text: Count of Foix

text: Roger IV of Foix

text: Philip III of France

text: Peter III of Aragon

text: troubadour

text: French monarchy

text: Languedoc

text: Gerald VI, Count of Armagnac

text: Alfonso of Poitou

text: Foix

text: Eustache de Beaumarchès

text: James I of Aragon

text: sappers

text: Carcassonne

text: Henry I of Navarre

text: Joanna

text: Philip the Fair

text: Pamplona

text: Pas de La Barre

text: bishop of Urgell

text: Andorra

text: paréage

text: condominium

text: Presidency of France

text: Catalan

text: Arnold Roger I of Pallars Sobirà

text: Ermengol X of Urgell

text: Balaguer

text: Castelbon

text: Aragonese Crusade

text: excommunicate

text: Elne

text: Girona

text: Count of Pallars Sobirà

text: Gascony

text: England

text: Bernard Saisset

text: bishop of Pamiers

text: Toulouse

text: Margaret of Montcada

text: Gaston VII of Béarn

text: Martha of Marsan

text: Gerard VI of Armagnac

text: coat of arms

text: James II of Aragon

text: Col de Puymorens

text: Tarascon-sur-Ariège

text: Gaston I

text: Mirepoix

text: Bernard IV of Astarac

text: Bernard IV Jordan of L'Isle-Jourdain

text: Brunissende

text: Elias VII of Périgord

categories: Occitan nobility,House of Foix,French male poets,1243 births,Princes of Andorra,14th-century Princes of Andorra,1302 deaths,Counts of Foix,13th-century Princes of Andorra,Troubadours

paragraph: Roger-Bernard III, Count of Foix

paragraph: Roger-Bernard III (1243 – 3 March 1302) was the Count of Foix from 1265 to his death. He was the son of Roger IV of Foix and Brunissende of Cardona. He entered into conflicts with both Philip III of France and Peter III of Aragon, who held him in captivity for a time. He was nevertheless a distinguished poet and troubadour.

paragraph: Section::::Conflict with Philip III.

paragraph: His conflict with Philip III was rooted in the longstanding desire of the French monarchy to establish its authority in Languedoc, where, since the 10th century, it had been practically a nonentity. In 1272, Roger-Bernard allied with Gerald VI, Count of Armagnac to attack the lord of Sompuy, who, however, applied for protection to the king. This brought the king and the count into direct opposition. Ignoring the royal command, the two counts went to war. Philip, claiming rights as the heir of his uncle Alfonso of Poitou, invaded Languedoc at the head of a large army. Roger-Bernard fled to his castle at Foix and the Seneschal of Toulouse, Eustache de Beaumarchès, seized his lands.

paragraph: Roger-Bernard, meanwhile, placed himself under the competing protection of James I of Aragon, who endeavoured to negotiate a peace. Roger-Bernard, however, demanded harsh and unacceptable conditions. On 3 June, King Philip began the siege of Foix and on 5 June, the citadel fell by the work of the sappers in tearing down its defensive walls. Roger-Bernard surrendered and was carted off to prison in Carcassonne.

paragraph: The dispute between James and Philip, however, did not immediately abate. The former refused to relinquish what he held on behalf of the imprisoned count. On 8 February 1273, the conflict was resolved and the king of Aragon gave up his claims. Before the end of that year, the count of Foix was released and did homage to the king of France, receiving back a portion of his confiscated lands. Roger-Bernard's relationship with Philip III was thereafter solid, with Philip even considering him his "most loyal and faithful vassal" in December 1277.

paragraph: Section::::War of the Navarrese Succession.

paragraph: On the death of Henry I of Navarre in 1274, a dispute arose over the succession to that small kingdom. Henry's heir was his daughter Joanna, wife of Philip the Fair, then heir-apparent of Philip III. The Aragonese, however, opposed her succession, which would have put the French in control of Navarre. In order to secure Joanna and Philip's rightful inheritance, Roger-Bernard led a French army into Navarre in September 1276. He took the capital city of Pamplona by force and razed it. In gladful compensation for this, Philip III restored all the count's remaining territories south of the Pas de La Barre.

paragraph: Section::::Formation of Andorra.

paragraph: Perhaps the most lasting of Roger-Bernard's policies was his diplomatic agreement with the bishop of Urgell concerning the possession of Andorra, a small montane territory with a long history of quarrels over its lordship between bishop and count. On 8 September 1278, after long negotiations, the count and the bishop concluded a paréage, a form of condominium, over the disputed country. Though slightly modified a little later (the same year), the paréage remains the governing system of Andorra to this day, though the office of Count of Foix has devolved to the Presidency of France since that time.

paragraph: Section::::Conflict with Aragon.

paragraph: In Spring 1280, the long-stewing conflict between Roger-Bernard and Peter of Aragon broke out into open rebellion. The count of Foix formed a coalition of other dissatisfied Catalan nobles, including Arnold Roger I of Pallars Sobirà and Ermengol X of Urgell, and revolted against Peter. Besieged in Balaguer, he was forced to surrender on 22 July and was imprisoned. While the other leaders of the revolt were released the next year, Roger-Bernard languished in an Aragonese dungeon until December 1283, at which time it was politically expedient to free him in exchange for the viscounty of Castelbon in an effort to stave off French aggression in the form of the so-called "Aragonese Crusade."

paragraph: Roger-Bernard, however, was not beholden to the then-excommunicate king of Aragon and readily sided with the invading French. First, on 25 May 1285, Elne and then, on 7 September, Girona surrendered to their French besiegers, Raimond-Roger, brother of the Count of Pallars Sobirà, negotiating the surrenders with the count of Foix.

paragraph: Section::::Relationship with Philip IV.

paragraph: In 1290, Roger-Bernard tried to stop the seneschals of Toulouse and Carcassonne from interfering in his internal affairs, such as the administration of justice and the collection of taxes. Philip the Fair, now King of France, refused to call off his functionaries and diminish his own authority in the south and was thus forced to confiscate two of the count's castles as punishment for his disobedience and lack of cooperation with the crown. Nonetheless, in 1293, the king finally intervened to order the seneschal of Carcassonne to leave the count of Foix's matters to the count of Foix. In 1295, Philip made the count Governor of Gascony and, on 29 April, ordered the seneschal to return the confiscated castles of 1290.

paragraph: In 1295, Roger-Bernard alleged that the seneschal was levying taxes without his consent or permission to finance the war with England. As a means of paying the count back for these imposts, Philip granted him castles in July 1295 and 1298.

paragraph: When Bernard Saisset, bishop of Pamiers, was inciting the people of Toulouse to revolt, it was to Roger-Bernard that he went looking for a leader. He was refused and the count informed the king.

paragraph: Section::::Inheritance of Béarn.

paragraph: In 1252, Roger-Bernard married Margaret of Montcada, the eldest daughter of Gaston VII of Béarn and Martha of Marsan. In his will, Gaston declared Margaret to be his heir, which was generally accepted, though not by his second daughter Mathe and her husband Gerard VI of Armagnac. Later, Gaston declared his third daughter Guillemette the new heir, but when he died in 1290, Roger-Bernard immediately took possession of his counties (May). Roger-Bernard then divided his coat of arms between that of Foix and that of Béarn.

paragraph: In 1293, after three years of peace, Gerard V finally contested the usurpation of Béarn and began a long war with Roger-Bernard over the rights of their wives. This war lasted until 1377.

paragraph: When the aforementioned Guillemette donated all her Catalan lands to James II of Aragon in April 1300, Roger-Bernard opposed her and travelled at the head of troops through the pass of the Col de Puymorens. He died at Tarascon-sur-Ariège on 3 March 1302 and was buried in Boulbonne beside his ancestors.

paragraph: He and Margaret had several children:

paragraph: BULLET::::- Gaston I, his successor

paragraph: BULLET::::- Constance, married (1296) John I de Lévis, lord of Mirepoix

paragraph: BULLET::::- Mathe, married (1294) Bernard IV of Astarac

paragraph: BULLET::::- Margaret (died 1304), married (1291) Bernard IV Jordan of L'Isle-Jourdain

paragraph: BULLET::::- Brunissende, married (1298) Elias VII of Périgord

paragraph: Section::::References.

paragraph: BULLET::::- Histoire des Comtes de Foix: Roger-Bernard III de Foix.

description: count of Foix

wikidata_label: Roger-Bernard III, Count of Foix

wikipedia_title: Roger-Bernard III, Count of Foix


text:
fado
singer
Lisbon
Portugal
tavern
prostitute
Portuguese guitar
13th Count of Vimioso
bullfights
tuberculosis
Júlio Dantas
play
Leitão de Barros
Portuguese film
sound
A Severa
Niagara-On-The-Lake
Maria Severa musical
"Fado" bibliography

categories: Portuguese fado singers,19th-century women singers,Portuguese fado guitarists,Singers from Lisbon,1846 deaths,19th-century Portuguese singers,19th-century deaths from tuberculosis,1820 births,Portuguese female singers

paragraph: Maria Severa Onofriana

paragraph: Maria Severa Onofriana (July 26, 1820November 30, 1846), also known simply as A Severa, was a Portuguese fado singer and guitarist. She is regarded as the first fado singer to have risen to fame in her short life, attaining a near-mythical status after her death. Fado has been described as the Portuguese expression of 'the blues,' and fado roughly means fate.

paragraph: Section::::Biography.

paragraph: Maria Severa Onofriana was born in Lisbon, Portugal in the neighborhood of Madragoa in 1820. She was the daughter of Severo Manuel and Ana Gertrudes. Her mother was the owner of a tavern and had the nickname "A Barbuda" ("the bearded woman"). Severa is said to have been a tall and gracious prostitute, and would sing the fado in taverns, where she would also play the Portuguese guitar. She is known to have had several lovers, including Francisco de Paula Portugal e Castro, 13th Count of Vimioso, who brought her to attend bullfights (a public and important social event of that time).

paragraph: She died of tuberculosis on November 30, 1846, on "Capelão" street in Mouraria, Lisbon, aged only 26 years old, and afterward was buried on a common ditch on the cemetery of "Alto de São João".

paragraph: Her fame grew also due to a novel by Júlio Dantas, entitled "A Severa", which was then made into a play and that was brought to stage in 1901. In 1931, director Leitão de Barros turned the play into the first Portuguese film to feature sound, "A Severa".

paragraph: A romantic musical, Maria Severa Onofriana, opened on July 19, 2011, at the Shaw Festival in Niagara-On-The-Lake, Ontario, with book, music and lyrics by Jay Turvey and Paul Sportelli, directed by Jackie Maxwell and starring Julie Martell as Maria Severa.

paragraph: Section::::References.

paragraph: BULLET::::- Maria Severa musical

paragraph: BULLET::::- "Fado" bibliography at José Lúcio Ribeiro de Almeida - Instrumentos Musicais Populares Portugueses

description: Portuguese singer

wikidata_label: Maria Severa Onofriana

wikipedia_title: Maria Severa Onofriana


text:
Encyclopedist
Marseilles
Paris
Denis Diderot
Julien Busson
François-Vincent Toussaint
Robert James
John Brown
The Theory of Moral Sentiments
Adam Smith
John Mortimer
John Bell
Francis Hutcheson
Amsterdam
Encyclopédie
entry on heraldry

categories: Spanish–French translators,18th-century French writers,Contributors to the Encyclopédie (1751–72),French translators,18th-century male writers,1724 births,English–French translators,Latin–French translators,People from Marseille

paragraph: Marc-Antoine Eidous

paragraph: Marc-Antoine Eidous (c.1724 - c.1790) was a French writer, translator and "Encyclopedist" born in Marseilles.

paragraph: His translations included works on the subjects of philosophy, travel and agriculture by English and Scottish authors:

paragraph: BULLET::::- The "Dictionnaire universel de médecine" (Paris, 1746-1748, 6 folio volumes) with Denis Diderot, Julien Busson and François-Vincent Toussaint from the "Medicinal Dictionary" of Robert James

paragraph: BULLET::::- "Reflexions sur l'Origine des Nations, tirées de leur langage", (1750);

paragraph: BULLET::::- "Histoire de la poésie" (1764), by John Brown

paragraph: BULLET::::- "Métaphysique de l'âme, ou Théorie des sentiments moraux" (1764), translating "The Theory of Moral Sentiments (1759) by Adam Smith

paragraph: BULLET::::- "Agriculture complète, ou l'Art d'améliorer les terres" (1765) from "The whole art of husbandry, or, the way of managing and improving of land" (1707) by John Mortimer

paragraph: BULLET::::- The "Voyages depuis S. Pétersbourg en Russie dans diverses contrées de l'Asie... " (1766), from "Travels from St. Petersburg in Russia, to diverse parts of Asia" (1764) by John Bell

paragraph: BULLET::::- The "Œuvres philosophiques" ("Philosophical Works") of Francis Hutcheson

paragraph: BULLET::::- "Dissertation historique et politique sur la population de l'ancien tems comparée ace celle du nôtre" (Amsterdam, 1769), from Robert Wallace's "A Dissertation on the Numbers of Mankind in Ancient and Modern Times" (1753)

paragraph: Eidous also contributed to the "Encyclopédie", including an entry on heraldry ("blason").

description: French writer, translator and Encyclopedist

wikidata_label: Marc-Antoine Eidous

wikipedia_title: Marc-Antoine Eidous


text:
Parkano
Finnish
Tango
Tangomarkkinat
Seinäjoki
teacher
multiple sclerosis
Petri Hämäläinen
Tangomarkkinat
Official fansite

categories: People from Parkano,Finnish tango musicians,Finnish female singers,1965 births,Living people

paragraph: Saija Varjus

paragraph: Saija Varjus (b. 30 January 1965 in Parkano) is a Finnish popular musician. She was chosen the "Tango Queen" 1996 in the Tangomarkkinat festival in Seinäjoki. This was her second attempt: she had competed in 1993 but only reached as far as the semifinal.

paragraph: Section::::Biography.

paragraph: Varjus had previously worked as a teacher. Her most famous recordings include "Dam dam da da di dum" (1997), "Vastatuuleen" (1998), "Kuiskaten" (2002) and "Ihana aamu" (2002).

paragraph: On January 1998, Saija Varjus was diagnosed with multiple sclerosis.

paragraph: On 13 October 2007, she married the guitarist Petri Hämäläinen.

paragraph: Section::::Discography.

paragraph: BULLET::::- "Saija Varjus" (1997)

paragraph: BULLET::::- "Yambaijaa" (1998)

paragraph: BULLET::::- "Tähtiin kirjoitettu" (2000)

paragraph: BULLET::::- "Parhaat" (2001)

paragraph: BULLET::::- "Ihana aamu" (2002)

paragraph: BULLET::::- "Varjus" (2007)

paragraph: Section::::Awards.

paragraph: BULLET::::- Tango Queen (1996)

paragraph: Section::::Sources.

paragraph: BULLET::::- Marja Nyman, Tangokuninkaalliset, Revontuli 2002,

paragraph: BULLET::::- Tony Latva and Petri Tuunainen, Iskelmän tähtitaivas, WSOY 2004,

paragraph: Section::::External links.

paragraph: BULLET::::- Tangomarkkinat

paragraph: BULLET::::- Official fansite

description: Finnish singer

wikidata_label: Saija Varjus

wikipedia_title: Saija Varjus


text:
Danish
Frankish
Saxon
Widukind
Charlemagne
Saxony
Lippe River
Elbe
Obotrites
Drozko
Gudfred
Lombard
Peter of Pisa
Paulus Diaconis
Odin
Thor
Ongendus
Gudfred
Gudfred
Hemming
Harald 'Klak' Halfdansson
Horik I
Sigfred
Sigurd Hring
Harald Wartooth
Battle of Brávellir
Danish conquest of England
Tale of Ragnar Lodbrok
Ragnar Lodbrok
High medieval
Ongendus
Viking Age

categories: Scyldings,8th-century monarchs in Europe

paragraph: Sigfred

paragraph: Sigfred (alternatively Siegfried; dates unknown) was an eighth century Danish king who is known to have reigned from before 777 to after 798. Fragments of his reign can be traced via Frankish sources.

paragraph: Section::::Assistance to Widukind.

paragraph: King Sigfred is first mentioned in 777 when the Saxon chief Widukind, leader of the resistance against Charlemagne, fled Saxony in the face of the Frankish onslaught. Widukind found refuge with Sigfred, but the Frankish annals do not say in detail what kind of assistance the Danish king may have provided. At any rate, Charlemagne made no attempt to subordinate or threaten the Danes during his Saxon campaigns. Much later German chronicles, keen to elaborate the family tree of Widukind, alleged that he was married to Sigfred's sister or daughter Geva; the value of this information is however utterly debatable.

paragraph: Section::::Frankish diplomacy.

paragraph: In the summer of 782, Charlemagne led his armed forces to the sources of the Lippe River, staying there for some time. On this occasion he received envoys from Sigfred, although the details of the negotiations are not disclosed. Shortly after, Widukind left his Nordic refuge and returned to Saxony where he successfully egged the population to rebel against the Frankish king. He then led the Saxon resistance until 785 when he finally submitted to Charlemagne. For several years there is no mention of the Danish king, but in 798 Charlemagne sent one of his trustees, Godeskalk, on a diplomatic mission to Sigfred. On his return, Godeskalk was slain by the rebellious Saxons living to the north-east of the Elbe. When the Franks put down the rebellion they were helped by the prince of the Obotrites, Drozko, who would later on be dealt with by Sigfred's successor Gudfred. Poems by the Lombard literati Peter of Pisa and Paulus Diaconis convey a very negative image of Sigfred. Peter wrote that Charlemagne had let him chose between being fettered, imprisoned, or sent to convert Sigfred. In a poetic reply, Paulus castigated the Danish king as a wild beast who ruled over other wild animals; an uncouth pagan who would nevertheless be unable to stand up against the mighty Frankish ruler. If he dared molest Peter and his entourage and refuse Christianisation, he would quickly be led before Charlemagne's throne in fetters, abandoned by Odin (Waten) and Thor (Thonar). It is interesting that the characterization is similar to that accorded to Ongendus, one of Sigfred's predecessors in the early 8th century. The poems also indicate that the Danes had started to draw some attention from the Carolingian elite by this time. The reign of Sigfred had ended by 804 when another ruler, Gudfred, is mentioned in the Frankish annals.

paragraph: Section::::Place in early Danish history.

paragraph: Nothing is known about Sigfred's relationship to Gudfred, who succeeded him as king of Denmark c. 804–810, or later kings such as Hemming (810–812), Harald 'Klak' Halfdansson (812-813, 819–827) and Horik I (813–854). Since the name Sigfred was borne by a nephew of Gudfred, he is often taken to have been the father of Gudfred, since children were often named after their grandfathers.

paragraph: The approximate dates of Sigfred's reign, and references to a King Harald who may have been either a predecessor, co-ruler or immediate successor of Sigfred, has led to speculations about a link with the legendary Swedish and Danish ruler Sigurd Hring. According to the sagas, Sigurd Hring defeated the Danish ruler Harald Wartooth at the Battle of Brávellir 2-3 generations before the first Danish conquest of England but the historicity of Hring, Wartooth and the battle are uncertain. According to the "Tale of Ragnar Lodbrok" saga, Sigurd Hring was the father of the legendary Viking leader Ragnar Lodbrok. Modern scholarship is in agreement that part of the genealogy of the early Viking Age kings of Denmark is a High medieval construction.

paragraph: It has been theorized that Sigfred's father was Ongendus, or Angantyr, which is problematic because there is more than half a century between them. The two kings may nevertheless have been related since a Danish prince Angantyr is known to have flourished in 811, and the name is extremely unusual. the recurrence of the names Angantyr, Sigfred, Harald and Gudfred throughout the 8th and 9th centuries suggests that the kings of the early Viking Age were mutually related.

description: king of Denmark

wikidata_label: Sigfred

wikipedia_title: Sigfred


text: square

categories: 1783 deaths,Daimyo,1714 births,18th-century Japanese mathematicians

paragraph: Arima Yoriyuki

paragraph: He approximated the value of formula_1 and its square, formula_2. In 1766, he found the following rational approximation of pi, correct to 29 digits:

description: Japanese mathematician and daimyo of the middle Edo period; 7th Lord of Kurume

wikidata_label: Arima Yoriyuki

wikipedia_title: Arima Yoriyuki


text: Hindi

text: Hindustani

text: playback singer

text: Bollywood

text: Hindi Cinema

text: Bollywood

text: Jaddan Bai

text: Taj Mahal

text: Mumtaz Mahal

text: Muslim

text: Hindu

text: Dev Anand

text: J.B. Petit High School for Girls

text: Fort

text: Raj Kapoor

text: Madan Mohan

text: Jaddan Bai

text: Taj Mahal

text: Nanubhai Vakil

text: Mumtaz Mahal

text: All India Radio

text: Zulfiqar Ali Bukhari

text: Naushad Ali

text: Abdul Rashid Kardar

text: Sharda

text: Anmol Ghadi

text: Dard

text: Dillagi

text: Dastaan

text: Tamanna

text: Station Master

text: Hamari Baat

text: Bombay Talkies

text: Devika Rani

text: K. Asif

text: K. Asif

text: Phool

text: Prithviraj Kapoor

text: Tadbir

text: K. L. Saigal

text: K. L. Saigal

text: Parwana

text: Khwaja Khurshid Anwar

text: Mehboob Khan

text: Anmol Ghadi

text: Noor Jehan

text: Dard

text: Dev Anand

text: Vidya

text: Vidya

text: Jeet

text: Shair

text: Afsar

text: Nili

text: Sanam

text: Mirza Ghalib

text: Mirza Ghalib

text: Dilip Kumar

text: Anarkali

text: Bina Rai

text: Nai Duniya

text: Naushad

text: Mehtab

text: "Sharda"

text: "Kanoon"

text: "Sanjog"

text: Shamshad Begum

text: Manna Dey

text: K. C. Dey

text: Rajkumari

text: K.L. Saigal

text: Noor Jehan

text: Anmol Ghadi

text: Khurshid Anwar

text: Husnlal Bhagatram

text: Aaj Ki Raat

text: Bari Behen

text: Amar Kahani

text: Sachin Dev Burman

text: Vidya

text: Afsar

text: Lal Kunwar

text: Durga Khote

text: Dwarka Divecha

text: Kamini Kaushal

text: Chetan Anand

text: Kalpana Kartik

text: Jairaj

text: Nimmi

text: Nirupa Roy

text: Tabassum

text: Sahitya Academy Award

text: Tabassum

text: Bari Behen

text: Tabassum

text: hypoglycemia

text: ischaemia

text: insulinoma

text: Sunil Dutt

text: Pratap A. Rana

text: Dharmendra

text: Badakabarastan

text: Marine Lines

text: Mumbai

text: Worli

text: Marine Drive

text: 2nd National Film Awards

text: Jawaharlal Nehru

text: Screen Lifetime Achievement Award

text: Atal Behari Vajpayee

text: India Post

text: O. P. Dutta

text: Outlook (magazine)

text: Rajesh Khanna

text: The Hindu

text: Legends – Suraiya: Her profile, Interview, complete list of her songs and reviews of her films

text: "Suraiya: the reluctant goddess"

text: The Indian Express

categories: People from Gujranwala,Indian film actresses,20th-century Indian women singers,Punjabi people,1929 births,20th-century Indian singers,Singers from Mumbai,2004 deaths,Indian female film singers,Actresses in Hindi cinema,Women musicians from Punjab, India,Indian Muslims,Indian women ghazal singers,20th-century Indian actresses,Indian ghazal singers,Actresses from Punjab, India

paragraph: Suraiya

paragraph: Suraiya Jamal Sheikh (15 June 1929 – 31 January 2004), popularly known by the mononym Suraiya, was a popular Indian Hindi/Hindustani film actress and playback singer in Bollywood. She was active from 1936 to 1963.

paragraph: In a career spanning from 1936 to 1963, Suraiya acted in 67 films and sang 338 songs. She was one of the greatest actresses of the Hindi Cinema and a leading lady in Bollywood in 1940s and 1950s. She was also a renowned playback singer, who mostly sang for her own films in Bollywood, starting from a song in "Nai Duniya" (1942) when she was only 12 years old.

paragraph: She was known for her North Indian Muslim feudal style acting or "adakari" in many of her films

paragraph: Suraiya made her first appearance as a child artist with the film "Madame Fashion" (1936), directed by Jaddan Bai. She made her acting debut with the film "Taj Mahal" in which she played the role of Mumtaz Mahal. In her heydays, she was known as Malika-e-Husn (queen of beauty), Malika-e-Tarannum (queen of melody) and Malika-e-Adakari (queen of acting). Suraiya was the highest paid actress in the 1940s and 1950s and won several awards for her performances in Indian films.

paragraph: A Muslim, Suraiya had a serious love relationship with Hindu actor Dev Anand and her romance with him attracted much attention. However, she never married him as her maternal grandmother did not allow her to marry a Hindu. Therefore, Suraiya never married for the rest of her life and died of heart ailments on 31 January 2004 at the age of 74.

paragraph: Section::::Early life.

paragraph: Suraiya was born Suraiya Jamal Sheikh on 15 June 1929 in Lahore to Aziz Jamal Sheikh and Mumtaz Sheikh. She was one year old, when her family moved to Mumbai (then, called Bombay) to reside at 'Krishna Mahal' at Marine Drive. Soon they were joined by her maternal uncle, M. Zahoor, who became a well known villain in Bombay film industry of nineteen thirties. She attended New High School, now known as J.B. Petit High School for Girls, in the Fort district of Bombay. Suraiya's childhood friends included Raj Kapoor and Madan Mohan, with whom she used to sing in children's radio programmes at All India Radio.

paragraph: Section::::Career.

paragraph: Section::::Career.:As an actress.

paragraph: Suraiya made her debut as a child actor in Jaddan Bai's "Madame Fashion" in 1936 as Miss Suraiya. Later, she got a prominent role with the help of her uncle, M. Zahoor. During a holiday from school in 1941, she accompanied him to Bombay's Mohan Studios to see the shooting of the film "Taj Mahal", which was being directed by Nanubhai Vakil. Vakil noticed the charm and innocence of young Suraiya and selected her to play the role of Mumtaz Mahal.

paragraph: While she was singing for children's programs for All India Radio (AIR) in Bombay, as a six-year old, Raj Kapoor and Madan Mohan were her co-artists. In fact, they first introduced her to AIR. Both were associated with her later as an adult, as her hero and as her music director respectively in films. At AIR, Zulfiqar Ali Bukhari was at that time the station director at the Bombay radio station. As soon as music director Naushad Ali heard Suraiya's voice, he chose her to sing (at age 13) for Mehtab in Abdul Rashid Kardar's film "Sharda" (1942). He became Suraiya's mentor and she sang some of the best songs of her career under his baton. Later, he gave hit after hit when Suraiya became a full-fledged singing star in "Anmol Ghadi" (1946), "Dard" (1947), "Dillagi" (1949) and "Dastaan" (1950).

paragraph: As a child artist, she acted and also sang in "Tamanna" (1942), "Station Master" (1942), and "Hamari Baat" (1943). Devika Rani, who headed the Bombay Talkies production company, seeing her blooming brilliance as an actress and as a singer signed her on a five-year contract at Rs. 500 per month with her role in "Hamari Baat" (1943). In the film she had a duet dance and her song with Arun Kumar, " Bistar Bicha Diya Hai Tere Ghar Ke Samne" became very popular.

paragraph: This five-year contract was revoked by Devika Rani on Suraiya's request, when K. Asif offered Suraiya Rs. 40,000 for his film 'Phool'. As an adult, Suraiya initially played as Prithviraj's sister in K. Asif's "Phool" as Shama, with Prithviraj Kapoor as hero. At the age of 14 in 1943, Suraiya appeared as a heroine in J.K. Nanda's film "Ishara", opposite Prithviraj Kapoor.

paragraph: She played a heroine in the film "Tadbir" (1945) on the recommendation of K. L. Saigal, who liked her voice during a rehearsal of a song for Jayant Desai's film "Samrat Chandragupt" (1945) in which she was acting. He recommended her to Desai, opposite himself in "Tadbir" (1945). She went on to co-star with K. L. Saigal in "Omar Khayyam" (1946) and "Parwana". Although by then she had a few hit songs, the four solo songs which she sang in "Parwana" for music director Khwaja Khurshid Anwar made her a genuine singer-film star.

paragraph: She acted as a co-star in Mehboob Khan's "Anmol Ghadi" (1946) with Noor Jehan as the lead actress and Surendra as the hero and in "Dard" (1947) with Munawwar Sultana as the lead actress and Nusrat as the hero. When "Pyar Ki Jeet" (1948) was released, with her as the heroine and Rehman as the lead actor, it caused large crowds outside Suraiya's house that had to be controlled by posting an inspector and four constables. During the premiere of "Badi Behen" (1949), again with Rehman as her lead actor, there was a very large crowd outside the cinema hall and the police had to baton-charge when Suraiya was walking into the hall. People even pulled at her clothes, so that after that, Suraiya stopped going to the premieres of her films.

paragraph: In the late 1940s, she worked with Dev Anand. While shooting the film "Vidya" (1948), she became romantically involved with him. The two of them were paired in seven films together; "Vidya" (1948), "Jeet" (1949), "Shair" (1949), "Afsar" (1950), "Nili" (1950), "Do Sitare" (1951) and "Sanam" (1951).

paragraph: From the late 1940s to the early 1950s, Suraiya was the highest-paid and most popular star of the Indian cinema.

paragraph: In "Mirza Ghalib" (1954), which won the 1954 National Award for Best Feature Film in India, Suraiya shone both as an actress and as a singer for her rendition of Ghalib's lover, 'Chaudvin'. Jawaharlal Nehru, commented on seeing the film, "Tumne Mirza Ghalib kii ruuh ko zindaa kar diyaa," ("You have brought the soul of Mirza Ghalib back to life").

paragraph: After "Mirza Ghalib", she acted in movies such as "Bilwamangal" (1954), "Waris" (1954), "Shama Parwana" (1954), "Kanchan" (1955), which was released in 1949 as "Amar Kahani" and re-released as "Kanchan", "Inam" (1955), "Mr. Lambu" (1956), "Trolly Driver" (1958), "Miss 1958" (1958), "Maalik" (1958) and "Shama" (1961). In the mid-fifties, Suraiya told Lata Mangeshkar once that she would soon be cutting down on her films. Lata told her not to do so. "Rustam Sohrab" (1963) was her last film. Suraiya in an interview said that during the shooting of the film, she suffered from low blood pressure, which was the reason for her giving up her acting career.

paragraph: Her film "Jaanwar" in the early 1950s with Dilip Kumar as hero (and K. Asif as director), was left incomplete by her, as she refused to act in the film, because of rough behaviour by Dilip Kumar during the shooting of the film, when he tore her blouse and bruised her back so badly that it took a month to heal. Later, director-producer K. Asif wanted a kissing scene. Suraiya knew that censors would not pass it. When she asked Asif how he would get it through the censors, he could not satisfy her and she withdrew from the film. There was another story also, that Dilip Kumar and K.Asif were hand in glove to exploit and humiliate Suraiya, because Suraiya had earlier ignored Dilip Kumar's plea to act with her. So they did some torrid scene and kept on repeating it for four days. Fed up with this ghastly behaviour of the two, Suraiya refused to act for them and withdrew from the film. In 1953, she refused the film "Anarkali" as heroine, a role which went to Bina Rai.

paragraph: Two other of her films were left incompleted, one of which was "Pagalkhana" (also, in early 50s), with Bharat Bhushan as lead actor, which was abandoned by the producer director P.L. Santoshi after eight reels, because of financial constraints. The other was an English version of "Wajid Ali Shah", starring Suraiya and Ashok Kumar in 1953, being filmed by British film director Herbert Marshall, was shelved after being made for some time. A number of her films were announced with advertisements in film magazines, but were partially made or did not take off. These were "Palken" with Shekhar, to be produced and directed by Devendra Goel, for Goel Cine Corporation; "Gumrah" by Globe Pictures, Bombay; "Nigah" by CB Films; "Sanwri" by Kundi Art Productions, produced and directed by Niranjan and "Ching Chow" to be produced by Nigaristan (producers of "Moti Mahal").

paragraph: Section::::Career.:As a singer.

paragraph: Suraiya's first song as a child-singer was "Boot karun main polish babu" (as a playback singer) in the film "Nai Duniya" (1942), composed by Naushad. She went on to sing playback for actress Mehtab for "Sharda" (1942), "Kanoon" (1943) and "Sanjog" (1942–43) for Naushad and A.R. Kardar (director-producer), when her principal, Miss P.F. Puttack, took a strong view of her truancy from school, and her 'adventure' came to an abrupt halt. When Mehtab first saw baby Suraiya, she was hesitant to have her as her playback singer, but on hearing her, she wanted Suraiya to sing all her songs in her films.

paragraph: Even in later years, in 1946, Mehtab was so attached to Suraiya's singing, that she requested Suraiya to record disc versions of her songs in her film "Shama" (1946), produced by Sohrab Modi, when Suraiya had become a busy heroine and had left singing playback in films for Mehtab. Suraiya then sang for Mehtab, in her own disc versions which were recorded by Shamshad Begum in the film.

paragraph: Suraiya debuted with Manna Dey in his first Hindi film song, and their only duet 'Jago ayee usha' in "Tamanna" in 1942, was directed by his uncle, the famous K. C. Dey. Again in 1942, Suraiya paired with Rajkumari in "Station Master" ( with music director Naushad) for the song 'Sajan ghar aye'. Suraiya acted in both these films.

paragraph: In 1943, Suraiya sang a song "Ek Tu Hoo, Ek Main Hoon", music composed by Naushad, in the film "Kanoon", which was the first song in Bombay music industry, which had characteristics of Latin American music.

paragraph: The song "Bistar Bicha Liya Hai Tere Dar Ke Samne Ghar Hum Ne Le Liya hai Tere Ghar ke Samne", which Suraiya sang in duet with Arun Kumar for the film "Hamari Baat" (1943) was a major success.

paragraph: A few years later, the singer-actor, K.L. Saigal was so impressed by the singing of the 16-year-old Suraiya, that he agreed to have her opposite him in the film "Tadbir" as a heroine and a singer in 1945. The music was directed by Lal Mohammad in the film. "Rani khol de dawar milne ka din aa gaya" is a memorable song from the film, she sang it with Saigal. Saigal again opted for Suraiya as his heroine and a singer in the films "Omar Khayyam" (1946) (with music director Lal Mohammad) and "Parwana" (1947) (with music director Khurshid Anwar). "Parwana" was Saigal's last film and was released after his death.

paragraph: Later, Suraiya continued to work with music director Naushad in a few films, and in 1946, she appeared with actress Noor Jehan in "Anmol Ghadi" as a co-star, with Naushad as the music director. She sang three songs in the film which became popular, of which 'Man leta hai angdai' went viral throughout the country. The musical film "Dillagi" (1949), under Kardar's direction, with Naushad's music, became a silver jubilee hit, with Suraiya becoming a national rage with her songs and acting. In a span of 22 years, she gave a number of hits. She sang about 51 songs for Naushad.

paragraph: In her honey-rich voice, songs like 'Woh paas rahein, ya door rahein', 'Tere naino ne chori kiya', 'Tu mera chaand, main teri chandni', 'Yaad karun tori batiya' and the rare classical number 'Man mor hua matwala' became an all-time favourite, along with 'Nain dewane , ek nahin mane'.

paragraph: Khurshid Anwar was the music director in three films of Suraiya, viz. "Ishara" (1943), "Parwana" (1947) and "Singaar" (1949). Suraiya sang 13 songs in these films.

paragraph: With the music director duo, Husnlal Bhagatram, Suraiya sang in 10 films and recorded the most songs (58, excluding 6 repeat songs for the film "Kanchan") for any music director from 1948 to 1958. The films were "Pyar Ji Jeet" (1948), "Aaj Ki Raat" (1948), "Naach" (1949), "Balam" (1949), "Bari Behen"(1949), "Amar Kahani"(1949), "Sanam" (1951), "Shama Parwana"(1954), "Kanchan" (1955) and "Trolley Driver" (1955). Her song 'O, door janewale, wada na bhul jana' in "Pyar Ki Jeet" in 1948 became a hit all over India.

paragraph: Suraiya did only three films with music composer Sachin Dev Burman, viz. "Vidya" (1948) (with Dev Anand), "Afsar" (1949) (with Dev Anand) and "Lal Kunwar" (1952)), as she was associated with other composers, and S.D. Burman came late into the scene in Bombay. Yet, most of their songs are memorable. 'Man mor hua matwala' (in "Afsar"), 'Nain Deewane' 'Layi khushi ki dunia' (with Mukesh in 'Vidya') and 'Preet sataye teri yaad na' in "Lal Kunwar" being some of them.

paragraph: Ghulam Mohammad gave music for the National Award winning film 'Mirza Ghalib'(1954), in which she sang memorable songs of Mirza Ghalib. 'Kajal', 'Shair' and 'Shama' were other films for which he composed music for Suraiya.

paragraph: Other directors who composed music for her in her film songs, include C. Ramchandra in the film 'Dewana', Roshan in the film 'Masuka', K. Dutta (in the films, 'Rang Mahal' and 'Yateem'), Krishen Dayal (in the film, 'Lekh' for songs, such as, 'Dil ka qarar lut gaya' and 'Badra ki chaon tale'), S.Mohinder (in 'Nilli'), Sardul Kwatra (in 'Goonj'), Madan Mahan (in 'Khubsoorat'), Roshan (in 'Mashuqa' for songs, such as, 'Mera bachpan wapas aya'), S.N.Tripahi (in 'Inaam'), O.P.Nayyar (in 'Mr. Lamboo') and N. Dutta (in 'Miss 58'). The music for her film, 'Main kya karoon' (1945) was composed by Nino Mujamdar, for the film 'Shakti' by Ram Prashad /Azim Beg. Hansraj Behl composed music for the film 'Khilari' (songs, such as, 'Chahat ka bhulana mushkil hai' and 'Dile nashad na ro'), 'Shaan' (songs, such as, 'Tarap ae dil'), 'Rajput', 'Moti Mehal' and 'Resham'. Her music director in the film 'Shokian' (songs, such as, 'Ratoon ki neend chen li') was Jamal Sen and Bilo C. Rani directed music in the film 'Bilwamangal' (songs, such as, 'Parwano se preet sekh le'), Shyam Sunder gave music for her films, 'Char din' and 'Kamal ke phool'. Sajjad Husain was her music director in two films, viz. '1857' and 'Rustom Sohrab'

paragraph: Section::::Personal life and love affair with Dev Anand.

paragraph: In the late 1940s, Dev Anand used to enact actor Gregory Peck's mannerisms to please Suraiya, as he knew she was a fan of Peck. Their love-affair continued for four years from 1948 to 1951. Dev Anand nicknamed Suraiya "Nosey", while to Suraiya, Dev Anand was "Steve", a name chosen from a book Dev Anand had given her. Suraiya also called Anand "Devina" and he called her "Suraiyana", while faking an Italian accent. Suraiya was so much in love with Dev Anand that she let Lata sing some of the songs picturized on her in her films, in order to get more time to be with Dev Anand. Her love for Dev Anand was so intense that she was ready to forgo her singing star career for Dev, who was even more passionate about her. "All I could then think of was my love for Dev – Suraiya as a singing star and her career be damned!"(in 'A Journey Down Memory Lane' by Raju Bharatan). During the shooting of director Rana Pratap's film "Jeet (1949)", both Dev Anand and Suraiya, with the help of the film cast and crew, namely Durga Khote (actress), Dwarka Divecha (cinematographer) and others, had made plans for marriage in a temple, and elopement, but at the last minute, an assistant director, jealous of their marriage, informed Suraiya's grandmother, who dragged her home from the scene.

paragraph: In the 'Star and Style' interview, Suraiya said that she gave in only when both her grandmother and her maternal uncle threatened to get Dev Anand killed. Suraiya told during this interview, that during the shooting of the film "Neeli" (1950), Dev Anand asked her final decision about their marriage, after their failed eloping incident. When Suraiya told Dev Anand that she did not want her to be the cause of his death, as both her grandmother and her maternal uncle opposed their marriage, he slapped her across the face and called her a "coward". She did not mind Dev Anand slapping her, because she knew how much he loved her. Dev Anand later kept on apologising for days about his behaviour.

paragraph: Dev Anand was not the one to be daunted easily. During the shooting of the film "Afsar (1950)", Dev Anand again formally proposed to her and gave her an engagement diamond ring worth rupees 3000. Suraiya was very happy and kept the ring with her. One day when she wore the ring, her grandmother questioned her and Suraiya could not hide the fact that Dev Anand had given it to her. Her grandmother was furious and threw her ring into the sea. Her maternal grandmother opposed the relationship, mainly because they were Muslims and Dev Anand was a Hindu. Suraiya and Dev Anand were stopped from acting together after their last film in 1951 by her grandmother. Thereafter, Suraiya remained unmarried by her own choice for the rest of her life.

paragraph: Speaking to journalist Sheila Vesuna, Suraiya said: "Eventually, my grandmother succeeded in separating us. Dev was deeply hurt and offended by my lack of courage. But I was afraid for him. In retrospect, I don't think anything would have happened if I'd been bold enough. But I was terrified of my grandmother. And was heartbroken. But time is the greatest healer." Suraiya's grandmother, Badshah Begum, who controlled the family, was fiercely opposed to Suraiya marrying Dev Anand. She was also supported by Suraiya's maternal uncle Zahoor and some film persons, viz. composer Naushad, director-producer A.R. Kardar, lyricist Naqshab (Nadira's first husband) and director M. Sadiq. During the shooting of Dev Anand's own production "Afsar" (1950), under the banner of 'Navketan', Suraiya's grandmother started to oppose their romance openly and started interfering even in the shooting of their love scenes.

paragraph: Earlier, at the height of their romance in the late forties, Suraiya created a furore in film-world, when she and Dev Anand walked hand in hand at the dashing hero Shyam's marriage.

paragraph: Kamini Kaushal, who worked with Suraiya and Dev Anand in "Shair" (1949), said in an interview to "Filmfare" in January 2014, that Suraiya would pass on her letters to her to be delivered to Dev Anand, when her grandmother started keeping an eye on their love-affair. She said that Dev Anand was non-aggressive, not someone to put his foot down and say, "I'll marry her". Actually, Kamini Kaushal said in 2007 to rediff.com that in the early days "Dev was very shy and introverted. We acted together in "Ziddi", which was his second film and my fourth. He is still a shy person, but puts on an act of flambuoyance. And let me tell you, it's a perfect act. I know him very well."

paragraph: Dev Anand in a TV interview with Simi; "Rendezvous with Simi Garewal", after Suraiya's death in January 2004, revealed that Suraiya, who had gladly accepted his ring at first, never told him the reason for her later refusal of the marriage proposal, and that she was coerced to say "no" to him by her grandmother.

paragraph: In an interview with 'Stardust', June 1972, Suraiya revealed that she lacked the courage to resist her family and that Dev Anand truly loved her. Dev Anand wanted her to be bold and get married to him in a civil court. But Suraiya refused. "When I refused to marry Dev Anand, he called me a coward. Maybe I was one. I admit I didn't have the courage to take a step I was not absolutely sure of. Perhaps, it was a folly, perhaps a mistake, or perhaps destiny".

paragraph: The principal reason for the opposition from her grandmother and her advisers was that Dev Anand was of a different religion, and the covert one was that Suraiya was the only earning member of the family. Naqshab even brought a copy of the Koran to make her swear that she would not marry Dev Anand (February 1987, 'Star and Style' interview of both Dev Anand and Suraiya by Sheila Vesuna). The film people had also their own professional and personal interests in opposing an early marriage of their popular singing star. Also, director M. Sadiq, who was a married man, himself wanted to marry her. Suraiya's parents wanted her to marry Dev Anand, but being a mellow couple, their voice was ignored by the grandmother.

paragraph: The painful experience with Dev Anand left her bruised emotionally, a phase from which many said she never recovered. She deliberately cut down her assignments after 1952. A retreat from the public atmosphere was followed by a return in films such as "Mirza Ghalib" (1954), for which she received praise even from the Prime Minister, Jawahar Lal Nehru, but she never attained the dizzy public popularity she had attained earlier on. Suraiya refused to marry anyone in future, in spite of efforts by her family to persuade her to marry certain film directors and businessmen of their community. M. Sadiq, film director and actor Rehman were some of the film persons who were interested in marrying Suraiya. Dev Anand, who was very depressed on her reluctant refusal to marry him, was counselled by his brother Chetan Anand to recover and stand up from the break up, and he went on to marry Kalpana Kartik four years later in 1954 in a hurried simple marriage, but as he said in his auto-biography, Suraiya was his first true love. Elsewhere, he has said to Shekhar Hattangadi that in spite of his marriage to Kalpana Kartik after his failed love affair that "Suraiya was the love and passion of his life and that I will always cherish her memory". While Suraiya was alive in October 2003, Dev Anand accepted the fact that "Suraiya was my first and only real love. I wanted to marry her and she was willing. But her Muslim family objected to me, being a Hindu, and created a big row over the communal issue. Remember, she was already a big singing star when we first met, and I was a nobody. Fans mobbed her, her songs were on the air, and her star image added to the attraction."

paragraph: The intensity of Dev Anand's love for Suraiya even late in his life, was revealed by journalist Ali Peter John in 2018 when he wrote, " On many of the evenings he remembered Suraiya, he had tears in his eyes which sometimes flowed down his cheeks, tears which he otherwise shed only when he talked about the times he spent with his mother. He would always end his memoirs of Suraiya with the line, "it had all the elements of a great love story, but it was destined to end in a tragedy which would be a scar that could never be wiped out from my heart. It could have been one of the great love stories, but I don’t know who decides the fate of love, if it was god, my love story and my love for Suraiya would never end the way it did."" When Suraiya died in 2004, Dev Anand hid from the media in his terrace, because he wanted to be away from the media as he was out of reach alone with the beautiful memories of Suraiya, “The one who could be the only one and there can’t be another, not at least for me”. The journalist revealed that Suraiya's love for Dev Anand was equally intense in 1996, when she was cajoled to come to receive the Lifetime Achievement Award, saying that Dev Anand would be attending the show, but Dev Anand sought pardon to attend, confessing that he was not ready to face his lady love. Suraiya was hugely disappointed when Dev Anand did not turn up and was angry at the lady reporter who had lied to her, and she told her “Tum log dhokhebaaz ho, pyaar ke naam ka khilwaad karte ho, tum logo ka kabhi bhala nahi hoga”. ("You are deceiptful, you play with people's emotions, you will never prosper doing this.").

paragraph: A limerick ('latka'), “chhayi bahar hai, jiya beqarar hai, aaja mere Dev Anand, Suraiya bemar hai” was often heard in the 1950s, to cajole Dev Anand to woo Suraiya once again.

paragraph: Section::::Later life and last days.

paragraph: In 1963, Suraiya retired from acting career, supposedly due to two reasons. Her father Aziz Jamal Sheikh died that year, and because of her health problems.

paragraph: Suraiya's maternal grandmother, Badshah Begum, who played a major part in her career and even her personal life, later went to Pakistan to live with her brother and his son, and she was left alone with her mother, Mumtaz Begum. The time with her mother were her happy years, when her mother took care of her daily needs and she would occasionally go to her film world friends. She had a few friends like old-timers Jairaj, Nimmi, Nirupa Roy and Tabassum, with whom she met occasionally. She briefly came into the limelight again in 1979 following publication of an interview with her by Raju Bhartan in "The Illustrated Weekly of India", which she said caused several of her former colleagues in Bollywood to get in contact with her.

paragraph: After her mother's death in 1987, Suraiya became lonely in the apartment she rented from Aswin Shah in Krishna Mahal, Marine Drive in Mumbai, where she had lived from the early 1940s. She possessed several apartments in Worli, Mumbai and property in Lonavala, near Pune. She had lived alone for most of the time in her life.

paragraph: In December 1998, Suraiya then over 68 years old, while in New Delhi to receive the Sahitya Academy Award during Mirza Ghalib's bi-centenanry celebrations, talked in a low voice and declined to sing, saying she had left “mosiqui (music) years ago”. When a reporter mentioned Dev Anand, she avoided the comment, and chose to change the subject by saying that it was getting late and she had to go back.

paragraph: Tabassum, who worked with Suraiya in "Bari Behen" and "Moti Mahal" as her younger sister, met her often at her home, or rang Suraiya from home. During Suraiya's last few months, Tabassum said "It's sad that she had shut her doors to the world in her last days. Sometimes when I visited her, I'd find papers and milk collected at her door. She never opened the door. But she'd talk comfortably with me on the phone. I remember our last conversation. I asked her: "Aapa kaisi hain?" (Elder sister, how are you?") She replied in verse: "Kaisi guzar rahi hai sabhi poochte hai mujhse, kaise guzaarti hoon koi nahin poochta."( "Everbody asks me 'how are you', but nobody asks me how I spend my days and nights.") (As told to Farhana Farook in 2012).

paragraph: She died at Mumbai's Harkishandas Hospital on 31 January 2004 aged 75, after being admitted there a week previously suffering from various ailments, including hypoglycemia, ischaemia and insulinoma. She had not long since been discharged after a previous hospitalisation. Among her visitors were Sunil Dutt, Naushad and Pratap A. Rana. Actor Dharmendra, who was her ardent fan, attended her funeral. She was buried at Badakabarastan in Marine Lines, Mumbai.

paragraph: For the last thirty years of her life, she was had a family friend and guide in her lawyer, Dhimant Thakkar and his family, with whom she had very close family relations. During the last six months of her life, Suraiya lived with the Thakkar family, who admitted her to hospital when she was ill.

paragraph: After her death, Suraiya's property at Worli and her house at Marine Drive went into legal dispute, as she did not leave behind an explicit will. While the house at Marine Drive was claimed by Thakkar, her lawyer since 1975, and her Pakistani cousin, Mehfooz Ahmed (maternal uncle M. Zahoor's son) in Dubai, her property was claimed by the adopted family of her lawyer (based on his daughter being a nominee in Suraiya's papers and gift to her as 'hiba'), and her cousin. No relatives from her father's side claimed anything from her property. In 2006, Mumbai High Court granted Mehfooz Ahmed the right to administer the estate. In 2008, her maternal cousin brother (Mehfooz Ahmed), who never met her for over 40 years before her death, got the right to the rented house at Krishna Mahal, valued at 7.5 crores rupees, as a tenant by the High Court judgement (according to Mumbai's old rent control laws) over her family lawyer. The house owner Ashwin Shah did not contest the case. The cousin had no objection to the house being sold.

paragraph: Section::::Honours and recognition.

paragraph: In 1946, Suraiya's film "Anmol Ghadi" with Noor Jehan and Surendra celebrated 'Silver Jubilee' (25 weeks continuous run in one or more cinema halls) in Bombay (now 'Mumbai') and other cities of India.

paragraph: In 1951, the inaugural issue of the film news-weekly "Screen" featured a photograph of Suraiya on its cover.

paragraph: In 1954, her film "Mirza Ghalib" was awarded the President's Gold Medal for the Best Feature Film of 1954 during the 2nd National Film Awards, with the then Prime Minister, Jawaharlal Nehru, remarking at the ceremony that she had brought Mirza Ghalib to life ('Tumne Mirza Ghalib ki rooh ko zindaa kar diyaa'). Suraiya thought his praise more worthy than an Oscar.

paragraph: In November 1956, Suraiya was sent as a part of delegate, consisting of Raj Kapoor, Nargis, Kamini Kaushal to the Soviet Union by the Government of India, where her films were screened.

paragraph: In 1996, Suraiya was awarded the Screen Lifetime Achievement Award.

paragraph: In December 1998, she was specially honoured for perpetuating Mirza Ghalib's memory by her acting and songs by the then Prime Minister, Atal Behari Vajpayee during the Mirza Ghalib bi-centenary celebrations in New Delhi.

paragraph: On 30 April 2003, Suraiya was honoured and awarded a momento by the Dadasaheb Phalke Academy and Screen World Publication at a special function on the 134th birth anniversary of Dada Phalke.

paragraph: On 3 May 2013, a postage stamp, bearing her image in various roles, was released by the India Post owned by the Government of India to honour her on the occasion of the '100 Years of Indian Cinema'.

paragraph: In 2013, Suraiya was voted as the 'Best On Screen Beauty with the Most Ethnic Look', during the celebrations on the completion of 100 years of the Indian cinema.

paragraph: Section::::Tributes.

paragraph: O. P. Dutta, director-writer, the only living director (when she died) to have worked with her (in "Pyar Ki Jeet") remembered her: "Suraiya, Bano to me, was a bundle of unforgettable qualities. A sublime voice, the ring in the voice, the perfect diction, the effortless rendering. But she always insisted that she was no singer... There were congratulations all around (on her success in his film). But Suraiya insisted she was no great shakes as an actress. The argument was over when she gave a sterling performance in "Bari Behen". The success made Suraiya smile that unforgettable smile that could send a thousand hearts aflutter. She was right at the top and I was very happy for her."

paragraph: Dilip Kumar said on her death that "She was a caring girl, very affectionate, particularly with junior artistes... Suraiya will be sorely missed, even though she had been a recluse for decades."

paragraph: Dev Anand said "I did not go to her funeral because I would have been reminded of her past. I cried from a distance."

paragraph: Outlook (magazine) wrote after her death: "She evoked the kind of hysteria [in the late 1940s] that can be compared only with Rajesh Khanna in his heyday from 1969 to 1972. Ask any old-timer and they would confirm that people bunked offices, schools and colleges, even shops closed on the opening day of her films, to see her films first day, first show."

paragraph: "The Hindu" newspaper wrote about Suraiya: "What can you say about a lady, who was courted by Dev Anand, respected by Pandit Jawaharlal Nehru, but feared by Lata Mangeshkar! That she was beautiful, talented, adored by millions, but died a lonely single woman? Or, that she was the best ever superstar singer-actress of Indian films, yet walked away to a self-imposed exile at the height of her glory? Yes, Suraiya was all this, plus 'a riddle, wrapped in a mystery, inside an enigma' who resolutely shunned screen and media once she departed from the arc lights."

paragraph: Suraiya's songs, as a tribute to her, are played every year on her birth anniversary, 15 June and her death anniversary on 31 January by Radio Sri Lanka (formerly Radio Ceylon).

paragraph: Section::::External links.

paragraph: BULLET::::- Legends – Suraiya: Her profile, Interview, complete list of her songs and reviews of her films

paragraph: BULLET::::- "Suraiya: the reluctant goddess" "The Indian Express".

description: Indian actress, Singer

wikidata_label: Suraiya

wikipedia_title: Suraiya


text: courtesy name

text: Eastern Han dynasty

text: Longkou

text: Shandong

text: commandery

text: Luoyang

text: Liaodong

text: Weifang

text: Kong Rong

text: Yellow Turban rebels

text: Liu Bei

text: Yang Province

text: Liu Yao

text: a war

text: Sun Ce

text: Jing County, Anhui

text: Fengxin County

text: Jiangxi

text: Sun Quan

text: Records of the Three Kingdoms

text: chi

text: Longkou

text: Shandong

text: commandery

text: Qing Province

text: Luoyang

text: Liaodong

text: Kong Rong

text: Weifang

text: Shandong

text: Yellow Turban rebels

text: Liu Bei

text: Pingyuan

text: Shandong

text: Liu Yao

text: Yang Province

text: Liaodong

text: Yangtze River

text: Danyang, Jiangsu

text: Sun Ce

text: attack Liu Yao's territories

text: Xu Zijiang

text: reconnaissance

text: Danyang, Jiangsu

text: Han Dang

text: Song Qian

text: Huang Gai

text: ji

text: Nanchang

text: Jiangxi

text: Wuhu

text: Anhui

text: Xuancheng

text: Jing County, Anhui

text: Shanyue

text: Kong Rong

text: Liu Bei

text: his future conquests

text: Han Xin

text: Guangwu

text: Pei Songzhi

text: an annotation

text: Sanguozhi

text: Wu Commandery

text: Suzhou

text: Jiangsu

text: Sun Ce

text: Liu Yao

text: Nanchang

text: Jiangxi

text: Yuan Shu

text: my father

text: his son

text: Hua Ziyu

text: Duke Huan of Qi

text: Duke Wen of Jin

text: Hua Xin

text: Huang Zu

text: Jing Province

text: Liu Biao

text: Sun Ce

text: Xiushui County

text: Jiangxi

text: Wuning County

text: commandery

text: Xinjian District

text: Nanchang

text: Fengxin County

text: Cao Cao

text: "danggui"

text: Sun Quan

text: East Asian age reckoning

text: chi

text: Son of Heaven

text: courtesy name

text: Wu Commandery

text: Chen Shou

text: Sanguozhi

text: Romance of the Three Kingdoms

text: Luo Guanzhong

text: Battle of Hefei (208)#In fiction

text: Romance of the Three Kingdoms

text: Dynasty Warriors

text: Warriors Orochi

text: Koei

text: Kōtetsu Sangokushi

text: Ikki Tousen

text: Lists of people of the Three Kingdoms

text: Chen, Shou

text: Records of the Three Kingdoms

text: Pei, Songzhi

text: Luo, Guanzhong

text: Romance of the Three Kingdoms

text: Sima, Guang

text: Zizhi Tongjian

categories: 166 births,Sun Ce and associates,People from Yantai,Generals under Sun Quan,Liu Yao and associates,206 deaths

paragraph: Taishi Ci

paragraph: Taishi Ci () (166–206), courtesy name Ziyi, was a military general who lived during the late Eastern Han dynasty of China. A native of Donglai Commandery (around present-day Longkou, Shandong), he started his career as a minor official in the local commandery office. In 186, at the age of 20, he became famous after successfully completing a mission to prevent a letter from the provincial administration from reaching the imperial court in Luoyang first. However, out of fear that the provincial administration would take revenge against him, he went into hiding in Liaodong. After returning from Liaodong, he travelled to Beihai (around present-day Weifang, Shandong) to rescue the warlord Kong Rong, who was besieged by Yellow Turban rebels. By resorting to trickery, he managed to break out of the siege and seek aid from another warlord, Liu Bei. The siege was lifted when Taishi Ci returned to Beihai with reinforcements from Liu Bei.

paragraph: Taishi Ci travelled to Yang Province later to join the warlord Liu Yao, an old acquaintance of his. However, he got caught up in a war between Liu Yao and another warlord, Sun Ce. He fought on Liu Yao's side and once engaged Sun Ce in a one-on-one fight. Following Liu Yao's defeat and death, Taishi Ci headed to Jing County (north of present-day Jing County, Anhui) and tried to establish his own power base there. However, he was eventually defeated and captured by Sun Ce's forces. Touched by Sun Ce's sincerity and generosity towards him, Taishi Ci agreed to serve Sun Ce and even helped to persuade many former followers of Liu Yao to join Sun Ce as well. Sun Ce appointed him as a Commandant and put him in charge of security around Jianchang County (present-day Fengxin County, Jiangxi). During this time, he drove back Liu Pan (劉磐) and his men, who often raided Sun Ce's territories in that area. After Sun Ce's death, Taishi Ci continued serving under Sun Ce's successor, Sun Quan. Sun Quan deeply mourned Taishi Ci when the latter died in 206.

paragraph: Taishi Ci's biography in the "Records of the Three Kingdoms" ("Sanguozhi") described him as seven "chi" tall (approximately 178–182 cm) and having a shiny and beautiful beard. He was famous for his archery skills.

paragraph: Section::::Early career in Donglai Commandery.

paragraph: Taishi Ci was from Huang County (黃縣), Donglai Commandery (東萊郡), which is in present-day Longkou, Shandong. As a youth, he was known for being studious. He served as a "zoucaoshi" (奏曹史; a minor official) in the local commandery office. Around 186, the commandery administration had a dispute with their superiors, the provincial administration of Qing Province. Both sides wrote to the imperial court in the capital Luoyang to complain about each other. At the time, since the imperial court often made decisions on a first-come, first-served basis, it meant that the court would tend to rule in favour of the party whose document it received first. Since the provincial administration had already sent a courier to deliver their complaint letter, the Administrator (太守) of Donglai Commandery began to feel anxious and started looking for someone to help him deliver his letter. Taishi Ci, then 20 years old, was chosen for the task.

paragraph: When Taishi Ci finally reached Luoyang after travelling day and night, he saw the provincial administration's courier near the city gate. He approached him and asked, "Sir, are you delivering a document?" The courier replied, "Yes." Taishi Ci asked again, "Where is the document?" The courier replied, "In the carriage." Taishi Ci said, "Are you sure there is no mistake in the addressee's details on the document? Let me see it." The courier did not know that Taishi Ci was from Donglai Commandery so he showed him the letter. Taishi Ci took out a knife and destroyed the letter. The courier started shouting, "This man destroyed my document!" Taishi Ci pulled him into the carriage and said, "If you didn't show me the document, I wouldn't have been able to destroy it. Regardless of the consequences, neither of us can say he is not responsible for what happened. I suggest we remain silent and escape. By doing this, we can avoid punishment and keep our heads. Otherwise, both of us will be executed." The courier asked, "Your master sent you to destroy this document. Now that you have accomplished your mission, why do you still need to go on the run?" Taishi Ci replied, "He ordered me to only check whether the document has been delivered. However, I went too far and ended up destroying the document. If I go back, I am afraid that my master will blame me, so I suggest we escape together." The courier was persuaded by Taishi Ci so they fled from Luoyang together.

paragraph: After leaving Luoyang, Taishi Ci secretly returned later and delivered the commandery administration's letter to the imperial court. When the provincial administration of Qing Province found out, they sent another letter to the central government again. However, as the second letter contained some discrepancies, the imperial court ruled against the provincial administration in the dispute. Taishi Ci became famous after this incident. However, out of fear that the provincial administration would take revenge against him, he fled from Donglai Commandery and took shelter in Liaodong.

paragraph: Section::::Saving Kong Rong from the siege of Duchang.

paragraph: Kong Rong, the Chancellor (相) of Beihai State (北海國; around present-day Weifang, Shandong), heard about Taishi Ci and regarded him as an extraordinary talent. He sent his subordinates to visit Taishi Ci's mother on multiple occasions and passed her many gifts. In the late 180s or early 190s, when Beihai came under attack by Yellow Turban rebels, Kong Rong led his troops to a fortress at Duchang (都昌; in present-day Weifang, Shandong). The rebels, led by Guan Hai (管亥), besieged the Duchang fortress. After Taishi Ci returned from Liaodong, his mother told him, "You haven't met Kong Rong. He treated me very generously – almost like an old friend – while you were away. Now that he is in trouble, you should quickly go to help him." Three days later, Taishi Ci travelled alone on foot to Duchang.

paragraph: At the time, the rebels had yet to completely surround Duchang, so Taishi Ci managed to sneak past the enemy at night and enter the fortress to meet Kong Rong. He asked Kong Rong to let him lead soldiers to fight their way out, but Kong refused and insisted on waiting for reinforcements. The rebels came closer day by day. Kong Rong wanted to seek help from Liu Bei, the Chancellor of Pingyuan State (平原國; around present-day Pingyuan, Shandong), but no one had any idea on how to break out of the siege. Taishi Ci volunteered to fight his way out and seek reinforcements from Liu Bei, but Kong Rong said, "The rebels have completely surrounded the fortress. Everyone thinks it is impossible to break out. It will be very difficult for you to break out no matter how courageous you are." Taishi Ci replied, "When I was away, you treated my mother very generously. She feels grateful, hence she told me to help you. She knew that I know what I am doing, and that I can help you. Now, everyone says it is impossible to break out. If I were to agree with them, I will not be able to repay your kindness. Why, then, did my mother send me here for? We are in a very desperate situation. I hope you won't hesitate any longer." Kong Rong agreed to let him break out of the siege.

paragraph: Taishi Ci packed his equipment and had a full meal. At dawn, he brought his bow and a quiver of arrows with him, and rode out of the fortress. He was accompanied by two riders, each carrying a target stand for archery practice. When the rebels saw Taishi Ci coming out of the fortress, they immediately readied themselves for battle. To their surprise, Taishi Ci took the two stands, placed them in the ditch around the fortress, fired some arrows at them, and then returned to the fortress. The following day, he repeated the entire process. Some of the rebels stood up and prepared for battle upon seeing him, while others ignored him and remained relaxed. On the third day, when Taishi Ci came out again, the rebels thought that he was going to practise archery again, so they paid no attention to him. Taishi Ci then seized the opportunity to break out of the siege. By the time the rebels realised what was going on, Taishi Ci had already escaped and killed several rebels along the way. None of them dared to pursue him.

paragraph: When Taishi Ci arrived at Pingyuan, he told Liu Bei, "I, (Taishi) Ci, am a commoner from Donglai. I am neither a relative nor an acquaintance of Kong Rong. But I have heard of him and we not only share similar beliefs, but also experienced difficult times together. Now, Guan Hai and the rebels have besieged Kong Rong; he is desperately in need of help. You are known for your kindness, righteousness, and willingness to help those in need. Kong Rong admires you and has placed his hopes in you, hence he sent me to fight my way out of the siege to seek help from you. Only you can save him." Liu Bei's facial expression turned serious and he said, "So Kong Rong knows that Liu Bei exists in this world!" He then sent 3,000 troops to follow Taishi Ci back to Duchang. When the rebels heard that reinforcements had arrived, they fled and the siege of Duchang was automatically lifted. Kong Rong regarded Taishi Ci even more highly after this event. He told Taishi Ci, "You are a young friend of mine." When Taishi Ci returned home and told his mother about it, she said, "I am very happy that you can repay Kong Rong's kindness in this way."

paragraph: Section::::Coming to serve Sun Ce.

paragraph: Liu Yao, the Inspector (刺史) of Yang Province, was not only also from Donglai Commandery like Taishi Ci, but also an old acquaintance of Taishi Ci. Taishi Ci had not met Liu Yao since his return from Liaodong, so he crossed the Yangtze River and travelled to Qu'e County (曲阿縣; present-day Danyang, Jiangsu) to find Liu Yao. Before he left, the warlord Sun Ce led his forces to attack Liu Yao's territories. Someone advised Liu Yao to appoint Taishi Ci as a general to lead his troops to counter Sun Ce, but Liu Yao said, "If I appoint Taishi Ci, Xu Zijiang will laugh at me." He then sent Taishi Ci on a reconnaissance mission to assess the strength of Sun Ce's forces.

paragraph: Taishi Ci, accompanied by only a single horseman, encountered Sun Ce at Shen Village (神亭; somewhere in present-day Danyang, Jiangsu) during his mission. Sun Ce had 13 other men with him, including Han Dang, Song Qian and Huang Gai. Taishi Ci rode forth and engaged Sun Ce in battle. Sun Ce thrust his spear at Taishi Ci's horse and managed to grab the handheld "ji" that Taishi carried on his back. Taishi Ci, on the other hand, managed to get hold of Sun Ce's helmet. Their fight was broken up when their respective subordinates showed up.

paragraph: After Liu Yao was defeated by Sun Ce subsequently in battle, Taishi Ci originally planned to accompany Liu Yao as he fled to Yuzhang Commandery (豫章郡; around present-day Nanchang, Jiangxi) for shelter. However, Taishi Ci went into hiding in the hills at Wuhu County (蕪湖縣; east of present-day Wuhu, Anhui) and declared himself the Administrator (太守) of Danyang Commandery (丹楊郡). By then, Sun Ce had conquered the territories east of Xuancheng County (宣城縣; present-day Xuancheng, Anhui); only the six counties west of Jing County (涇縣; north of present-day Jing County, Anhui) remained outside of Sun Ce's control. Taishi Ci headed to Jing County, where he established a base and managed to recruit the Shanyue people to join him. Sun Ce personally led his forces to attack Taishi Ci, defeated him in battle, and captured him. Later, he released Taishi Ci from his bonds, held his hand and asked, "Do you still remember our fight at Shen Village? What would you do if you captured me?" Taishi Ci replied, "I can't be certain about this." Sun Ce laughed and said, "I shall manage the present-day affairs of the state together with you from this moment onwards."

paragraph: Sun Ce asked Taishi Ci, "In the past, you helped your commandery's administrator destroy a letter from the provincial administration, saved Wenju (Kong Rong) from danger, and successfully obtained reinforcements from Xuande (Liu Bei). These are all acts of heroism. You are one of the most intelligent people in this world, yet you haven't found someone who appreciates your talent. The ancients could forget about "she gou zhan qu". I am someone who appreciates you. You don't need to worry that you will feel unhappy if you join me." Sun Ce also said, "If a dragon wishes to soar into the sky, it has to take off from a piece of wood."

paragraph: Section::::Coming to serve Sun Ce.:Alternative account in the "Wu Li".

paragraph: The "Wu Li" (吳歷) provided a different account of how Taishi Ci came to serve Sun Ce. It mentioned that Taishi Ci was defeated and captured by Sun Ce after their fight at Shen Village. Sun Ce had heard of Taishi Ci before so he released Taishi Ci from his bonds and asked him for advice on his future conquests. Taishi Ci replied, "I am an officer of a defeated army. I am not qualified to speak on such matters." Sun Ce said, "In the past, Han Xin heeded advice from Guangwu. In the present, I seek advice from a man of righteousness. What are you talking about?" Taishi Ci replied, "My army has recently been defeated. The troops are scattered and low on morale. It may be difficult, but I still intend to gather and bring them together. I am afraid this is not what you wish to see." Sun Ce knelt down and said, "What I want is your sincerity. I hope you will return by midday tomorrow." When Sun Ce's subordinates raised doubts about Taishi Ci's loyalty, Sun Ce said, "Taishi Ziyi is a famous man from Qing Province. He is known for keeping his promises. I believe he will not deceive me." The following day, Sun Ce hosted a banquet and had a pole erected in the middle, so as to keep track of time by observing its shadow. By midday, when the shadow was shortest, Taishi Ci returned as promised. Sun Ce was overjoyed. He often consulted Taishi Ci on military affairs later on.

paragraph: Pei Songzhi, who added the "Wu Li" account as an annotation to Taishi Ci's biography in the "Sanguozhi", noted that the "Wu Li" account deviated significantly from what was recorded in Taishi Ci's "Sanguozhi" biography. He suspected that there was a mistake.

paragraph: Section::::Persuading Liu Yao's followers to surrender to Sun Ce.

paragraph: After returning to his base in Wu Commandery (around present-day Suzhou, Jiangsu), Sun Ce commissioned Taishi Ci as a "General of the Household Who Breaks Waves" (折衝中郎將). Although Liu Yao had already died in Yuzhang Commandery (豫章郡; around present-day Nanchang, Jiangxi) in 195, there were still thousands of his former followers scattered around the area. Sun Ce sent Taishi Ci to persuade them to surrender.

paragraph: Sun Ce told Taishi Ci, "In the past, when Liu Yao criticised me for helping Yuan Shu conquer Lujiang, he didn't have good intentions and his reasons were not convincing. Why? Yuan Shu had control over the thousands of troops which used to be under my father's command. I wanted to make great achievements, so I had no choice but to submit to Yuan Shu and ask him to give me control of my father's troops. Even then, he only gave me back about 1,000 men. When he ordered me to attack Lujiang, the circumstances I was in were so desperate that I had no choice but to obey him. Later on, he turned evil and wanted to commit treacherous acts. I tried to dissuade him but he wouldn't listen. That was when I decided to sever ties with him. My relationship with Yuan Shu is only up to this extent. Now that Liu Yao is dead, there is no chance for me to explain to him anymore. However, his son still lives in Yuzhang. I don't know how Hua Ziyu treats him, and whether Liu Yao's former followers have decided to serve Hua Ziyu. You are from the same commandery as Liu Yao, and you served under him before. I hope you can visit his son and convey my wishes to his followers. If they wish to join me, I will welcome them; if they don't, do treat them kindly. At the same time, you can assess how strong Hua Ziyu's defences are, and see if the peoples of Luling and Poyang are willing to join me. You can bring along as many men as you wish." Taishi Ci replied, "I have committed unpardonable acts. Yet, you treat me as generously as how Duke Huan of Qi and Duke Wen of Jin treated former enemies who surrendered to them. The ancients lived by a code of loyalty until death. I don't need too many men to accompany me. Just a dozen or so will be sufficient."

paragraph: Sun Ce's aides cautioned him, "(Taishi) Ci will not come back if he leaves." However, Sun Ce said, "If Ziyi abandons me, who else can he turn to?" He personally saw Taishi Ci off, held his hand and asked, "When will you return?" Taishi Ci replied, "Not more than 60 days." He kept his word and returned within 60 days.

paragraph: When Sun Ce sent Taishi Ci to persuade Liu Yao's followers to surrender, many of Sun Ce's aides felt that Taishi Ci could not be trusted. They believed that Taishi Ci would defect to either Hua Xin or Huang Zu. However, Sun Ce said, "All of you are wrong. I trust my judgment. Taishi Ci may be brave and headstrong, but he is not an impulsive person. He is a man of exemplary character and a man who keeps his word. I treat him like a close friend and will not betray him. All of you don't need to worry." Sun Ce's aides only trusted Taishi Ci after he kept his promise and returned from Yuzhang Commandery. When Taishi Ci met Sun Ce again, he said, "Hua Ziyu is a man of virtue, but not a talented leader. He has no grand plan; he only wants to preserve the status quo. Tong Zhi (僮芝) from Danyang lied that he has been appointed as the Administrator of Luling and has taken control of the commandery. The local clans in Poyang have formed their own ruling body and driven away the officials sent by Hua Ziyu to govern the area. Hua Ziyu is unable to control Luling and Poyang. Moreover, about 5,000 to 6,000 local clans in Haihun (海昏) have formed their own ruling body too and rejected control by the commandery administration. Hua Ziyu can do nothing about this." Sun Ce clapped his hands and laughed. Later on, he pacified Yuzhang Commandery and successfully induced Hua Xin to surrender to him.

paragraph: Section::::Service under the Sun family.

paragraph: Liu Pan (劉磐), a nephew of Jing Province's governor Liu Biao, often led his troops to raid Sun Ce's territories in Ai County (艾縣; west of present-day Xiushui County, Jiangxi), Xi'an County (西安縣; present-day Putian District, Wuning County, Jiangxi) and the nearby counties. Sun Ce created a commandery composed of Haihun County (海昏縣; present-day Xiangshan Town, Xinjian District, Nanchang, Jiangxi), Jianchang County (建昌縣; present-day Fengxin County, Jiangxi) and six other counties, and appointed Taishi Ci as its Commandant (都尉), with the administrative centre at Haihun County. Taishi Ci led troops from these counties to drive back Liu Pan. Liu Pan stopped his raids after that.

paragraph: Taishi Ci was famous for his archery skills. There was one notable incident when he accompanied Sun Ce to attack rebels in Mabao (麻保). The rebel leader stood at the viewing platform above the gate, with his hand resting against a wooden pillar, and hurled verbal abuse at Sun Ce. Taishi Ci took aim and fired an arrow at him. The arrow pierced through both the pillar and the rebel's hand. Everyone was awed by Taishi Ci's skill. When the warlord Cao Cao heard about Taishi Ci, he wrote a letter to him and put it inside a box containing a few pieces of "danggui".

paragraph: Sun Ce died in 200 CE and was succeeded by his younger brother, Sun Quan. When Sun Quan came to power, he continued to put Taishi Ci in charge of security in the areas around Haihun County because he knew that Taishi Ci was capable of deterring Liu Pan.

paragraph: Section::::Death.

paragraph: Taishi Ci died in 206 at the age of 41 (by East Asian age reckoning). Before his death, he sighed and said, "A man living in this world should aspire to carry a seven "chi"-long sword and rise to the position of a Son of Heaven. Now, I have yet to realise my ambition. How unfortunate that I am going to die soon!" Sun Quan deeply mourned Taishi Ci's death.

paragraph: Section::::Family.

paragraph: Taishi Ci had a son, Taishi Xiang (太史享), whose courtesy name was "Yuanfu" (元復). Taishi Xiang served in Eastern Wu and held the appointments of Colonel of Yue Cavalry (越騎校尉), Imperial Secretary (尚書), and Administrator (太守) of Wu Commandery.

paragraph: Section::::Appraisal.

paragraph: Chen Shou, who wrote Taishi Ci's biography in the "Sanguozhi", commented on Taishi Ci as follows: "Taishi Ci was loyal, righteous, trustworthy and upright. He possessed traits of ancient sages."

paragraph: Section::::In "Romance of the Three Kingdoms".

paragraph: Taishi Ci appears as a character in the 14th century historical novel "Romance of the Three Kingdoms" by Luo Guanzhong. His death was exaggerated for dramatic effect in Chapter 53 of the novel. See Battle of Hefei (208)#In fiction for details.

paragraph: Section::::In popular culture.

paragraph: Taishi Ci is featured as a playable character in the video game series "Romance of the Three Kingdoms", "Dynasty Warriors" and "Warriors Orochi" by Koei.

paragraph: Taishi Ci appears in the 2007 anime "Kōtetsu Sangokushi", which is loosely based on "Romance of the Three Kingdoms", as a general of the "barbaric" Go (Wu) faction. The character Taishiji Shigi of the anime series "Ikki Tousen" is also based roughly on Taishi Ci.

paragraph: Section::::See also.

paragraph: BULLET::::- Lists of people of the Three Kingdoms

paragraph: Section::::References.

paragraph: BULLET::::- Citations from "Sanguozhi"

paragraph: BULLET::::- Chen, Shou (3rd century). "Records of the Three Kingdoms" ("Sanguozhi").

paragraph: BULLET::::- Citations from "Sanguozhi zhu"

paragraph: BULLET::::- Pei, Songzhi (5th century). "Annotations to Records of the Three Kingdoms" ("Sanguozhi zhu").

paragraph: BULLET::::- Citations from other sources

paragraph: BULLET::::- Luo, Guanzhong (14th century). "Romance of the Three Kingdoms" ("Sanguo Yanyi").

paragraph: BULLET::::- Sima, Guang (1084). "Zizhi Tongjian".

description: Han Dynasty general

wikidata_label: Taishi Ci

wikipedia_title: Taishi Ci