United States installations in Libya was Wheelus Air Base, near Tripoli, considered a strategically valuable installation in the 1950s and early 1960s. Reservations set aside in the desert were used by British and American military aircraft based in Europe as practice firing ranges. Libya forged close ties with France, Italy, Greece, Turkey, and established full diplomatic relations with the Soviet Union in 1955, but declined a Soviet offer of economic aid.


title: Kingdom of Libya

text: As part of a broad assistance package, the UN Technical Assistance Board agreed to sponsor a technical aid program that emphasized the development of agriculture and education. The University of Libya was founded in 1955 by royal decree in Benghazi. Foreign powers, notably Britain and the United States, provided development aid. Steady economic improvement occurred, but the pace was slow, and Libya remained a poor and underdeveloped country heavily dependent on foreign aid.


title: Kingdom of Libya

text: This situation changed suddenly and dramatically in June 1959 when research prospectors from Esso (later renamed Exxon) confirmed the location of major petroleum deposits at Zaltan in Cyrenaica. Further discoveries followed, and commercial development was quickly initiated by concession holders who returned 50 percent of their profits to the Libyan government in taxes. In the petroleum market, Libya's advantages lay not only in the quantity but also in the high quality of its crude product. Libya's proximity and direct linkage to Europe by sea were further marketing advantages. The discovery and exploitation of petroleum turned the vast, sparsely populated, impoverished country into an independently wealthy nation with potential for extensive development and thus constituted a major turning point in Libyan history. Libya's petroleum law, initially passed in 1955, was amended in 1961 and again in 1965 to increase the Libyan government's share of the revenues from oil.


title: Kingdom of Libya

text: As development of petroleum resources progressed in the early 1960s, Libya launched its first Five-Year Plan, 1963–68. One negative result of the new wealth from petroleum, however, was a decline in agricultural production, largely through neglect. Internal Libyan politics continued to be stable, but the federal form of government had proven inefficient and cumbersome. In April 1963, Prime Minister Mohieddin Fikini secured adoption by parliament of a bill, endorsed by the king, that abolished the federal form of government, establishing in its place a unitary, monarchical state with a dominant central government. By legislation, the historical divisions of Cyrenaica, Tripolitania, and Fezzan were to be eliminated and the country divided into ten new provinces, each headed by an appointed governor. The legislature revised the constitution in 1963 to reflect the change from a federal to a unitary state.


title: Kingdom of Libya

text: In regional affairs, Libya enjoyed the advantage of not having aggravated boundary disputes with its neighbors. Libya was one of the thirty founding members of the Organization of African Unity (OAU), established in 1963, and in November 1964 participated with Morocco, Algeria, and Tunisia in forming a joint consultative committee aimed at economic cooperation among North African states. Although it supported Arab causes, including the Moroccan and Algerian independence movements, Libya took little active part in the Arab-Israeli dispute or the tumultuous inter-Arab politics of the 1950s and the early 1960s.


title: Kingdom of Libya

text: Nevertheless, the brand of Arab nationalism advanced by Egypt's Gamal Abdel Nasser exercised an increasing influence, particularly among the younger Libyan generation that were influenced by the influx of Egyptian teachers into Libya. As one report suggests:


title: Kingdom of Libya

text: The presence of Egyptian teachers explains why so many classrooms show the influence of Egyptian propaganda. Pupils do crayon drawings of Egyptian troops winning victories over Israel or Britain. In Benghazi, Libya, a complete course in Egyptian history is given to secondary school students. A display in a high school art exhibit showed pictures of the leading rules of Egypt; on one side were the "bad" rulers, on the other the "good" rulers. The bad rulers began with the Pharaoh Cheops, who enslaved his people to build the pyramids, and ended with Farouk. The good rulers began with the idealistic Pharaoh Ikhnaton and ended with, of course, Gamal Abdel Nasser.


title: Kingdom of Libya

text: In response to anti-Western agitation in 1964, Libya's essentially pro-Western government requested the evacuation of British and American bases before the dates specified in the treaties. Most British forces were in fact withdrawn in 1966, although the evacuation of foreign military installations, including Wheelus Air Base, was not completed until March 1970.


title: Kingdom of Libya

text: The June 1967 War between Israel and its Arab neighbors aroused a strong reaction in Libya, particularly in Tripoli and Benghazi, where dock and oil workers as well as students were involved in violent demonstrations. The United States and British embassies and oil company offices were damaged in rioting. Members of the small Jewish community were also attacked, prompting the emigration of almost all remaining Libyan Jews. The government restored order, but thereafter attempts to modernize the small and ineffective Libyan armed forces and to reform the grossly inefficient Libyan bureaucracy foundered upon conservative opposition to the nature and pace of the proposed reforms.


title: Kingdom of Libya

text: Although Libya was clearly on record as supporting Arab causes in general, the country did not play an important role in Arab politics. At the Arab summit conference held at Khartoum in September 1967, however, Libya, along with Saudi Arabia and Kuwait, agreed to provide generous subsidies from oil revenues to aid Egypt, Syria, and Jordan, defeated in June by Israel. Also, Idris first broached the idea of taking collective action to increase the price of oil on the world market. Libya, nonetheless, continued its close association with the West, while Idris' government steered an essentially conservative course at home.


title: Kingdom of Libya

text: The monarchy came to an end on 1 September 1969 when a group of military officers led by Muammar Gaddafi staged a coup d'état against King Idris while he was in Turkey for medical treatment. The revolutionaries arrested the army chief of staff and the head of security in the kingdom. After hearing about the coup, King Idris dismissed it as "unimportant".


title: Kingdom of Libya

text: The coup pre-empted King Idris' instrument of abdication dated 4 August 1969 to take effect 2 September 1969 in favour of the Crown Prince, who had been appointed regent following the king's departure for Turkey. Following the overthrow of the monarchy the country was renamed the Libyan Arab Republic.


title: Kingdom of Libya

text: In 2013 the African Union commemorated King Idris' legacy as an African hero and the architect of Libya's independence from Italy's colonial rule in a public event. In fact, Idris remains widely regarded as the father of an independent and unified Libya who led the country through its resistance to the colonial powers. As a quiet but firm ruler, he played a unifying role both in Libya, between the various strains of Islam and the plethora of Libyan tribes, and across the region. He is remembered as "uncompromising" against his enemies, no matter the consequences of his actions. The obituary posted by Associated Press in 1983 recalled that he stripped thirty members of the royal household of their privileges and rights, exiled seven princes and ruled in favor of the execution of one of his nephew who had murdered a trusted royal adviser.


title: Kingdom of Libya

text: Although the king and the crown prince died in exile and most of the younger generation of Libyans were born after the monarchy, the Senussi dynasty has enjoyed somewhat of a comeback during the 2011 Libyan civil war, especially in the dynasty's traditional stronghold of Cyrenaica. Opposition demonstrators to Colonel Gaddafi used the old tricolour flag of the monarchy, some carried portraits of the king, and played the old national anthem "Libya, Libya, Libya". Two of the surviving Senussi exiles were planning to return to Libya to support the protestors.


title: Kingdom of Libya

text: The United Kingdom of Libya was a constitutional and hereditary monarchy with legislative power being exercised by the monarch in conjunction with parliament.


title: Kingdom of Libya

text: The King was defined by the constitution as the supreme head of state. Before he is able to assume constitutional powers the King would need to take an oath before a joint session of the Senate and the House of Representatives. All laws passed by parliament needed to be sanctioned and promulgated by the king. It was also the king's responsibility to open and close the sessions of Parliament, it is also his responsibility to dissolve the House of Representatives in line with the constitution. The king was head of the kingdom's armed forces.


title: Kingdom of Libya

text: The King was responsible for appointing and removing Prime Ministers. The king also appointed and dismissed ministers based on the advice of the Prime Minister. The Council of Ministers were responsible for the direction of the internal and external affairs of the country and the council were accountable to the House of Representatives. Once a prime minister was removed from office this automatically resulted in dismissal of all the other ministers.


title: Kingdom of Libya

text: The Kingdom's parliament consisted of two chambers, the Senate and the House of Representatives. Both chambers met and closed at the same time.


title: Kingdom of Libya

text: The Senate was made up of twenty-four members appointed by the King. A seat in the Senate was restricted to Libyan nationals of at least forty years. The King appointed the President of the Senate, with the Senate itself electing two vice presidents which the King would then need to approve. The president and vice president served for a fixed two-year term. At the end of this term, the King was free to reappoint the president or replace them with someone else while the vice presidents faced re-election. The term of office for a senator was eight years. A senator could not serve for consecutive terms but could be reappointed in the future. Half of all the senators were to be replaced every four years.


title: Kingdom of Libya

text: Members of the House of Representatives were elected through universal suffrage following the constitutional change on 25 April 1963. Women had previously not been able to vote. The number of deputies in the house was determined on the basis of one deputy for twenty thousand people. Elections were held every four years unless parliament was dissolved earlier. The deputies were responsible for electing a speaker and two vice-speakers for the house.


title: Kingdom of Libya

text: Following independence until 1963, the Kingdom was organised into three provinces: Tripolitania province, Cyrenaica province and Fezzan province, which are the three historic regions of Libya. Autonomy in the provinces was exercised through provincial governments and legislatures.


title: Kingdom of Libya

text: Following a change in the constitution abolishing the federal makeup of the country in 1963 the three provinces were reorganised into ten governorates ("muhafazah" in Arabic) which were ruled by an appointed governor.


title: Kingdom of Libya

text: Since Muammar Gaddafi's four-decade rule ended in 2011, Libya has struggled to establish basic institutions and rule of law. The 1951 Constitution as amended in 1963 has been at the center of political debate over the past years. In fact, the document continues to be widely regarded as an important instrument and a solid base towards the solution of Libya's political crisis.


title: Kingdom of Libya

text: Growing support on the ground in Libya that a Constitutional monarchy based on the pre-revolutionary constitution should be reinstated as a force for stability, unity, and just governance has emerged since 2011. Libyan exiles, as well as prominent political actors and local groups, have publicly backed the reinstatement of the Senussi Monarchy under the leadership of Prince Mohammed el-Senussi as an attractive political option in Libya. The Movement for the Return of Constitutional Legitimacy and its affiliated groups in Libya advocate for the reinstatement of the 1951 Constitution and the return of the Senussi monarchy under Mohammed El Senussi's leadership.


title: Kingdom of Libya

text: Interviewed by Al-Hayat in April 2014, then-Libyan Minister of Foreign Affairs Mohamed Abdelaziz stated that the return of the Constitutional Monarchy within the institutional limits set up by the 1951 Constitution before the 1963 amendments could serve as a unifying symbol for the nation and a "political umbrella" that would guarantee the legitimacy of Libya's institutions in the face of calls for a federal solution and sectarian conflict.


title: Kingdom of Libya

text: In July 2015, support to restore the implementation of the 1951 Constitution and to encourage the return of the Monarchy was publicly expressed by several members of the Constitution Drafting Assembly (CDA), the committee tasked with writing a new constitution, through a petition circulated through social media as well as through a formal letter issued by Ali Hussain Bubaker, then-mayor of Baida, an important city in the east of Libya.


title: Kingdom of Libya

text: In August 2015 a Cyrenaican federalist party, the National Federal Bloc, asked the Parliament to endorse the 1951 Constitution as a legitimate Constitution for the whole country. The party held a meeting in Bayda attended by Cyrenaican authorities as well as by members of the Tobruk-based House of Representatives under the slogan "The return to the unamended Constitution of the founding fathers of 1951 to ensure the unity of the Libyan nation". A conclusive statement authored by the organizers reiterated the necessity to regard the 1951 Constitution as the sole means to achieve political reunification in Libya.


title: Kingdom of Libya

text: Notably, on 4 June 2015 Daniel Kawczynski, a member of the Foreign Affairs Select Committee in the British Parliament, published a piece advocating for the return of the 1951 Constitution as amended in 1963 in line with the growing grassroots support registered in the major cities across Libya.


title: Kingdom of Libya

text: In general, growing interest in the viability and relevance of that solution both on the ground and internationally was recorded in February 2016 by Declan Walsh, a New York Times reporter who spent considerable time in Libya. The increasing volume of social media pages and activities on the subject has mirrored that trend.


title: Kingdom of Libya

text: Prince Mohammed el-Senussi has acknowledged the growing enthusiasm towards the reinstatement of the 1951 Constitution and the Constitutional Monarchy. He has consistently stressed that he would be honored to return and serve his country if the Libyan people demanded it.


title: Prithviraj Raso

text: The Prithviraj Raso (IAST: Pṛthvīrāja Rāso) is a Braj language epic poem about the life of Prithviraj Chauhan (reign. c. 1177–1192 CE). It is attributed to Chand Bardai, who according to the text, was a court poet of the king.


title: Prithviraj Raso

text: The earliest extant copy of the text dates back to the 16th century, although some scholars date its oldest version to the 13th century. By the 19th century, several interpolations and additions had been made to the original text under the patronage from Rajput rulers. The text now exists in four recensions. It contains a mixture of historical facts and imaginary legends, and is not considered historically reliable.


title: Prithviraj Raso

text: According to tradition, the "Prithviraj Raso" was composed by Chand Bardai, Prithviraj's court poet ("raj kavi"), who accompanied the king in all his battles. The last canto, which narrates the death of Chand Bardai and Prithviraj, is said to have been composed by Chand Bardai's son Jalha (or Jalhan).


title: Prithviraj Raso

text: Most modern scholars do not consider "Prithviraj Raso" to have been composed during Prithviraj's time. The text's language points to a date much later than the 12th century, and its current recension mentions the 13th century king Samarsi (Samarsimha or Samar Singh), whom it anachronistically describes as a contemporary of Prithviraj. However, some scholars still believe that Chand Bardai was a historical court poet of Prithviraj, and he composed a text that forms the basis of the present version of "Prithviraj Raso".


title: Prithviraj Raso

text: The earliest extant manuscript of "Prithviraj Raso", discovered at Dharanojwali village of Gujarat, is dated 1610. This manuscript contains the shortest recension of the text, and its language is more archaic than the one found in the other 17th century manuscripts. This suggests that the shortest recension most probably composed sometime before 1600, towards the end of the 16th century.


title: Prithviraj Raso

text: Scholars such as Narottamdas swami, Namvar Singh, and Cynthia Talbot date the text to the 16th century, during the reign of the Mughal emperor Akbar (r. 1556–1605). This theory is based on the fact that two narratives written during c. 1587-1597 are essentially summaries of the "Prithviraj Raso" plot: these narratives are contained in the Persian language text "Ain-i-Akbari" and the Sanskrit language text "Surjana-charita". Some episodes contained in "Prithviraj Raso" (such as the existence of a minister called Kaymas or Prithviraj's defeat by the Ghurid king) are mentioned in the earlier texts, but these earlier texts do not follow the storyline of the "Prithviraj Raso". For example, the 15th century text "Hammira Mahakavya", which appears to have been written for a Chauhan patron, does not mention the heroic episodes contained in the "Prithviraj Raso". If such episodes were known during the 15th century, the author of "Hammira Mahakavya" would not have failed to mention them. This suggests that the "Prithiviraj Raso" narratives did not exist in the 15th century in oral form, as speculated by some writers.


title: Prithviraj Raso

text: The oldest extant recension of "Prithviraj Raso" is from the 16th century. It exists in form a manuscript copied in 1610, for a grandson of Kalyanmal, the Rathore ruler of Bikaner. Scholars, such as Cynthia Talbot, Narottamdas Swami and Namwar Singh date the text to the 16th century, during the reign of Akbar. However Rima Hooja and other scholars of Rajasthan claims the core to have been written in Lata Apabhramsha (also called "Latiya Apabhramsha") language and style typical of 12th and 13th centuries.


title: Prithviraj Raso

text: Since the 16th century, the size of the text has expanded greatly because of several interpolations and additions, resulting in multiple recensions. Only a small portion of the existing recensions is likely to have been part of the original version. A small 1300-stanza manuscript in Bikaner is closest to the original text. The longest available version is the Udaipur (Mewar) manuscript, which is an epic with 16,306 stanzas.


title: Prithviraj Raso

text: Modern scholars categorize the various recensions of "Prithviraj Raso" into four broad categories, represented by the following editions:


title: Prithviraj Raso

text: Several manuscripts deviate from these editions. For example, some manuscripts of the medium recension omit the episode of Prithviraj killing the Ghurid Sultan. American academic Cynthia Talbot compiled a list of nearly 170 manuscripts of the text. The patrons of only 17 of these can be identified: they include kings and princes from the royal families of Bikaner, Amber (Jaipur), Kota, Jodhpur, and Udaipur; and a chief of Mewar. Few manuscripts provide information about their production; those that do indicate that such manuscripts were usually written by Bhat bards, Brahmins or Jains for Rajput patrons.


title: Prithviraj Raso

text: The classification of the text's language has been debated by scholars, as its language varies noticeably between the various recensions, and sometimes, even between the different portions of the same manuscript. The present version of "Prithviraj Raso" is composed primarily in Brajbhasha dialect, with some regional Rajasthani peculiarities. This language is sometimes called "Pingal" to distinguish it from Dingal, the language of Rajasthani poems.


title: Prithviraj Raso

text: "Prithviraj Raso" frequently uses the six-line "chappay" metre, which has "harsh, warlike connotations", and is more prevalent in Dingal than in Brajbhasha. The text features archaic vocabulary: this is especially true of the longest recension.


title: Prithviraj Raso

text: The various manuscripts use different proper names. For example, Prithviraj is variously called Prathiraj, Prathurav, Prithiraj etc.; and the Tomara dynasty is variously called Tanvar, Tauvar, Tunvar, and Tuar. The Ghurid king Shihab al-Din alias Mu'izz al-Din is called Sahabdin in the text.


title: Prithviraj Raso

text: The long recension contains several additions. For example, it mentions that Anangpal demanded his kingdom back a few years later. After failing to regain it by force, he went on to sought support from Shihab al-Din. Prithviraj defeated both of them, and convinced Anangpal to retire. The largest recension also gives accounts of bravery of several noble chiefs like Jaitra Rai, Devrai Baggari, Balibhadra Rai, Kuranbh Ram Rai, Prasang Rai Khichi and Jam Rai Yadav, whom it describes as the military allies or associates of Prithviraj.


title: Prithviraj Raso

text: Among the various medieval texts that mention Prithviraj Chauhan, "Prithviraj Raso" shares some similarities with the Sanskrit-language narrative "Prithviraja Prabandha". Unlike other texts, the two texts feature three common characters beside Prithviraj and his Ghurid rival Shihab al-Din:


title: Prithviraj Raso

text: Kaymas or Kaimbasa appears to have been a historical person, as he is mentioned under the name "Kadambavasa" in the "Prithviraja Vijaya", which was composed during Prithivraj's reign. He is also mentioned in another text - the Sanskrit-language "Kharatara-gaccha Pattavali" (1336 CE). However, unlike these texts, the "Prithviraja Prabandha" mentions the king's attack on this minister - an episode also mentioned in the "Prithviraj Raso".


title: Prithviraj Raso

text: In the "Prithviraja Prabandha", Kaimbasa is not on good terms with Prithviraj's spear-bearer Pratapasimha. One day, he complains to the king against Pratapasimha, but the spear-bearer convinces the king that Kaimbasa had been supporting the king's Ghurid enemies. On a subsequent night, the king attempts to kill Kaimbasa with a bow and arrow in the dark, but Kaimbasa escapes. The king feigns innocence about the attack, but Chand Baliddika knows about the incident, and condemns the king in private. The next day, Prithviraj dismisses both Kaimbasa and Chand Baliddika from his service. Kaimbasa later helps the invading Ghurid king Shihab al-Din defeat and capture Prithviraj. While imprisoned, Prithviraj asks Kaimbasa for a bow-and-arrow to kill Shihab al-Din, but the minister betrays him by divulging his plan to Shihab al-Din. A statue is kept in the Ghurid Sultan's place: Prithviraj ends up shooting an arrow at the statue, and is later stoned to death on Shihab al-Din's orders. The text implies that Prithviraj had been blinded before his imprisonment, as he realises his failure to kill Shihab al-Din when he hears the sound of the statue breaking.


title: Prithviraj Raso

text: In the "Prithviraj Raso", Kaymas falls in love with a slave from Karnataka, and visits the queen's palace to meet her at night, while the king is away on a hunting expedition. Prithviraj's Paramara queen sends him a letter complaining that Kaymas has been violating the privacy of the women's quarters. Prithviraj returns to the palace at night, and without any warning, attacks Kaimbasa with arrows. The first arrow misses Kaimbasa, but the second kills him. Prithviraj then secretly buries Kaymas along with his slave-lover, but Chand Bardai learns about the king's dishonourable act in a dream. Later, Prithviraj marries Samyogita, becomes obsessed with her, and starts ignoring the state affairs. He is subsequently defeated and blinded by the Ghurid king Shihab al-Din, but later kills the Ghurid king with an arrow during an archery performance, assisted by the bard Chand Bardai.


title: Prithviraj Raso

text: Frances Pritchett, a professor of South Asian Literature at the Columbia University, notes that the killing of Kaymas is one of the three key episodes integral to the plot of the original version of the "Prithviraj Raso", the other two being the king's eloping with Samyogita, and his killing of Shihab al-Din. Pritchett notes that Prithviraj's shooting of Kaymas foreshadows his shooting of Shihab al-Din: in the first episode, Prithviraj demonstrates his ability to shoot at night with poor visibility in the dark; in the second episode, he repeats this feat when he is blind. There is also an insinuation that Prithviraj's unjustified murder of Kaymas led to his misfortune of being defeated and blinded by the Ghurids. The king's blindness can be seen as a metaphor: when he starts ignoring the state affairs after being infatuated with Samyogita, he "becomes blind, figuratively-speaking, to the dangers to his kingdom".


title: Prithviraj Raso

text: Unlike "Prithviraj Raso", the "Prithviraja Prabandha" does not glorify Prithviraj. Here, his arrow misses Kaimbasa, indicating that he is not a phenomenal archer. Also, he dismisses his bard from his service, and his subsequent attempt to kill Shihab al-Din fails.


title: Prithviraj Raso

text: "Prithviraja Prabandha" and "Prabandha Chintamani", both written by Jain authors, present Prithviraj as an inept and unworthy king. However, the "Prithviraj Raso" glorifies him as an admirable king. The similarities between "Prithviraj Raso" and "Prithviraja Prabandha" suggest that one of these texts borrowed from the other, but it is not clear which of these was authored first, making it difficult to trace the origin of the legend. It is possible that "Prithviraj Raso" is based on the earlier Jain narratives, and changed the story to present Prithviraj as a hero who took revenge on his enemy and died an honourable death. Alternatively, it is possible that the Jain texts borrowed the story from an older oral tradition which is the basis of "Prithviraj Raso". Another possibility is that both the narratives may have been adapted from another, now-lost account.


title: Prithviraj Raso

text: The language of the texts available today largely appears to be post-15th century and to be based upon the 17th-century compilation commissioned by Amar Singh II, the Sisodia ruler of Mewar. Amar Singh's predecessors had commissioned re-working of "Prithviraj Raso", probably beginning in the 1630s or 1640s, during the reign of Jagat Singh I. The version commissioned by Amar Singh was compiled by the poet Karuna-udadhi. Its manuscript, generally dated to 1703 CE, states that "stupid poets" had separated Chand Bardai's text into different parts: Karuna-udadhi wrote the current version by "picking through the strands" on the orders of Amar Singh. The resulting text is actually a revised text, which is very different from the earlier versions of the text.


title: Prithviraj Raso

text: This version appears to have been written as the part of a campaign to revive the Mewar dynasty's prestige, which had declined as a result of their setbacks against and later alliance with the Mughals. The Mewar recension enlarges and embellishes the role of the Mewar family in history, through their association with Prithviraj Chauhan. For example, it mentions Amar Singh's ancestor Samar Singh (Samarasimha) as the closest associate of Prithviraj Chauhan. On the other hand, the shortest recension of "Prithviraj Raso" does not even mention Samar Singh. The Mewar recension claims that Samar Singh married Prithviraj's sister Pritha, and fought alongside Prithviraj against Jaichand of Kannauj. Such claims are first made in two earlier Brajbhasha texts composed during the reign of Amar Singh's grandfather Raj Singh I: "Rajvilas" of Man and "Rajaprashasti" of Ranchhod Bhatt.


title: Prithviraj Raso

text: Unlike the shortest recension which mentions Samyogita as Prithviraj's only wife, the Mewar version claims that Prithviraj married 12 other princesses, many of them presented to him by his nobles. On the other hand, the Mewar family's Samar Singh is the only one who marries a woman from Prithviraj's family, thus highlighting Samar Singh's high status. The recension devotes an entire chapter to the marriage of Samar Singh and Pritha, describing how Prithviraj's father Someshvar decided to marry his daughter to Samar Singh, because of the Mewar's family's glory.


title: Prithviraj Raso

text: Because of the claim that "Prithviraj Raso" was written by Prithviraj's contemporary Chand Bardai, the text was historically regarded as an authoritative source. However, it contains a mixture of imaginary stories and historical facts, which it exaggerates for dramatic effect. The largest version of the text is especially known to contain several inaccuracies, and is of little historical value.


title: Prithviraj Raso

text: Since the 16th century, the Rajput rulers patronized "Prithviraj Raso" for its elements of heroic exploits, romance and revenge. Because of this, it became the most popular biography of Prithviraj among the Rajputs. James Tod, who introduced the text to the Western scholarship, characterised it as an authentic historical source but is today considered himself not to be reliable. As a result of James Tod's writings, "Prithviraj Raso" overshadowed other legendary texts about Prithviraj Chauhan (such as the "Alha Khand" and "Prithviraja Vijaya"). From 1900 onwards, several Hindi-language narratives based on Prithviraj Raso were published.


title: Prithviraj Raso

text: In 1886, Kaviraj Shyamaldas raised doubts about the text's historicity, finding faults with its chronology. These concerns were dismissed by those who saw "Prithviraj Raso" as an authentic indigenous text (as opposed to the Persian-language histories by Muslim writers). The Mewar State official Mohanlal Vishnu Pandya tried to prove the text as authentic using forged documents. Pandya's arguments were rejected by prominent scholars such as G. H. Ojha and Ram Narayan Dugar. As the research on medieval Indian history advanced, other problems with the text's historicity became apparent, and by the late 19th century, the consensus on the historical authenticity of "Prithviraj Raso" had broken down.


title: Prithviraj Raso

text: While not strictly history, the "Prithviraj Raso" is a source of information on the social and clan structure of the Kshattriya communities of northern India.


title: Prithviraj Raso

text: The different recensions of the text also vary with each other. For example, the most popular recension of the text mentions the Agnikula legend, according to which Chahavana or Chahamana, the progenitor of the Chauhan dynasty, was born out of a fire-pit. However, the earliest extant manuscript of the text does not mention the Agnikula legend at all. It states that the first Chauhan ruler was Manikya Rai, who was born from Brahma's sacrifice.


title: Jamie Moyer

text: Jamie Moyer (born November 18, 1962) is an American former professional baseball pitcher. Over his 25-year career in Major League Baseball (MLB), Moyer pitched for the Chicago Cubs, Texas Rangers, St. Louis Cardinals, Baltimore Orioles, Boston Red Sox, Seattle Mariners, Philadelphia Phillies, and Colorado Rockies. He was inducted into the Mariners Hall of Fame in 2015.


title: Jamie Moyer

text: At the time of his final game, he was the oldest player in the major leagues and had the most wins, losses, and strikeouts of any active MLB pitcher. He was likened to Phil Niekro due to his long career and relatively old age upon retirement. On April 17, 2012, Moyer became the oldest pitcher in MLB history to win a game. On May 16, 2012, he broke his own winning-pitcher record and also set the record for the oldest MLB player to record a run batted in (RBI). He also holds the Major League record for most home runs allowed with 522.


title: Jamie Moyer

text: Moyer made the All-Star team in 2003, while with the Mariners. Moyer has received numerous awards for philanthropy and community service, including the 2003 Roberto Clemente Award, the 2003 Lou Gehrig Memorial Award, the 2003 Hutch Award, and the 2004 Branch Rickey Award. Moyer is one of only 31 players in baseball history to date to have appeared in MLB games in four decades. At the time of his retirement, Moyer had faced 8.9% of all MLB hitters ever.


title: Jamie Moyer

text: Moyer attended Souderton Area High School in Souderton, Pennsylvania, where he played baseball, basketball, and golf. In his junior year of baseball, he had a 10-0 win-loss record and threw three consecutive no-hitters.


title: Jamie Moyer

text: Moyer enrolled at Saint Joseph's University and played college baseball for the Saint Joseph's Hawks baseball team. In 1984, he set the school's single-season records in wins, with 16, earned run average (ERA), with 1.99, and strikeouts, with 90. In 1997, he became the only Saint Joseph's baseball player to have his jersey number, number 10, retired, and was one of three inductees into the first class of the St. Joseph's Baseball Hall of Fame.


title: Jamie Moyer

text: The Chicago Cubs selected Moyer in the sixth round of the 1984 amateur draft. Moyer was selected a New York–Penn League All-Star in 1984. He made his major league debut with the Cubs on June 16, 1986, against Steve Carlton and the Philadelphia Phillies, and earned his first win. Later that year, on August 16, he threw his first shutout against the Montreal Expos. He was also the starting pitcher for the Cubs on the day that Greg Maddux made his major league debut.


title: Jamie Moyer

text: In 1987, Moyer ranked tenth in the National League in strikeouts with 147, while winning 12 games and losing 15. He also lost 15 games in 1988 against only nine wins. Despite his poor record, Moyer lowered his ERA to 3.48 (it had been 5.10 in 1987), and while he struck out fewer batters than he had in the previous year, he decreased his walk rate significantly, giving only 55 batters a base on balls as opposed to 97 in the previous year.


title: Jamie Moyer

text: Following his then-best season in 1988, Moyer was traded to the Texas Rangers as part of the nine-player Rafael Palmeiro for Mitch Williams trade.


title: Jamie Moyer

text: Moyer was on the disabled list with a sore left shoulder for much of a disappointing 1989 season. In 1990, Moyer spent time in the bullpen before regaining a spot in the starting rotation.


title: Jamie Moyer

text: Moyer was released as a free agent after the 1990 season and was signed by the St. Louis Cardinals. He made seven starts for the Cardinals in 1991 before being sent to the minor leagues on May 24. He was released on October 14.


title: Jamie Moyer

text: In 1992, Moyer attended spring training with the Chicago Cubs, but was released and spent the rest of the season in the minor league system of the Detroit Tigers.


title: Jamie Moyer

text: Moyer began the 1993 season in the Oriole minor leagues before being called up on May 30. He tied his career-high total in wins with 12 and set a new career-low ERA of 3.43. The strike-shortened 1994 season saw his ERA rise to 4.77, but he was third on the Orioles' staff in innings pitched. In 1995, Moyer again found himself in the Baltimore bullpen, but worked his way back into the starting rotation.