THAILANDTHAILAND
THAILAND
THAILAND
HISTORYHISTORY
HISTORY
HISTORY
OriginsThe earliest literature of the Thai people was written in Chinese until the 13th century, then in Sanskrit and Pali from India. Indian influenceThai literature was traditionally heavily influenced by Indian culture from the 13th century. Thailand's national epic is a version of the Ramayana called the Ramakien. A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist. One of these was prepared under the supervision (and partly written by) King Rama I. His son, Rama II, rewrote some parts for khon drama. The main differences from the original are an extended role for the monkey god Hanuman and the addition of a happy ending.The most important poet in Thai literature was Sunthorn Phu, who is best known for his romantic adventure story Phra Aphai Mani and for nine travel pieces called Nirats.Kings Rama V and Rama VI were also writers, mainly of non-fiction works as part of their programme to combine Western knowledge with traditional Thai culture. The story Lilit Phra Lo (ลิลิตพระลอ) was voted the best lilit work by King Rama VI's royal literary club in 1916. Based on the tragic end of King Phra Lo, who died together with the two women he loved, Phra Phuean and Phra Phaeng, the daughters of the ruler of the city of Song, it originated in a tale of Thai folklore and later became part of Thai literature.OriginsThe earliest literature of the Thai people was written in Chinese until the 13th century, then in Sanskrit and Pali from India. Indian influenceThai literature was traditionally heavily influenced by Indian culture from the 13th century. Thailand's national epic is a version of the Ramayana called the Ramakien. A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist. One of these was prepared under the supervision (and partly written by) King Rama I. His son, Rama II, rewrote some parts for khon drama. The main differences from the original are an extended role for the monkey god Hanuman and the addition of a happy ending.The most important poet in Thai literature was Sunthorn Phu, who is best known for his romantic adventure story Phra Aphai Mani and for nine travel pieces called Nirats.Kings Rama V and Rama VI were also writers, mainly of non-fiction works as part of their programme to combine Western knowledge with traditional Thai culture. The story Lilit Phra Lo (ลิลิตพระลอ) was voted the best lilit work by King Rama VI's royal literary club in 1916. Based on the tragic end of King Phra Lo, who died together with the two women he loved, Phra Phuean and Phra Phaeng, the daughters of the ruler of the city of Song, it originated in a tale of Thai folklore and later became part of Thai literature.
Origins
The earliest literature of the Thai people was written in Chinese until the 13th century, then in Sanskrit and Pali from India.
Indian influence
Thai literature was traditionally heavily influenced by Indian culture from the 13th century. Thailand's national epic is a version of the Ramayana called the Ramakien. A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist. One of these was prepared under the supervision (and partly written by) King Rama I. His son, Rama II, rewrote some parts for khon drama. The main differences from the original are an extended role for the monkey god Hanuman and the addition of a happy ending.
The most important poet in Thai literature was Sunthorn Phu, who is best known for his romantic adventure story Phra Aphai Mani and for nine travel pieces called Nirats.
Kings Rama V and Rama VI were also writers, mainly of non-fiction works as part of their programme to combine Western knowledge with traditional Thai culture. The story Lilit Phra Lo (ลิลิตพระลอ) was voted the best lilit work by King Rama VI's royal literary club in 1916. Based on the tragic end of King Phra Lo, who died together with the two women he loved, Phra Phuean and Phra Phaeng, the daughters of the ruler of the city of Song, it originated in a tale of Thai folklore and later became part of Thai literature.
Origins
The earliest literature of the Thai people was written in Chinese until the 13th century, then in Sanskrit and Pali from India.
Indian influence
Thai literature was traditionally heavily influenced by Indian culture from the 13th century. Thailand's national epic is a version of the Ramayana called the Ramakien. A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist. One of these was prepared under the supervision (and partly written by) King Rama I. His son, Rama II, rewrote some parts for khon drama. The main differences from the original are an extended role for the monkey god Hanuman and the addition of a happy ending.
The most important poet in Thai literature was Sunthorn Phu, who is best known for his romantic adventure story Phra Aphai Mani and for nine travel pieces called Nirats.
Kings Rama V and Rama VI were also writers, mainly of non-fiction works as part of their programme to combine Western knowledge with traditional Thai culture. The story Lilit Phra Lo (ลิลิตพระลอ) was voted the best lilit work by King Rama VI's royal literary club in 1916. Based on the tragic end of King Phra Lo, who died together with the two women he loved, Phra Phuean and Phra Phaeng, the daughters of the ruler of the city of Song, it originated in a tale of Thai folklore and later became part of Thai literature.
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20th century20th century Thai writers tended to produce light fiction rather than literature. But increasingly, individual writers are being recognized for producing more serious works, including writers like Kukrit Pramoj, Kulap Saipradit, (penname Siburapha), and Botan. Some of the their works have been translated into English. The Isan region of Thailand has produced two notably sociocritical writers in Khamsing Srinawk and Pira Sudham. Notably, Pira Sudham writes in English.Thailand has had a number of expatriate writers in the 20th century as well. The Bangkok Writers Group is currently publishing fiction by Indian author G.Y. Gopinath, the fabulist A.D. Thompson, as well as non-fiction by Gary Dale Cearley.20th century20th century Thai writers tended to produce light fiction rather than literature. But increasingly, individual writers are being recognized for producing more serious works, including writers like Kukrit Pramoj, Kulap Saipradit, (penname Siburapha), and Botan. Some of the their works have been translated into English. The Isan region of Thailand has produced two notably sociocritical writers in Khamsing Srinawk and Pira Sudham. Notably, Pira Sudham writes in English.Thailand has had a number of expatriate writers in the 20th century as well. The Bangkok Writers Group is currently publishing fiction by Indian author G.Y. Gopinath, the fabulist A.D. Thompson, as well as non-fiction by Gary Dale Cearley.
20th century
20th century Thai writers tended to produce light fiction rather than literature. But increasingly, individual writers are being recognized for producing more serious works, including writers like Kukrit Pramoj, Kulap Saipradit, (penname Siburapha), and Botan. Some of the their works have been translated into English. The Isan region of Thailand has produced two notably sociocritical writers in Khamsing Srinawk and Pira Sudham. Notably, Pira Sudham writes in English.
Thailand has had a number of expatriate writers in the 20th century as well. The Bangkok Writers Group is currently publishing fiction by Indian author G.Y. Gopinath, the fabulist A.D. Thompson, as well as non-fiction by Gary Dale Cearley.
20th century
20th century Thai writers tended to produce light fiction rather than literature. But increasingly, individual writers are being recognized for producing more serious works, including writers like Kukrit Pramoj, Kulap Saipradit, (penname Siburapha), and Botan. Some of the their works have been translated into English. The Isan region of Thailand has produced two notably sociocritical writers in Khamsing Srinawk and Pira Sudham. Notably, Pira Sudham writes in English.
Thailand has had a number of expatriate writers in the 20th century as well. The Bangkok Writers Group is currently publishing fiction by Indian author G.Y. Gopinath, the fabulist A.D. Thompson, as well as non-fiction by Gary Dale Cearley.
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LITERATURELITERATURE
LITERATURE
LITERATURE
Thai Traditional Literature is essentially religious. Most of the literature in the old days consisted of works on Buddhism and Hinduism directly or indirectly. Whatever culture the Thai people brought with them from thier homeland in Southern China where they had been in contact with Chinese culture for centuries was adapted to its later conception of Buddhism, their adopted religion. Traces of their original culture may be found here and there in a disguised and weak form embedded in their literature. Most of the works of emotive literature were written in verse in various patterns. Five prominent examples of such works may be cited briefly.1. The Romance of Khun Chang Khun Phaen, an indigenous story of love and pathos, at time humourous, of a triangular love plot of one heroine with two lovers. The story, apart from its beautiful expressions, contains a mine of infomation on old beliefs and social customs of the Thai before the impact of Western culture. The story as is known has been traslated into English and French.Thai Traditional Literature is essentially religious. Most of the literature in the old days consisted of works on Buddhism and Hinduism directly or indirectly. Whatever culture the Thai people brought with them from thier homeland in Southern China where they had been in contact with Chinese culture for centuries was adapted to its later conception of Buddhism, their adopted religion. Traces of their original culture may be found here and there in a disguised and weak form embedded in their literature. Most of the works of emotive literature were written in verse in various patterns. Five prominent examples of such works may be cited briefly.1. The Romance of Khun Chang Khun Phaen, an indigenous story of love and pathos, at time humourous, of a triangular love plot of one heroine with two lovers. The story, apart from its beautiful expressions, contains a mine of infomation on old beliefs and social customs of the Thai before the impact of Western culture. The story as is known has been traslated into English and French.
Thai Traditional Literature is essentially religious. Most of the literature in the old days consisted of works on Buddhism and Hinduism directly or indirectly. Whatever culture the Thai people brought with them from thier homeland in Southern China where they had been in contact with Chinese culture for centuries was adapted to its later conception of Buddhism, their adopted religion. Traces of their original culture may be found here and there in a disguised and weak form embedded in their literature. Most of the works of emotive literature were written in verse in various patterns. Five prominent examples of such works may be cited briefly.
1. The Romance of Khun Chang Khun Phaen, an indigenous story of love and pathos, at time humourous, of a triangular love plot of one heroine with two lovers. The story, apart from its beautiful expressions, contains a mine of infomation on old beliefs and social customs of the Thai before the impact of Western culture. The story as is known has been traslated into English and French.
Thai Traditional Literature is essentially religious. Most of the literature in the old days consisted of works on Buddhism and Hinduism directly or indirectly. Whatever culture the Thai people brought with them from thier homeland in Southern China where they had been in contact with Chinese culture for centuries was adapted to its later conception of Buddhism, their adopted religion. Traces of their original culture may be found here and there in a disguised and weak form embedded in their literature. Most of the works of emotive literature were written in verse in various patterns. Five prominent examples of such works may be cited briefly.
1. The Romance of Khun Chang Khun Phaen, an indigenous story of love and pathos, at time humourous, of a triangular love plot of one heroine with two lovers. The story, apart from its beautiful expressions, contains a mine of infomation on old beliefs and social customs of the Thai before the impact of Western culture. The story as is known has been traslated into English and French.
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2. Ramakian (or Ramakirti in transliteration) is the story based on the famous Indian epic, Ramayana. It is unique, containing many episodes and details which are not to be found in the original epic, but showing traces of contact with certain versions of the Ramayana in India, Malaysia, Java and Cambodia. There is an English translation.2. Ramakian (or Ramakirti in transliteration) is the story based on the famous Indian epic, Ramayana. It is unique, containing many episodes and details which are not to be found in the original epic, but showing traces of contact with certain versions of the Ramayana in India, Malaysia, Java and Cambodia. There is an English translation.
2. Ramakian (or Ramakirti in transliteration) is the story based on the famous Indian epic, Ramayana. It is unique, containing many episodes and details which are not to be found in the original epic, but showing traces of contact with certain versions of the Ramayana in India, Malaysia, Java and Cambodia. There is an English translation.
2. Ramakian (or Ramakirti in transliteration) is the story based on the famous Indian epic, Ramayana. It is unique, containing many episodes and details which are not to be found in the original epic, but showing traces of contact with certain versions of the Ramayana in India, Malaysia, Java and Cambodia. There is an English translation.
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3. The Romance of Inao. This is a translation from the well-known storty of adventures of the national Javanese hero prince. It is written in a refined and perfect style of the Thai Language and meant for dramatic performance.4. Sam Kok. This is a translation from San Kuo Chi, a Chinese historical romance of the Three Kingdoms. Unlike the three preceeding ones, it is written in prose with perfect expressions of style of the language. 5. Phra Aphaimani. This is a romantic tale written in verse by one of the most famous and popular poets of Thailand. It is an imaginary tale of love, intrigue and adventure, and reflects some ideas of the people towards the Europeans of the last century. There is an English translation in concise form by one Prem Chaya.The employment of prose in Thai emotive literature along the lines of the Western style is of recent date due obviously to the influence of Western literature.The earliest literature, that of the Sukhothai period (13th to mid-14th century), survives chiefly in stone inscriptions, which provide vivid accounts of contemporary life. The most famous of these is the Ramkhamhaeng inscription of 1292, in which King Ramkhamhaeng records the economic abundance of his kingdom and the benevolence of his rule.3. The Romance of Inao. This is a translation from the well-known storty of adventures of the national Javanese hero prince. It is written in a refined and perfect style of the Thai Language and meant for dramatic performance.4. Sam Kok. This is a translation from San Kuo Chi, a Chinese historical romance of the Three Kingdoms. Unlike the three preceeding ones, it is written in prose with perfect expressions of style of the language. 5. Phra Aphaimani. This is a romantic tale written in verse by one of the most famous and popular poets of Thailand. It is an imaginary tale of love, intrigue and adventure, and reflects some ideas of the people towards the Europeans of the last century. There is an English translation in concise form by one Prem Chaya.The employment of prose in Thai emotive literature along the lines of the Western style is of recent date due obviously to the influence of Western literature.The earliest literature, that of the Sukhothai period (13th to mid-14th century), survives chiefly in stone inscriptions, which provide vivid accounts of contemporary life. The most famous of these is the Ramkhamhaeng inscription of 1292, in which King Ramkhamhaeng records the economic abundance of his kingdom and the benevolence of his rule.
3. The Romance of Inao. This is a translation from the well-known storty of adventures of the national Javanese hero prince. It is written in a refined and perfect style of the Thai Language and meant for dramatic performance.
4. Sam Kok. This is a translation from San Kuo Chi, a Chinese historical romance of the Three Kingdoms. Unlike the three preceeding ones, it is written in prose with perfect expressions of style of the language.
5. Phra Aphaimani. This is a romantic tale written in verse by one of the most famous and popular poets of Thailand. It is an imaginary tale of love, intrigue and adventure, and reflects some ideas of the people towards the Europeans of the last century. There is an English translation in concise form by one Prem Chaya.
The employment of prose in Thai emotive literature along the lines of the Western style is of recent date due obviously to the influence of Western literature.
The earliest literature, that of the Sukhothai period (13th to mid-14th century), survives chiefly in stone inscriptions, which provide vivid accounts of contemporary life. The most famous of these is the Ramkhamhaeng inscription of 1292, in which King Ramkhamhaeng records the economic abundance of his kingdom and the benevolence of his rule.
3. The Romance of Inao. This is a translation from the well-known storty of adventures of the national Javanese hero prince. It is written in a refined and perfect style of the Thai Language and meant for dramatic performance.
4. Sam Kok. This is a translation from San Kuo Chi, a Chinese historical romance of the Three Kingdoms. Unlike the three preceeding ones, it is written in prose with perfect expressions of style of the language.
5. Phra Aphaimani. This is a romantic tale written in verse by one of the most famous and popular poets of Thailand. It is an imaginary tale of love, intrigue and adventure, and reflects some ideas of the people towards the Europeans of the last century. There is an English translation in concise form by one Prem Chaya.
The employment of prose in Thai emotive literature along the lines of the Western style is of recent date due obviously to the influence of Western literature.
The earliest literature, that of the Sukhothai period (13th to mid-14th century), survives chiefly in stone inscriptions, which provide vivid accounts of contemporary life. The most famous of these is the Ramkhamhaeng inscription of 1292, in which King Ramkhamhaeng records the economic abundance of his kingdom and the benevolence of his rule.
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Classical literature, written in verse, dates from the Ayutthaya period (1351–1767). It includes religious works such as Maha chat ("The Great Birth"), later rewritten as Maha chat kham luang ("The Royal Version of the Great Birth"), the Thai version of the Vessantara jataka, which recounts the story of the future Buddha's penultimate life on earth; Lilit phra Lo ("The Story of Prince Lo"), a tragic romance, widely regarded as one of the greatest of Thai poetic works, and Lilit Yuan phai ("The Defeat of the Yuan"), a historical work, celebrating Ayutthaya's defeat of the forces of the northern Lan Na kingdom.The reign of King Narai (1656–88) is seen as a golden era, in which writers were welcomed at the royal court, and new verse forms were developed; some of the most highly regarded nirat poems—a genre characterized by the themes of journeying, separation, and love-longing—date from this period, including Si Prat's famous Nirat khlong kamsuan ("A Mournful Journey"), describing his journey into exile in Nakhon Sri Thammarat.Much literature was lost in the sack of Ayutthaya by Hsinbyushin of Myanmar (Burma) in 1767. After the restoration of Thai sovereignty, and the establishment of a new capital at Bangkok, many law codes, religious works, and literary texts were rewritten. These include the Ramakian, a Thai version of the Indian Ramayana, which was composed during the reign of Rama I (1782–1809); Khun Chang Khun Phaen, an epic poem full of martial and amatory exploits, which took its title from the two main protagonists; and Phra Aphaimani, named after its hero. The second and third both date from the reign of Rama II (1809–24).Translations of best-selling Western fiction by authors such as Marie Corelli, William Le Queux, Charles Garvice, H. Rider Haggard, Sax Rohmer, Anthony Hope, and Arthur Conan Doyle, began to appear at the beginning of the 20th century, but by the mid-1920s original Thai stories, often serialized in newspapers and magazines before their publication in a book, had become more popular. Most were romantic novels, typically involving a poor boy–rich girl (or rich boy–poor girl) theme, in which the plot was brought to a happy conclusion by a series of improbable coincidences.The late 1920s heralded a golden decade in which a number of writers began to address social issues (such as polygamy, prostitution, social inequality, and social class) in a serious way. Works such as Lakhon haeng chiwit (1929; The Circus of Life) by M.C. Akatdamkoeng Raphiphat, Songkhram chiwit (1932; "The War of Life") and Khang lang phap (1937; Behind the Painting and Other Stories) by Siburapha (pen name of Kulap Saipradit),Classical literature, written in verse, dates from the Ayutthaya period (1351–1767). It includes religious works such as Maha chat ("The Great Birth"), later rewritten as Maha chat kham luang ("The Royal Version of the Great Birth"), the Thai version of the Vessantara jataka, which recounts the story of the future Buddha's penultimate life on earth; Lilit phra Lo ("The Story of Prince Lo"), a tragic romance, widely regarded as one of the greatest of Thai poetic works, and Lilit Yuan phai ("The Defeat of the Yuan"), a historical work, celebrating Ayutthaya's defeat of the forces of the northern Lan Na kingdom.The reign of King Narai (1656–88) is seen as a golden era, in which writers were welcomed at the royal court, and new verse forms were developed; some of the most highly regarded nirat poems—a genre characterized by the themes of journeying, separation, and love-longing—date from this period, including Si Prat's famous Nirat khlong kamsuan ("A Mournful Journey"), describing his journey into exile in Nakhon Sri Thammarat.Much literature was lost in the sack of Ayutthaya by Hsinbyushin of Myanmar (Burma) in 1767. After the restoration of Thai sovereignty, and the establishment of a new capital at Bangkok, many law codes, religious works, and literary texts were rewritten. These include the Ramakian, a Thai version of the Indian Ramayana, which was composed during the reign of Rama I (1782–1809); Khun Chang Khun Phaen, an epic poem full of martial and amatory exploits, which took its title from the two main protagonists; and Phra Aphaimani, named after its hero. The second and third both date from the reign of Rama II (1809–24).Translations of best-selling Western fiction by authors such as Marie Corelli, William Le Queux, Charles Garvice, H. Rider Haggard, Sax Rohmer, Anthony Hope, and Arthur Conan Doyle, began to appear at the beginning of the 20th century, but by the mid-1920s original Thai stories, often serialized in newspapers and magazines before their publication in a book, had become more popular. Most were romantic novels, typically involving a poor boy–rich girl (or rich boy–poor girl) theme, in which the plot was brought to a happy conclusion by a series of improbable coincidences.The late 1920s heralded a golden decade in which a number of writers began to address social issues (such as polygamy, prostitution, social inequality, and social class) in a serious way. Works such as Lakhon haeng chiwit (1929; The Circus of Life) by M.C. Akatdamkoeng Raphiphat, Songkhram chiwit (1932; "The War of Life") and Khang lang phap (1937; Behind the Painting and Other Stories) by Siburapha (pen name of Kulap Saipradit),
Classical literature, written in verse, dates from the Ayutthaya period (1351–1767). It includes religious works such as Maha chat ("The Great Birth"), later rewritten as Maha chat kham luang ("The Royal Version of the Great Birth"), the Thai version of the Vessantara jataka, which recounts the story of the future Buddha's penultimate life on earth; Lilit phra Lo ("The Story of Prince Lo"), a tragic romance, widely regarded as one of the greatest of Thai poetic works, and Lilit Yuan phai ("The Defeat of the Yuan"), a historical work, celebrating Ayutthaya's defeat of the forces of the northern Lan Na kingdom.
The reign of King Narai (1656–88) is seen as a golden era, in which writers were welcomed at the royal court, and new verse forms were developed; some of the most highly regarded nirat poems—a genre characterized by the themes of journeying, separation, and love-longing—date from this period, including Si Prat's famous Nirat khlong kamsuan ("A Mournful Journey"), describing his journey into exile in Nakhon Sri Thammarat.
Much literature was lost in the sack of Ayutthaya by Hsinbyushin of Myanmar (Burma) in 1767. After the restoration of Thai sovereignty, and the establishment of a new capital at Bangkok, many law codes, religious works, and literary texts were rewritten. These include the Ramakian, a Thai version of the Indian Ramayana, which was composed during the reign of Rama I (1782–1809); Khun Chang Khun Phaen, an epic poem full of martial and amatory exploits, which took its title from the two main protagonists; and Phra Aphaimani, named after its hero. The second and third both date from the reign of Rama II (1809–24).
Translations of best-selling Western fiction by authors such as Marie Corelli, William Le Queux, Charles Garvice, H. Rider Haggard, Sax Rohmer, Anthony Hope, and Arthur Conan Doyle, began to appear at the beginning of the 20th century, but by the mid-1920s original Thai stories, often serialized in newspapers and magazines before their publication in a book, had become more popular. Most were romantic novels, typically involving a poor boy–rich girl (or rich boy–poor girl) theme, in which the plot was brought to a happy conclusion by a series of improbable coincidences.
The late 1920s heralded a golden decade in which a number of writers began to address social issues (such as polygamy, prostitution, social inequality, and social class) in a serious way. Works such as Lakhon haeng chiwit (1929; The Circus of Life) by M.C. Akatdamkoeng Raphiphat, Songkhram chiwit (1932; "The War of Life") and Khang lang phap (1937; Behind the Painting and Other Stories) by Siburapha (pen name of Kulap Saipradit),
Classical literature, written in verse, dates from the Ayutthaya period (1351–1767). It includes religious works such as Maha chat ("The Great Birth"), later rewritten as Maha chat kham luang ("The Royal Version of the Great Birth"), the Thai version of the Vessantara jataka, which recounts the story of the future Buddha's penultimate life on earth; Lilit phra Lo ("The Story of Prince Lo"), a tragic romance, widely regarded as one of the greatest of Thai poetic works, and Lilit Yuan phai ("The Defeat of the Yuan"), a historical work, celebrating Ayutthaya's defeat of the forces of the northern Lan Na kingdom.
The reign of King Narai (1656–88) is seen as a golden era, in which writers were welcomed at the royal court, and new verse forms were developed; some of the most highly regarded nirat poems—a genre characterized by the themes of journeying, separation, and love-longing—date from this period, including Si Prat's famous Nirat khlong kamsuan ("A Mournful Journey"), describing his journey into exile in Nakhon Sri Thammarat.
Much literature was lost in the sack of Ayutthaya by Hsinbyushin of Myanmar (Burma) in 1767. After the restoration of Thai sovereignty, and the establishment of a new capital at Bangkok, many law codes, religious works, and literary texts were rewritten. These include the Ramakian, a Thai version of the Indian Ramayana, which was composed during the reign of Rama I (1782–1809); Khun Chang Khun Phaen, an epic poem full of martial and amatory exploits, which took its title from the two main protagonists; and Phra Aphaimani, named after its hero. The second and third both date from the reign of Rama II (1809–24).
Translations of best-selling Western fiction by authors such as Marie Corelli, William Le Queux, Charles Garvice, H. Rider Haggard, Sax Rohmer, Anthony Hope, and Arthur Conan Doyle, began to appear at the beginning of the 20th century, but by the mid-1920s original Thai stories, often serialized in newspapers and magazines before their publication in a book, had become more popular. Most were romantic novels, typically involving a poor boy–rich girl (or rich boy–poor girl) theme, in which the plot was brought to a happy conclusion by a series of improbable coincidences.
The late 1920s heralded a golden decade in which a number of writers began to address social issues (such as polygamy, prostitution, social inequality, and social class) in a serious way. Works such as Lakhon haeng chiwit (1929; The Circus of Life) by M.C. Akatdamkoeng Raphiphat, Songkhram chiwit (1932; "The War of Life") and Khang lang phap (1937; Behind the Painting and Other Stories) by Siburapha (pen name of Kulap Saipradit),
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Ying khon chua (1937; The Prostitute) by K. Surangkhanang (Kanha Khiengsiri), and Phudi (1937; "The Gentry") by Dokmai Sot (Buppha Kunchon), have since come to be regarded as classics. Of these, the most famous is Siburapha's Behind the Painting, which by the turn of the 21st century had been reprinted almost 40 times, translated into Chinese and Japanese, and twice adapted for film. Set partly in Japan, the story relates the doomed love affair between a young Thai student studying finance in Japan and an older, unhappily married Thai aristocrat. It differs from most fiction of the period in its attempt to deal honestly with emotions; more than 10 years after its appearance, an influential essay by P. Mu'angchomphu (Udom Sisuwan) suggested that, at a deeper level, the characters symbolize the eclipse of the old aristocracy by a new comprador capitalist class.In the late 1940s many writers were influenced by Socialist Realism and for a brief period produced novels and short stories highlighting social injustice. Most were silenced or fell silent during the literary "dark age" of the 1950s and 1960s when freedom of speech was severely curtailed; in the later years only escapist fiction, called "stagnant water literature," survived. One writer who proved an exception during this period was Lao Khamhom (Khamsing Srinawk), whose subtle stories about country folk, first published in a collection called Fa bo kan (1959; The Politician and Other Stories), often carry a more subversive message than is immediately apparent. Although his output was small, with most of his best work dating from the late 1950s to the early 1970s, Lao Khamhom's stature within the literary world continued to grow, and in 1992 he was awarded the prestigious title National Artist of Thailand.By the late 1960s a new generation of writers was rediscovering Socialist Realism, known as "Literature for Life" in Thailand, and their work played a part in articulating the intellectual climate that led to the overthrow of the military government in 1973; however, such fiction, with its often simplistic treatment of issues, had little broad appeal and soon disappeared, hastened by the vicious military counter-revolution of 1976.Ying khon chua (1937; The Prostitute) by K. Surangkhanang (Kanha Khiengsiri), and Phudi (1937; "The Gentry") by Dokmai Sot (Buppha Kunchon), have since come to be regarded as classics. Of these, the most famous is Siburapha's Behind the Painting, which by the turn of the 21st century had been reprinted almost 40 times, translated into Chinese and Japanese, and twice adapted for film. Set partly in Japan, the story relates the doomed love affair between a young Thai student studying finance in Japan and an older, unhappily married Thai aristocrat. It differs from most fiction of the period in its attempt to deal honestly with emotions; more than 10 years after its appearance, an influential essay by P. Mu'angchomphu (Udom Sisuwan) suggested that, at a deeper level, the characters symbolize the eclipse of the old aristocracy by a new comprador capitalist class.In the late 1940s many writers were influenced by Socialist Realism and for a brief period produced novels and short stories highlighting social injustice. Most were silenced or fell silent during the literary "dark age" of the 1950s and 1960s when freedom of speech was severely curtailed; in the later years only escapist fiction, called "stagnant water literature," survived. One writer who proved an exception during this period was Lao Khamhom (Khamsing Srinawk), whose subtle stories about country folk, first published in a collection called Fa bo kan (1959; The Politician and Other Stories), often carry a more subversive message than is immediately apparent. Although his output was small, with most of his best work dating from the late 1950s to the early 1970s, Lao Khamhom's stature within the literary world continued to grow, and in 1992 he was awarded the prestigious title National Artist of Thailand.By the late 1960s a new generation of writers was rediscovering Socialist Realism, known as "Literature for Life" in Thailand, and their work played a part in articulating the intellectual climate that led to the overthrow of the military government in 1973; however, such fiction, with its often simplistic treatment of issues, had little broad appeal and soon disappeared, hastened by the vicious military counter-revolution of 1976.
Ying khon chua (1937; The Prostitute) by K. Surangkhanang (Kanha Khiengsiri), and Phudi (1937; "The Gentry") by Dokmai Sot (Buppha Kunchon), have since come to be regarded as classics. Of these, the most famous is Siburapha's Behind the Painting, which by the turn of the 21st century had been reprinted almost 40 times, translated into Chinese and Japanese, and twice adapted for film. Set partly in Japan, the story relates the doomed love affair between a young Thai student studying finance in Japan and an older, unhappily married Thai aristocrat. It differs from most fiction of the period in its attempt to deal honestly with emotions; more than 10 years after its appearance, an influential essay by P. Mu'angchomphu (Udom Sisuwan) suggested that, at a deeper level, the characters symbolize the eclipse of the old aristocracy by a new comprador capitalist class.
In the late 1940s many writers were influenced by Socialist Realism and for a brief period produced novels and short stories highlighting social injustice. Most were silenced or fell silent during the literary "dark age" of the 1950s and 1960s when freedom of speech was severely curtailed; in the later years only escapist fiction, called "stagnant water literature," survived. One writer who proved an exception during this period was Lao Khamhom (Khamsing Srinawk), whose subtle stories about country folk, first published in a collection called Fa bo kan (1959; The Politician and Other Stories), often carry a more subversive message than is immediately apparent. Although his output was small, with most of his best work dating from the late 1950s to the early 1970s, Lao Khamhom's stature within the literary world continued to grow, and in 1992 he was awarded the prestigious title National Artist of Thailand.
By the late 1960s a new generation of writers was rediscovering Socialist Realism, known as "Literature for Life" in Thailand, and their work played a part in articulating the intellectual climate that led to the overthrow of the military government in 1973; however, such fiction, with its often simplistic treatment of issues, had little broad appeal and soon disappeared, hastened by the vicious military counter-revolution of 1976.
Ying khon chua (1937; The Prostitute) by K. Surangkhanang (Kanha Khiengsiri), and Phudi (1937; "The Gentry") by Dokmai Sot (Buppha Kunchon), have since come to be regarded as classics. Of these, the most famous is Siburapha's Behind the Painting, which by the turn of the 21st century had been reprinted almost 40 times, translated into Chinese and Japanese, and twice adapted for film. Set partly in Japan, the story relates the doomed love affair between a young Thai student studying finance in Japan and an older, unhappily married Thai aristocrat. It differs from most fiction of the period in its attempt to deal honestly with emotions; more than 10 years after its appearance, an influential essay by P. Mu'angchomphu (Udom Sisuwan) suggested that, at a deeper level, the characters symbolize the eclipse of the old aristocracy by a new comprador capitalist class.
In the late 1940s many writers were influenced by Socialist Realism and for a brief period produced novels and short stories highlighting social injustice. Most were silenced or fell silent during the literary "dark age" of the 1950s and 1960s when freedom of speech was severely curtailed; in the later years only escapist fiction, called "stagnant water literature," survived. One writer who proved an exception during this period was Lao Khamhom (Khamsing Srinawk), whose subtle stories about country folk, first published in a collection called Fa bo kan (1959; The Politician and Other Stories), often carry a more subversive message than is immediately apparent. Although his output was small, with most of his best work dating from the late 1950s to the early 1970s, Lao Khamhom's stature within the literary world continued to grow, and in 1992 he was awarded the prestigious title National Artist of Thailand.
By the late 1960s a new generation of writers was rediscovering Socialist Realism, known as "Literature for Life" in Thailand, and their work played a part in articulating the intellectual climate that led to the overthrow of the military government in 1973; however, such fiction, with its often simplistic treatment of issues, had little broad appeal and soon disappeared, hastened by the vicious military counter-revolution of 1976.
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This event caused many writers, intellectuals, and students to flee to the jungles to join the Communist Party of Thailand. But fears of a new "dark age" proved unfounded when the coup leaders of 1976 were quickly replaced by a more liberal faction. In 1977 the writer, artist, and prolific editor Suchart Sawatsi set up the groundbreaking literary journal Lok nangsu' (1977–83; "Book World"), which, with its eclectic combination of articles, interviews, reviews, short stories, and poems, covering both the Thai and international literary world, provided a real and challenging focus for all who aspired to be a part of the literary community. After the demise of Lok nangsu', Suchart continued to play a major role in the Thai literary world, promoting short stories through his quarterly magazine, Cho karaket (1990–2000; "Screwpine Flower Garland"), and annual prizes and undertaking research on early 20th-century Thai literary history.The rapid economic and social changes that were beginning to sweep through Thai society by the mid-1980s offered writers new and challenging themes, while the introduction of literary prizes, accolades, and constant media attention also played a part in creating a vibrant literary scene. Of the writers that emerged during this period, Chart Korbjitti (also spelled Chat Kobjitti) proved to be the most successful, both artistically and commercially. His skillfully structured short novel Chon trork (1980; "The End of the Road"), with its constant time shifts, chronicles the economic and moral descent of a decent working-class family, who no matter how hard they work are unable to withstand the relentless pressure of day-to-day living on the minimum daily wage; unlike "Literature for Life" writers, Chart forced readers to draw their own conclusions from the accumulation of detail rather than pointing the finger of blame at a sector of society. The same uncompromisingly bleak vision is also apparent in his award-winning novel Kham phiphaksa (1982; The Judgment), in which a well-meaning rural school janitor is turned into a social outcast through the narrow-minded gossip and hypocrisy of the community in which he has grown up. By publishing his own works, Chart achieved a degree of financial independence that most writers in Thailand could only dream of. This event caused many writers, intellectuals, and students to flee to the jungles to join the Communist Party of Thailand. But fears of a new "dark age" proved unfounded when the coup leaders of 1976 were quickly replaced by a more liberal faction. In 1977 the writer, artist, and prolific editor Suchart Sawatsi set up the groundbreaking literary journal Lok nangsu' (1977–83; "Book World"), which, with its eclectic combination of articles, interviews, reviews, short stories, and poems, covering both the Thai and international literary world, provided a real and challenging focus for all who aspired to be a part of the literary community. After the demise of Lok nangsu', Suchart continued to play a major role in the Thai literary world, promoting short stories through his quarterly magazine, Cho karaket (1990–2000; "Screwpine Flower Garland"), and annual prizes and undertaking research on early 20th-century Thai literary history.The rapid economic and social changes that were beginning to sweep through Thai society by the mid-1980s offered writers new and challenging themes, while the introduction of literary prizes, accolades, and constant media attention also played a part in creating a vibrant literary scene. Of the writers that emerged during this period, Chart Korbjitti (also spelled Chat Kobjitti) proved to be the most successful, both artistically and commercially. His skillfully structured short novel Chon trork (1980; "The End of the Road"), with its constant time shifts, chronicles the economic and moral descent of a decent working-class family, who no matter how hard they work are unable to withstand the relentless pressure of day-to-day living on the minimum daily wage; unlike "Literature for Life" writers, Chart forced readers to draw their own conclusions from the accumulation of detail rather than pointing the finger of blame at a sector of society. The same uncompromisingly bleak vision is also apparent in his award-winning novel Kham phiphaksa (1982; The Judgment), in which a well-meaning rural school janitor is turned into a social outcast through the narrow-minded gossip and hypocrisy of the community in which he has grown up. By publishing his own works, Chart achieved a degree of financial independence that most writers in Thailand could only dream of.
This event caused many writers, intellectuals, and students to flee to the jungles to join the Communist Party of Thailand. But fears of a new "dark age" proved unfounded when the coup leaders of 1976 were quickly replaced by a more liberal faction. In 1977 the writer, artist, and prolific editor Suchart Sawatsi set up the groundbreaking literary journal Lok nangsu' (1977–83; "Book World"), which, with its eclectic combination of articles, interviews, reviews, short stories, and poems, covering both the Thai and international literary world, provided a real and challenging focus for all who aspired to be a part of the literary community. After the demise of Lok nangsu', Suchart continued to play a major role in the Thai literary world, promoting short stories through his quarterly magazine, Cho karaket (1990–2000; "Screwpine Flower Garland"), and annual prizes and undertaking research on early 20th-century Thai literary history.
The rapid economic and social changes that were beginning to sweep through Thai society by the mid-1980s offered writers new and challenging themes, while the introduction of literary prizes, accolades, and constant media attention also played a part in creating a vibrant literary scene. Of the writers that emerged during this period, Chart Korbjitti (also spelled Chat Kobjitti) proved to be the most successful, both artistically and commercially. His skillfully structured short novel Chon trork (1980; "The End of the Road"), with its constant time shifts, chronicles the economic and moral descent of a decent working-class family, who no matter how hard they work are unable to withstand the relentless pressure of day-to-day living on the minimum daily wage; unlike "Literature for Life" writers, Chart forced readers to draw their own conclusions from the accumulation of detail rather than pointing the finger of blame at a sector of society. The same uncompromisingly bleak vision is also apparent in his award-winning novel Kham phiphaksa (1982; The Judgment), in which a well-meaning rural school janitor is turned into a social outcast through the narrow-minded gossip and hypocrisy of the community in which he has grown up. By publishing his own works, Chart achieved a degree of financial independence that most writers in Thailand could only dream of.
This event caused many writers, intellectuals, and students to flee to the jungles to join the Communist Party of Thailand. But fears of a new "dark age" proved unfounded when the coup leaders of 1976 were quickly replaced by a more liberal faction. In 1977 the writer, artist, and prolific editor Suchart Sawatsi set up the groundbreaking literary journal Lok nangsu' (1977–83; "Book World"), which, with its eclectic combination of articles, interviews, reviews, short stories, and poems, covering both the Thai and international literary world, provided a real and challenging focus for all who aspired to be a part of the literary community. After the demise of Lok nangsu', Suchart continued to play a major role in the Thai literary world, promoting short stories through his quarterly magazine, Cho karaket (1990–2000; "Screwpine Flower Garland"), and annual prizes and undertaking research on early 20th-century Thai literary history.
The rapid economic and social changes that were beginning to sweep through Thai society by the mid-1980s offered writers new and challenging themes, while the introduction of literary prizes, accolades, and constant media attention also played a part in creating a vibrant literary scene. Of the writers that emerged during this period, Chart Korbjitti (also spelled Chat Kobjitti) proved to be the most successful, both artistically and commercially. His skillfully structured short novel Chon trork (1980; "The End of the Road"), with its constant time shifts, chronicles the economic and moral descent of a decent working-class family, who no matter how hard they work are unable to withstand the relentless pressure of day-to-day living on the minimum daily wage; unlike "Literature for Life" writers, Chart forced readers to draw their own conclusions from the accumulation of detail rather than pointing the finger of blame at a sector of society. The same uncompromisingly bleak vision is also apparent in his award-winning novel Kham phiphaksa (1982; The Judgment), in which a well-meaning rural school janitor is turned into a social outcast through the narrow-minded gossip and hypocrisy of the community in which he has grown up. By publishing his own works, Chart achieved a degree of financial independence that most writers in Thailand could only dream of.
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In the purely classical form, Thai drama and dance are indivisible.The Khon masked drama is derived from Indian temple rituals and dancing and draws its story line from the Ramakien, the Thai version of the Indian epic Ramayana. During the Ayutthaya period, the Khon was acted by accomplished male court retainers playing both male and female roles because until the 19th century the movements were thought too strenuous for women to perform. By the mid 1800s both men and women were appearing on stage together.Performances of Khon are characterized by vigorous, highly-formalized action. Acting and dancing are inseparable, each step having a definite meaning which is emphasized by precisely defined music to suggest walking, marching laughing, etc. because some actors and actresses are masked and cannot speak, narrative verses are usually recited and sung by a chorus that sits with the accompanying woodwind, gong and drum ensemble. The leading male and female performers do not wear masks and on some occasions they may speak.In the purely classical form, Thai drama and dance are indivisible.The Khon masked drama is derived from Indian temple rituals and dancing and draws its story line from the Ramakien, the Thai version of the Indian epic Ramayana. During the Ayutthaya period, the Khon was acted by accomplished male court retainers playing both male and female roles because until the 19th century the movements were thought too strenuous for women to perform. By the mid 1800s both men and women were appearing on stage together.Performances of Khon are characterized by vigorous, highly-formalized action. Acting and dancing are inseparable, each step having a definite meaning which is emphasized by precisely defined music to suggest walking, marching laughing, etc. because some actors and actresses are masked and cannot speak, narrative verses are usually recited and sung by a chorus that sits with the accompanying woodwind, gong and drum ensemble. The leading male and female performers do not wear masks and on some occasions they may speak.DRAMADRAMA
In the purely classical form, Thai drama and dance are indivisible.
The Khon masked drama is derived from Indian temple rituals and dancing and draws its story line from the Ramakien, the Thai version of the Indian epic Ramayana. During the Ayutthaya period, the Khon was acted by accomplished male court retainers playing both male and female roles because until the 19th century the movements were thought too strenuous for women to perform. By the mid 1800s both men and women were appearing on stage together.
Performances of Khon are characterized by vigorous, highly-formalized action. Acting and dancing are inseparable, each step having a definite meaning which is emphasized by precisely defined music to suggest walking, marching laughing, etc. because some actors and actresses are masked and cannot speak, narrative verses are usually recited and sung by a chorus that sits with the accompanying woodwind, gong and drum ensemble. The leading male and female performers do not wear masks and on some occasions they may speak.
In the purely classical form, Thai drama and dance are indivisible.
The Khon masked drama is derived from Indian temple rituals and dancing and draws its story line from the Ramakien, the Thai version of the Indian epic Ramayana. During the Ayutthaya period, the Khon was acted by accomplished male court retainers playing both male and female roles because until the 19th century the movements were thought too strenuous for women to perform. By the mid 1800s both men and women were appearing on stage together.
Performances of Khon are characterized by vigorous, highly-formalized action. Acting and dancing are inseparable, each step having a definite meaning which is emphasized by precisely defined music to suggest walking, marching laughing, etc. because some actors and actresses are masked and cannot speak, narrative verses are usually recited and sung by a chorus that sits with the accompanying woodwind, gong and drum ensemble. The leading male and female performers do not wear masks and on some occasions they may speak.
DRAMA
DRAMA
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Poetry has been featured extensively in Thai literature, and constituted the near-exclusive majority of literary works up to the early Rattanakosin period (early 19th century). It consists of five main forms, known as khlong, chan, kap, klon and rai; some of these developed indigenously while others were borrowed from other languages. Thai poetry dates to the Sukhothai period (13th–14th centuries) and flourished under Ayutthaya (14th–18th centuries), during which it developed into its current forms. Though many works were lost to the Burmese conquest of Ayutthaya in 1767, sponsorship by subsequent kings helped revive the art, with new works created by many great poets, including Sunthorn Phu (1786–1855). Prose writing as a literary form was introduced as a Western import during the reign of King Mongkut (1851–68) and gradually gained popularity, though poetry saw a revival during the reign of King Vajiravudh (1910–25), who authored and sponsored both traditional poetry and the newer literary forms. Poetry's popularity as a mainstream form of literature gradually declined afterwards, although it is still written and read, and is regularly employed ceremonially.FormsThai poetic works follow established prosodic forms, known as chanthalak (Thai: ฉันทลักษณ์, pronounced [tɕʰǎntʰalák]). Almost all have rules governing the exact metre and rhyme structure, i.e. the number of syllables in each line and which syllable rhymes with which. Certain forms also specify the tone or tone marks of syllables; others have requirements of syllable "heaviness". Alliteration and within-line rhyming are also often employed, but are not required by the rules.Poetry has been featured extensively in Thai literature, and constituted the near-exclusive majority of literary works up to the early Rattanakosin period (early 19th century). It consists of five main forms, known as khlong, chan, kap, klon and rai; some of these developed indigenously while others were borrowed from other languages. Thai poetry dates to the Sukhothai period (13th–14th centuries) and flourished under Ayutthaya (14th–18th centuries), during which it developed into its current forms. Though many works were lost to the Burmese conquest of Ayutthaya in 1767, sponsorship by subsequent kings helped revive the art, with new works created by many great poets, including Sunthorn Phu (1786–1855). Prose writing as a literary form was introduced as a Western import during the reign of King Mongkut (1851–68) and gradually gained popularity, though poetry saw a revival during the reign of King Vajiravudh (1910–25), who authored and sponsored both traditional poetry and the newer literary forms. Poetry's popularity as a mainstream form of literature gradually declined afterwards, although it is still written and read, and is regularly employed ceremonially.FormsThai poetic works follow established prosodic forms, known as chanthalak (Thai: ฉันทลักษณ์, pronounced [tɕʰǎntʰalák]). Almost all have rules governing the exact metre and rhyme structure, i.e. the number of syllables in each line and which syllable rhymes with which. Certain forms also specify the tone or tone marks of syllables; others have requirements of syllable "heaviness". Alliteration and within-line rhyming are also often employed, but are not required by the rules.POETRYPOETRY
Poetry has been featured extensively in Thai literature, and constituted the near-exclusive majority of literary works up to the early Rattanakosin period (early 19th century). It consists of five main forms, known as khlong, chan, kap, klon and rai; some of these developed indigenously while others were borrowed from other languages. Thai poetry dates to the Sukhothai period (13th–14th centuries) and flourished under Ayutthaya (14th–18th centuries), during which it developed into its current forms. Though many works were lost to the Burmese conquest of Ayutthaya in 1767, sponsorship by subsequent kings helped revive the art, with new works created by many great poets, including Sunthorn Phu (1786–1855). Prose writing as a literary form was introduced as a Western import during the reign of King Mongkut (1851–68) and gradually gained popularity, though poetry saw a revival during the reign of King Vajiravudh (1910–25), who authored and sponsored both traditional poetry and the newer literary forms. Poetry's popularity as a mainstream form of literature gradually declined afterwards, although it is still written and read, and is regularly employed ceremonially.
Forms
Thai poetic works follow established prosodic forms, known as chanthalak (Thai: ฉันทลักษณ์, pronounced [tɕʰǎntʰalák]). Almost all have rules governing the exact metre and rhyme structure, i.e. the number of syllables in each line and which syllable rhymes with which. Certain forms also specify the tone or tone marks of syllables; others have requirements of syllable "heaviness". Alliteration and within-line rhyming are also often employed, but are not required by the rules.
Poetry has been featured extensively in Thai literature, and constituted the near-exclusive majority of literary works up to the early Rattanakosin period (early 19th century). It consists of five main forms, known as khlong, chan, kap, klon and rai; some of these developed indigenously while others were borrowed from other languages. Thai poetry dates to the Sukhothai period (13th–14th centuries) and flourished under Ayutthaya (14th–18th centuries), during which it developed into its current forms. Though many works were lost to the Burmese conquest of Ayutthaya in 1767, sponsorship by subsequent kings helped revive the art, with new works created by many great poets, including Sunthorn Phu (1786–1855). Prose writing as a literary form was introduced as a Western import during the reign of King Mongkut (1851–68) and gradually gained popularity, though poetry saw a revival during the reign of King Vajiravudh (1910–25), who authored and sponsored both traditional poetry and the newer literary forms. Poetry's popularity as a mainstream form of literature gradually declined afterwards, although it is still written and read, and is regularly employed ceremonially.
Forms
Thai poetic works follow established prosodic forms, known as chanthalak (Thai: ฉันทลักษณ์, pronounced [tɕʰǎntʰalák]). Almost all have rules governing the exact metre and rhyme structure, i.e. the number of syllables in each line and which syllable rhymes with which. Certain forms also specify the tone or tone marks of syllables; others have requirements of syllable "heaviness". Alliteration and within-line rhyming are also often employed, but are not required by the rules.
POETRY
POETRY
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KhlongThe khlong (โคลง, [kʰlōːŋ]) is the among oldest Thai poetic forms. This is reflected in its requirements on the tone markings of certain syllables, which must be marked with mai ek (ไม้เอก, [máj èːk], ่) or mai tho (ไม้โท, [máj tʰōː], ้). This was likely derived from when the Thai language had three tones (as opposed to today's five, a split which occurred during the Ayutthaya period), two of which corresponded directly to the aforementioned marks. It is usually regarded as an advanced and sophisticated poetic form.In khlong, a stanza (bot, บท, [bòt]) has a number of lines (bat, บาท, [bàːt], from Pali and Sanskrit pāda), depending on the type. The bat are subdivided into two wak (วรรค, [wák], from Sanskrit varga).[note 1] The first wak has five syllables, the second has a variable number, also depending on the type, and may be optional. The type of khlong is named by the number of bat in a stanza; it may also be divided into two main types: khlong suphap (โคลงสุภาพ, [kʰlōːŋ sù.pʰâːp]) and khlong dan (โคลงดั้น, [kʰlōːŋ dân]). The two differ in the number of syllables in the second wak of the final bat and inter-stanza rhyming rules.Khlong si suphapThe khlong si suphap (โคลงสี่สุภาพ, [kʰlōːŋ sìː sù.pʰâːp]) is the most common form still currently employed. It has four bat per stanza (si translates as four). The first wak of each bat has five syllables. The second wak has two or four syllables in the first and third bat, two syllables in the second, and four syllables in the fourth. Mai ek is required for seven syllables and Mai tho is required for four, as shown below. "Dead word" syllables are allowed in place of syllables which require mai ek, and changing the spelling of words to satisfy the criteria is usually acceptable.KhlongThe khlong (โคลง, [kʰlōːŋ]) is the among oldest Thai poetic forms. This is reflected in its requirements on the tone markings of certain syllables, which must be marked with mai ek (ไม้เอก, [máj èːk], ่) or mai tho (ไม้โท, [máj tʰōː], ้). This was likely derived from when the Thai language had three tones (as opposed to today's five, a split which occurred during the Ayutthaya period), two of which corresponded directly to the aforementioned marks. It is usually regarded as an advanced and sophisticated poetic form.In khlong, a stanza (bot, บท, [bòt]) has a number of lines (bat, บาท, [bàːt], from Pali and Sanskrit pāda), depending on the type. The bat are subdivided into two wak (วรรค, [wák], from Sanskrit varga).[note 1] The first wak has five syllables, the second has a variable number, also depending on the type, and may be optional. The type of khlong is named by the number of bat in a stanza; it may also be divided into two main types: khlong suphap (โคลงสุภาพ, [kʰlōːŋ sù.pʰâːp]) and khlong dan (โคลงดั้น, [kʰlōːŋ dân]). The two differ in the number of syllables in the second wak of the final bat and inter-stanza rhyming rules.Khlong si suphapThe khlong si suphap (โคลงสี่สุภาพ, [kʰlōːŋ sìː sù.pʰâːp]) is the most common form still currently employed. It has four bat per stanza (si translates as four). The first wak of each bat has five syllables. The second wak has two or four syllables in the first and third bat, two syllables in the second, and four syllables in the fourth. Mai ek is required for seven syllables and Mai tho is required for four, as shown below. "Dead word" syllables are allowed in place of syllables which require mai ek, and changing the spelling of words to satisfy the criteria is usually acceptable.
Khlong
The khlong (โคลง, [kʰlōːŋ]) is the among oldest Thai poetic forms. This is reflected in its requirements on the tone markings of certain syllables, which must be marked with mai ek (ไม้เอก, [máj èːk], ่) or mai tho (ไม้โท, [máj tʰōː], ้). This was likely derived from when the Thai language had three tones (as opposed to today's five, a split which occurred during the Ayutthaya period), two of which corresponded directly to the aforementioned marks. It is usually regarded as an advanced and sophisticated poetic form.
In khlong, a stanza (bot, บท, [bòt]) has a number of lines (bat, บาท, [bàːt], from Pali and Sanskrit pāda), depending on the type. The bat are subdivided into two wak (วรรค, [wák], from Sanskrit varga).[note 1] The first wak has five syllables, the second has a variable number, also depending on the type, and may be optional. The type of khlong is named by the number of bat in a stanza; it may also be divided into two main types: khlong suphap (โคลงสุภาพ, [kʰlōːŋ sù.pʰâːp]) and khlong dan (โคลงดั้น, [kʰlōːŋ dân]). The two differ in the number of syllables in the second wak of the final bat and inter-stanza rhyming rules.
Khlong si suphap
The khlong si suphap (โคลงสี่สุภาพ, [kʰlōːŋ sìː sù.pʰâːp]) is the most common form still currently employed. It has four bat per stanza (si translates as four). The first wak of each bat has five syllables. The second wak has two or four syllables in the first and third bat, two syllables in the second, and four syllables in the fourth. Mai ek is required for seven syllables and Mai tho is required for four, as shown below. "Dead word" syllables are allowed in place of syllables which require mai ek, and changing the spelling of words to satisfy the criteria is usually acceptable.
Khlong
The khlong (โคลง, [kʰlōːŋ]) is the among oldest Thai poetic forms. This is reflected in its requirements on the tone markings of certain syllables, which must be marked with mai ek (ไม้เอก, [máj èːk], ่) or mai tho (ไม้โท, [máj tʰōː], ้). This was likely derived from when the Thai language had three tones (as opposed to today's five, a split which occurred during the Ayutthaya period), two of which corresponded directly to the aforementioned marks. It is usually regarded as an advanced and sophisticated poetic form.
In khlong, a stanza (bot, บท, [bòt]) has a number of lines (bat, บาท, [bàːt], from Pali and Sanskrit pāda), depending on the type. The bat are subdivided into two wak (วรรค, [wák], from Sanskrit varga).[note 1] The first wak has five syllables, the second has a variable number, also depending on the type, and may be optional. The type of khlong is named by the number of bat in a stanza; it may also be divided into two main types: khlong suphap (โคลงสุภาพ, [kʰlōːŋ sù.pʰâːp]) and khlong dan (โคลงดั้น, [kʰlōːŋ dân]). The two differ in the number of syllables in the second wak of the final bat and inter-stanza rhyming rules.
Khlong si suphap
The khlong si suphap (โคลงสี่สุภาพ, [kʰlōːŋ sìː sù.pʰâːp]) is the most common form still currently employed. It has four bat per stanza (si translates as four). The first wak of each bat has five syllables. The second wak has two or four syllables in the first and third bat, two syllables in the second, and four syllables in the fourth. Mai ek is required for seven syllables and Mai tho is required for four, as shown below. "Dead word" syllables are allowed in place of syllables which require mai ek, and changing the spelling of words to satisfy the criteria is usually acceptable.
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ChanThe chan (ฉันท์, [tɕʰǎn] from Pali chando), is derived from Pali and Sanskrit metres, and based on the Vuttodaya, a Sri Lankan treatise on Pali prosody. It developed during the Ayutthaya period, and became a prominent poetic form, but declined afterwards until it resurfaced in a 1913 revival.The main feature of the chan is its requirements on the "heaviness" of each syllable. Syllables are classified as either "light" (lahu, ลหุ, [lahù]), those with a short vowel and open ending, or "heavy" (kharu, ครุ, [kʰarú]; See also Light and heavy syllables under Sanskrit prosody). The Thai metres follow their Pali/Sanskrit origins, with added rhyming schemes. Modern authors have also invented new forms for their compositions. Two traditional forms are shown here.KapThere are several forms of kap (กาพย์, [kàːp]), each with its specific metre and rhyming rules. The kap may have originated either from the Indic metres or from Cambodian forms.Kap yaniThe kap yani (กาพย์ยานี, [kàːp jāː.nīː], or yani sip et, sip et meaning eleven, referring to the number of syllables per bat) has two bat per stanza. Each has two wak, with five and six syllables. It is slow in rhythm, and usually used to describe beauty and nature. The following plan shows the rhyming scheme in two stanzas; the spaces show the usual rhythmic breaks (not shown in writing).Kap chabangThe kap chabang (กาพย์ฉบัง, [kàːp tɕʰa.bāŋ], or chabang sip hok, sip hok meaning sixteen, the number of syllables per stanza) has three wak per stanza, with six syllables in the first and third, and four syllables in the second. It is often used for narratives, and often accompanies the chan.ChanThe chan (ฉันท์, [tɕʰǎn] from Pali chando), is derived from Pali and Sanskrit metres, and based on the Vuttodaya, a Sri Lankan treatise on Pali prosody. It developed during the Ayutthaya period, and became a prominent poetic form, but declined afterwards until it resurfaced in a 1913 revival.The main feature of the chan is its requirements on the "heaviness" of each syllable. Syllables are classified as either "light" (lahu, ลหุ, [lahù]), those with a short vowel and open ending, or "heavy" (kharu, ครุ, [kʰarú]; See also Light and heavy syllables under Sanskrit prosody). The Thai metres follow their Pali/Sanskrit origins, with added rhyming schemes. Modern authors have also invented new forms for their compositions. Two traditional forms are shown here.KapThere are several forms of kap (กาพย์, [kàːp]), each with its specific metre and rhyming rules. The kap may have originated either from the Indic metres or from Cambodian forms.Kap yaniThe kap yani (กาพย์ยานี, [kàːp jāː.nīː], or yani sip et, sip et meaning eleven, referring to the number of syllables per bat) has two bat per stanza. Each has two wak, with five and six syllables. It is slow in rhythm, and usually used to describe beauty and nature. The following plan shows the rhyming scheme in two stanzas; the spaces show the usual rhythmic breaks (not shown in writing).Kap chabangThe kap chabang (กาพย์ฉบัง, [kàːp tɕʰa.bāŋ], or chabang sip hok, sip hok meaning sixteen, the number of syllables per stanza) has three wak per stanza, with six syllables in the first and third, and four syllables in the second. It is often used for narratives, and often accompanies the chan.
Chan
The chan (ฉันท์, [tɕʰǎn] from Pali chando), is derived from Pali and Sanskrit metres, and based on the Vuttodaya, a Sri Lankan treatise on Pali prosody. It developed during the Ayutthaya period, and became a prominent poetic form, but declined afterwards until it resurfaced in a 1913 revival.
The main feature of the chan is its requirements on the "heaviness" of each syllable. Syllables are classified as either "light" (lahu, ลหุ, [lahù]), those with a short vowel and open ending, or "heavy" (kharu, ครุ, [kʰarú]; See also Light and heavy syllables under Sanskrit prosody). The Thai metres follow their Pali/Sanskrit origins, with added rhyming schemes. Modern authors have also invented new forms for their compositions. Two traditional forms are shown here.
Kap
There are several forms of kap (กาพย์, [kàːp]), each with its specific metre and rhyming rules. The kap may have originated either from the Indic metres or from Cambodian forms.
Kap yani
The kap yani (กาพย์ยานี, [kàːp jāː.nīː], or yani sip et, sip et meaning eleven, referring to the number of syllables per bat) has two bat per stanza. Each has two wak, with five and six syllables. It is slow in rhythm, and usually used to describe beauty and nature. The following plan shows the rhyming scheme in two stanzas; the spaces show the usual rhythmic breaks (not shown in writing).
Kap chabang
The kap chabang (กาพย์ฉบัง, [kàːp tɕʰa.bāŋ], or chabang sip hok, sip hok meaning sixteen, the number of syllables per stanza) has three wak per stanza, with six syllables in the first and third, and four syllables in the second. It is often used for narratives, and often accompanies the chan.
Chan
The chan (ฉันท์, [tɕʰǎn] from Pali chando), is derived from Pali and Sanskrit metres, and based on the Vuttodaya, a Sri Lankan treatise on Pali prosody. It developed during the Ayutthaya period, and became a prominent poetic form, but declined afterwards until it resurfaced in a 1913 revival.
The main feature of the chan is its requirements on the "heaviness" of each syllable. Syllables are classified as either "light" (lahu, ลหุ, [lahù]), those with a short vowel and open ending, or "heavy" (kharu, ครุ, [kʰarú]; See also Light and heavy syllables under Sanskrit prosody). The Thai metres follow their Pali/Sanskrit origins, with added rhyming schemes. Modern authors have also invented new forms for their compositions. Two traditional forms are shown here.
Kap
There are several forms of kap (กาพย์, [kàːp]), each with its specific metre and rhyming rules. The kap may have originated either from the Indic metres or from Cambodian forms.
Kap yani
The kap yani (กาพย์ยานี, [kàːp jāː.nīː], or yani sip et, sip et meaning eleven, referring to the number of syllables per bat) has two bat per stanza. Each has two wak, with five and six syllables. It is slow in rhythm, and usually used to describe beauty and nature. The following plan shows the rhyming scheme in two stanzas; the spaces show the usual rhythmic breaks (not shown in writing).
Kap chabang
The kap chabang (กาพย์ฉบัง, [kàːp tɕʰa.bāŋ], or chabang sip hok, sip hok meaning sixteen, the number of syllables per stanza) has three wak per stanza, with six syllables in the first and third, and four syllables in the second. It is often used for narratives, and often accompanies the chan.
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KlonIn the generic sense, klon (กลอน, [klɔ̄ːn]) originally referred to any type of poetry. In the narrow sense it refers to a more recently developed form where a stanza has four wak, each with the same number of syllables. It is usually considered an original Thai form.[4] The klon metres are named by the number of syllables in a wak, e.g. klon hok has six syllables per wak (hok means six). All metres have the same rhyming scheme, and there are also requirements on the tone of the final syllable of each wak. The klon is also divided into several types according to their manner of composition, with klon suphap being the basic form.The following plan shows the structure of klon suphap (two stanzas) in the most common eight-syllable variety, which was employed extensively by Sunthorn Phu, and is the most common form of the Rattanakosin period. The letters in parentheses represent alternative rhyming syllables. In practice, occasional wak with seven or nine syllables are also acceptable.RaiThe rai (ร่าย, [râːj]) is probably the oldest Thai poetic form and was used in laws and chronicles. It is also the simplest. It consists of a continuing series of wak of unspecified number, usually with five syllables each, and with rhymes from the last syllable of a wak to the first, second or third of the next. Some variations don't specify the number of syllables per wak and are actually a form of rhymed prose. A composition consisting of rai alternating with (and ending with) khlong is known as lilit and suggests that the khlong developed from the rai. The following is the form of rai known as rai boran.ReadingWhen read aloud, Thai poetry may be read conventionally, or in a melodic fashion known as thamnong sano, lit. pleasing melody). Thamnong sano has many melodic styles, and there are also other specific styles used for certain performances, such as sepha. Thamnong sano reading is often featured in student competitions, along with other forms of language-related performances.KlonIn the generic sense, klon (กลอน, [klɔ̄ːn]) originally referred to any type of poetry. In the narrow sense it refers to a more recently developed form where a stanza has four wak, each with the same number of syllables. It is usually considered an original Thai form.[4] The klon metres are named by the number of syllables in a wak, e.g. klon hok has six syllables per wak (hok means six). All metres have the same rhyming scheme, and there are also requirements on the tone of the final syllable of each wak. The klon is also divided into several types according to their manner of composition, with klon suphap being the basic form.The following plan shows the structure of klon suphap (two stanzas) in the most common eight-syllable variety, which was employed extensively by Sunthorn Phu, and is the most common form of the Rattanakosin period. The letters in parentheses represent alternative rhyming syllables. In practice, occasional wak with seven or nine syllables are also acceptable.RaiThe rai (ร่าย, [râːj]) is probably the oldest Thai poetic form and was used in laws and chronicles. It is also the simplest. It consists of a continuing series of wak of unspecified number, usually with five syllables each, and with rhymes from the last syllable of a wak to the first, second or third of the next. Some variations don't specify the number of syllables per wak and are actually a form of rhymed prose. A composition consisting of rai alternating with (and ending with) khlong is known as lilit and suggests that the khlong developed from the rai. The following is the form of rai known as rai boran.ReadingWhen read aloud, Thai poetry may be read conventionally, or in a melodic fashion known as thamnong sano, lit. pleasing melody). Thamnong sano has many melodic styles, and there are also other specific styles used for certain performances, such as sepha. Thamnong sano reading is often featured in student competitions, along with other forms of language-related performances.
Klon
In the generic sense, klon (กลอน, [klɔ̄ːn]) originally referred to any type of poetry. In the narrow sense it refers to a more recently developed form where a stanza has four wak, each with the same number of syllables. It is usually considered an original Thai form.[4] The klon metres are named by the number of syllables in a wak, e.g. klon hok has six syllables per wak (hok means six). All metres have the same rhyming scheme, and there are also requirements on the tone of the final syllable of each wak. The klon is also divided into several types according to their manner of composition, with klon suphap being the basic form.
The following plan shows the structure of klon suphap (two stanzas) in the most common eight-syllable variety, which was employed extensively by Sunthorn Phu, and is the most common form of the Rattanakosin period. The letters in parentheses represent alternative rhyming syllables. In practice, occasional wak with seven or nine syllables are also acceptable.
Rai
The rai (ร่าย, [râːj]) is probably the oldest Thai poetic form and was used in laws and chronicles. It is also the simplest. It consists of a continuing series of wak of unspecified number, usually with five syllables each, and with rhymes from the last syllable of a wak to the first, second or third of the next. Some variations don't specify the number of syllables per wak and are actually a form of rhymed prose. A composition consisting of rai alternating with (and ending with) khlong is known as lilit and suggests that the khlong developed from the rai. The following is the form of rai known as rai boran.
Reading
When read aloud, Thai poetry may be read conventionally, or in a melodic fashion known as thamnong sano, lit. pleasing melody). Thamnong sano has many melodic styles, and there are also other specific styles used for certain performances, such as sepha. Thamnong sano reading is often featured in student competitions, along with other forms of language-related performances.
Klon
In the generic sense, klon (กลอน, [klɔ̄ːn]) originally referred to any type of poetry. In the narrow sense it refers to a more recently developed form where a stanza has four wak, each with the same number of syllables. It is usually considered an original Thai form.[4] The klon metres are named by the number of syllables in a wak, e.g. klon hok has six syllables per wak (hok means six). All metres have the same rhyming scheme, and there are also requirements on the tone of the final syllable of each wak. The klon is also divided into several types according to their manner of composition, with klon suphap being the basic form.
The following plan shows the structure of klon suphap (two stanzas) in the most common eight-syllable variety, which was employed extensively by Sunthorn Phu, and is the most common form of the Rattanakosin period. The letters in parentheses represent alternative rhyming syllables. In practice, occasional wak with seven or nine syllables are also acceptable.
Rai
The rai (ร่าย, [râːj]) is probably the oldest Thai poetic form and was used in laws and chronicles. It is also the simplest. It consists of a continuing series of wak of unspecified number, usually with five syllables each, and with rhymes from the last syllable of a wak to the first, second or third of the next. Some variations don't specify the number of syllables per wak and are actually a form of rhymed prose. A composition consisting of rai alternating with (and ending with) khlong is known as lilit and suggests that the khlong developed from the rai. The following is the form of rai known as rai boran.
Reading
When read aloud, Thai poetry may be read conventionally, or in a melodic fashion known as thamnong sano, lit. pleasing melody). Thamnong sano has many melodic styles, and there are also other specific styles used for certain performances, such as sepha. Thamnong sano reading is often featured in student competitions, along with other forms of language-related performances.
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FACTS AND TRIVIASFACTS AND TRIVIAS
FACTS AND TRIVIAS
FACTS AND TRIVIAS
1. Thailand is the world's 20th most populous country, with close to 67 million people.2. The full spelling of its capital, Bangkok, was clearly finalised before the days of Twitter. It is known to Thais as Krung Thep Maha Nakho, but its full ceremonial name is Krungthepmahanakhon Amonrattanakosin Mahintharayutthaya Mahadilokphop Noppharatratchathaniburirom Udomratchaniwetmahasathan Amonphimanawatansathit Sakkathattiyawitsanukamprasit (a Tweet-busting 169 characters).3. It is the world's most visited city, according to the Global Destinations Cities Index, ahead of London. It will welcome 16 million international arrivals this year.4. Kitti's hog-nosed bat – thought to be the world's smallest mammal – is found in Thailand. It weighs just two grams. 5. According to the World Economic Forum, Thailand is the 13th friendliest country in the world. Iceland is the friendliest.1. Thailand is the world's 20th most populous country, with close to 67 million people.2. The full spelling of its capital, Bangkok, was clearly finalised before the days of Twitter. It is known to Thais as Krung Thep Maha Nakho, but its full ceremonial name is Krungthepmahanakhon Amonrattanakosin Mahintharayutthaya Mahadilokphop Noppharatratchathaniburirom Udomratchaniwetmahasathan Amonphimanawatansathit Sakkathattiyawitsanukamprasit (a Tweet-busting 169 characters).3. It is the world's most visited city, according to the Global Destinations Cities Index, ahead of London. It will welcome 16 million international arrivals this year.4. Kitti's hog-nosed bat – thought to be the world's smallest mammal – is found in Thailand. It weighs just two grams. 5. According to the World Economic Forum, Thailand is the 13th friendliest country in the world. Iceland is the friendliest.
1. Thailand is the world's 20th most populous country, with close to 67 million people.
2. The full spelling of its capital, Bangkok, was clearly finalised before the days of Twitter. It is known to Thais as Krung Thep Maha Nakho, but its full ceremonial name is Krungthepmahanakhon Amonrattanakosin Mahintharayutthaya Mahadilokphop Noppharatratchathaniburirom Udomratchaniwetmahasathan Amonphimanawatansathit Sakkathattiyawitsanukamprasit (a Tweet-busting 169 characters).
3. It is the world's most visited city, according to the Global Destinations Cities Index, ahead of London. It will welcome 16 million international arrivals this year.
4. Kitti's hog-nosed bat – thought to be the world's smallest mammal – is found in Thailand. It weighs just two grams.
5. According to the World Economic Forum, Thailand is the 13th friendliest country in the world. Iceland is the friendliest.
1. Thailand is the world's 20th most populous country, with close to 67 million people.
2. The full spelling of its capital, Bangkok, was clearly finalised before the days of Twitter. It is known to Thais as Krung Thep Maha Nakho, but its full ceremonial name is Krungthepmahanakhon Amonrattanakosin Mahintharayutthaya Mahadilokphop Noppharatratchathaniburirom Udomratchaniwetmahasathan Amonphimanawatansathit Sakkathattiyawitsanukamprasit (a Tweet-busting 169 characters).
3. It is the world's most visited city, according to the Global Destinations Cities Index, ahead of London. It will welcome 16 million international arrivals this year.
4. Kitti's hog-nosed bat – thought to be the world's smallest mammal – is found in Thailand. It weighs just two grams.
5. According to the World Economic Forum, Thailand is the 13th friendliest country in the world. Iceland is the friendliest.
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6. One of the country's most unusual festivals is the annual Monkey Buffet, held in front of the Pra Prang Sam Yot temple in Lopburi province. More than 600 monkeys are invited to feast on over two tonnes of grilled sausage, fresh fruit, ice cream and other treats. The locals see it as a thank you to the monkeys which inhabit the village and bring thousands of tourists there each year.7. Another is the annual Phuket Vegetarian Festival. The event, a version of the Taoist Nine Emperor Gods Festival, involves much gruesome self-mutilation.8. Buddhism is the country's main religion – it is practiced by 95 per cent of the population.Koh Phi Phi Lee9. Thailand is home to the world's ninth tallest statue, The Great Buddha of Thailand, at the Wat Muang Monastery in Ang Thong province. It also has the world's highest stupa - Phra Pathom Chedi at 127 metres. The country's tallest building is the Baiyoke Tower II in Bangkok - it is the world's 80th tallest at 304 metres.10. Thailand has won just seven gold medals at the Olympic Games - three in weightlifting and four in boxing. Muay Thai boxing is the national sport. It is known as "the art of eight limbs" as it uses punches, kicks, elbows and knees.6. One of the country's most unusual festivals is the annual Monkey Buffet, held in front of the Pra Prang Sam Yot temple in Lopburi province. More than 600 monkeys are invited to feast on over two tonnes of grilled sausage, fresh fruit, ice cream and other treats. The locals see it as a thank you to the monkeys which inhabit the village and bring thousands of tourists there each year.7. Another is the annual Phuket Vegetarian Festival. The event, a version of the Taoist Nine Emperor Gods Festival, involves much gruesome self-mutilation.8. Buddhism is the country's main religion – it is practiced by 95 per cent of the population.Koh Phi Phi Lee9. Thailand is home to the world's ninth tallest statue, The Great Buddha of Thailand, at the Wat Muang Monastery in Ang Thong province. It also has the world's highest stupa - Phra Pathom Chedi at 127 metres. The country's tallest building is the Baiyoke Tower II in Bangkok - it is the world's 80th tallest at 304 metres.10. Thailand has won just seven gold medals at the Olympic Games - three in weightlifting and four in boxing. Muay Thai boxing is the national sport. It is known as "the art of eight limbs" as it uses punches, kicks, elbows and knees.
6. One of the country's most unusual festivals is the annual Monkey Buffet, held in front of the Pra Prang Sam Yot temple in Lopburi province. More than 600 monkeys are invited to feast on over two tonnes of grilled sausage, fresh fruit, ice cream and other treats. The locals see it as a thank you to the monkeys which inhabit the village and bring thousands of tourists there each year.
7. Another is the annual Phuket Vegetarian Festival. The event, a version of the Taoist Nine Emperor Gods Festival, involves much gruesome self-mutilation.
8. Buddhism is the country's main religion – it is practiced by 95 per cent of the population.
Koh Phi Phi Lee
9. Thailand is home to the world's ninth tallest statue, The Great Buddha of Thailand, at the Wat Muang Monastery in Ang Thong province. It also has the world's highest stupa - Phra Pathom Chedi at 127 metres. The country's tallest building is the Baiyoke Tower II in Bangkok - it is the world's 80th tallest at 304 metres.
10. Thailand has won just seven gold medals at the Olympic Games - three in weightlifting and four in boxing. Muay Thai boxing is the national sport. It is known as "the art of eight limbs" as it uses punches, kicks, elbows and knees.
6. One of the country's most unusual festivals is the annual Monkey Buffet, held in front of the Pra Prang Sam Yot temple in Lopburi province. More than 600 monkeys are invited to feast on over two tonnes of grilled sausage, fresh fruit, ice cream and other treats. The locals see it as a thank you to the monkeys which inhabit the village and bring thousands of tourists there each year.
7. Another is the annual Phuket Vegetarian Festival. The event, a version of the Taoist Nine Emperor Gods Festival, involves much gruesome self-mutilation.
8. Buddhism is the country's main religion – it is practiced by 95 per cent of the population.
Koh Phi Phi Lee
9. Thailand is home to the world's ninth tallest statue, The Great Buddha of Thailand, at the Wat Muang Monastery in Ang Thong province. It also has the world's highest stupa - Phra Pathom Chedi at 127 metres. The country's tallest building is the Baiyoke Tower II in Bangkok - it is the world's 80th tallest at 304 metres.
10. Thailand has won just seven gold medals at the Olympic Games - three in weightlifting and four in boxing. Muay Thai boxing is the national sport. It is known as "the art of eight limbs" as it uses punches, kicks, elbows and knees.
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11. Elephant polo is another popular pastime. The King's Cup is one of the key events in the sport's calendar – the beach resort of Hua Hin is one of three host venues (the others are in Sri Lanka and Nepal).12. Thailand is the only country in south-east Asia that hasn't been colonised by Europeans.13. It is strictly against the law to criticise the monarchy.14. Thailand's highest point is Doi Inthanon (8,415ft/2,565m above sea level) in the Thanon Thong Chai mountain range.Doi Inthanon15. It has 1,430 islands, among the most famous of which is Koh Phi Phi Lee – it featured in Danny Boyle's film The Beach.16. Thailand is the most popular destination in the world for British gap year holidaymakers, according to Abta, the travel association.17. The town of Kanchanburi is home to the famous "Bridge Over the River Kwai", part of the Burma-Siam railway. An estimated 80,000 to 100,000 people died in the course of the project.11. Elephant polo is another popular pastime. The King's Cup is one of the key events in the sport's calendar – the beach resort of Hua Hin is one of three host venues (the others are in Sri Lanka and Nepal).12. Thailand is the only country in south-east Asia that hasn't been colonised by Europeans.13. It is strictly against the law to criticise the monarchy.14. Thailand's highest point is Doi Inthanon (8,415ft/2,565m above sea level) in the Thanon Thong Chai mountain range.Doi Inthanon15. It has 1,430 islands, among the most famous of which is Koh Phi Phi Lee – it featured in Danny Boyle's film The Beach.16. Thailand is the most popular destination in the world for British gap year holidaymakers, according to Abta, the travel association.17. The town of Kanchanburi is home to the famous "Bridge Over the River Kwai", part of the Burma-Siam railway. An estimated 80,000 to 100,000 people died in the course of the project.
11. Elephant polo is another popular pastime. The King's Cup is one of the key events in the sport's calendar – the beach resort of Hua Hin is one of three host venues (the others are in Sri Lanka and Nepal).
12. Thailand is the only country in south-east Asia that hasn't been colonised by Europeans.
13. It is strictly against the law to criticise the monarchy.
14. Thailand's highest point is Doi Inthanon (8,415ft/2,565m above sea level) in the Thanon Thong Chai mountain range.
Doi Inthanon
15. It has 1,430 islands, among the most famous of which is Koh Phi Phi Lee – it featured in Danny Boyle's film The Beach.
16. Thailand is the most popular destination in the world for British gap year holidaymakers, according to Abta, the travel association.
17. The town of Kanchanburi is home to the famous "Bridge Over the River Kwai", part of the Burma-Siam railway. An estimated 80,000 to 100,000 people died in the course of the project.
11. Elephant polo is another popular pastime. The King's Cup is one of the key events in the sport's calendar – the beach resort of Hua Hin is one of three host venues (the others are in Sri Lanka and Nepal).
12. Thailand is the only country in south-east Asia that hasn't been colonised by Europeans.
13. It is strictly against the law to criticise the monarchy.
14. Thailand's highest point is Doi Inthanon (8,415ft/2,565m above sea level) in the Thanon Thong Chai mountain range.
Doi Inthanon
15. It has 1,430 islands, among the most famous of which is Koh Phi Phi Lee – it featured in Danny Boyle's film The Beach.
16. Thailand is the most popular destination in the world for British gap year holidaymakers, according to Abta, the travel association.
17. The town of Kanchanburi is home to the famous "Bridge Over the River Kwai", part of the Burma-Siam railway. An estimated 80,000 to 100,000 people died in the course of the project.
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The famous "Bridge Over the River Kwai"18. Koh Phangan is Thailand's party island – it is famous for its Full Moon Parties, but also hosts Half Moon and Black Moon versions.19. Bangkok was once crisscrossed by dozens of canals or "khlongs", and its buildings stood on stilts, earning it the nickname Venice of the East. Most have now been filled.20. Parts of Thailand are off-limits to British travellers. The Foreign Office advises against all travel to the Preah Vihear (Khaoi Pra Viharn in Thai) temple area and the Ta Krabey/Ta Moan temple area, on the Thai-Cambodian border, "due to the presence of troops in the area and the risk of outbreaks of fighting". It also advises against all but essential travel to the provinces of Pattani, Yala, Narathiwat and Songkhla on the Thai-Malaysia border, due to the threat of terrorism.21. Thailand's name in the Thai language is Prathet Thai, which means "Land of the Free." It is the only country in Southeast Asia that was never colonized by a European nation.The famous "Bridge Over the River Kwai"18. Koh Phangan is Thailand's party island – it is famous for its Full Moon Parties, but also hosts Half Moon and Black Moon versions.19. Bangkok was once crisscrossed by dozens of canals or "khlongs", and its buildings stood on stilts, earning it the nickname Venice of the East. Most have now been filled.20. Parts of Thailand are off-limits to British travellers. The Foreign Office advises against all travel to the Preah Vihear (Khaoi Pra Viharn in Thai) temple area and the Ta Krabey/Ta Moan temple area, on the Thai-Cambodian border, "due to the presence of troops in the area and the risk of outbreaks of fighting". It also advises against all but essential travel to the provinces of Pattani, Yala, Narathiwat and Songkhla on the Thai-Malaysia border, due to the threat of terrorism.21. Thailand's name in the Thai language is Prathet Thai, which means "Land of the Free." It is the only country in Southeast Asia that was never colonized by a European nation.
The famous "Bridge Over the River Kwai"
18. Koh Phangan is Thailand's party island – it is famous for its Full Moon Parties, but also hosts Half Moon and Black Moon versions.
19. Bangkok was once crisscrossed by dozens of canals or "khlongs", and its buildings stood on stilts, earning it the nickname Venice of the East. Most have now been filled.
20. Parts of Thailand are off-limits to British travellers. The Foreign Office advises against all travel to the Preah Vihear (Khaoi Pra Viharn in Thai) temple area and the Ta Krabey/Ta Moan temple area, on the Thai-Cambodian border, "due to the presence of troops in the area and the risk of outbreaks of fighting". It also advises against all but essential travel to the provinces of Pattani, Yala, Narathiwat and Songkhla on the Thai-Malaysia border, due to the threat of terrorism.
21. Thailand's name in the Thai language is Prathet Thai, which means "Land of the Free." It is the only country in Southeast Asia that was never colonized by a European nation.
The famous "Bridge Over the River Kwai"
18. Koh Phangan is Thailand's party island – it is famous for its Full Moon Parties, but also hosts Half Moon and Black Moon versions.
19. Bangkok was once crisscrossed by dozens of canals or "khlongs", and its buildings stood on stilts, earning it the nickname Venice of the East. Most have now been filled.
20. Parts of Thailand are off-limits to British travellers. The Foreign Office advises against all travel to the Preah Vihear (Khaoi Pra Viharn in Thai) temple area and the Ta Krabey/Ta Moan temple area, on the Thai-Cambodian border, "due to the presence of troops in the area and the risk of outbreaks of fighting". It also advises against all but essential travel to the provinces of Pattani, Yala, Narathiwat and Songkhla on the Thai-Malaysia border, due to the threat of terrorism.
21. Thailand's name in the Thai language is Prathet Thai, which means "Land of the Free." It is the only country in Southeast Asia that was never colonized by a European nation.
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22. Thailand is home to the world's largest gold Buddha, the largest crocodile farm, the largest restaurant, and the world's tallest hotel23. In the past, all Thai young men including the kings became Buddhist monks for at least a short period of time before their 20th birthday. Today, fewer young men observe the practice.24. Medicine man Hoo Sateow from Thailand has the world's documented longest hair at 16 11 long. 25. In 1996, two rare "diamond-eyed cats," Phet and Ploy, were married in a lavish $16,241 Thai wedding, the most expensive pet wedding in the world.26. In 1999, 30 vets worked to heal a 38-year-old cow elephants' foot, which had been destroyed when she stepped on a landmine in Thailand. It set the record for the largest number of vets in one procedure.22. Thailand is home to the world's largest gold Buddha, the largest crocodile farm, the largest restaurant, and the world's tallest hotel23. In the past, all Thai young men including the kings became Buddhist monks for at least a short period of time before their 20th birthday. Today, fewer young men observe the practice.24. Medicine man Hoo Sateow from Thailand has the world's documented longest hair at 16 11 long. 25. In 1996, two rare "diamond-eyed cats," Phet and Ploy, were married in a lavish $16,241 Thai wedding, the most expensive pet wedding in the world.26. In 1999, 30 vets worked to heal a 38-year-old cow elephants' foot, which had been destroyed when she stepped on a landmine in Thailand. It set the record for the largest number of vets in one procedure.
22. Thailand is home to the world's largest gold Buddha, the largest crocodile farm, the largest restaurant, and the world's tallest hotel
23. In the past, all Thai young men including the kings became Buddhist monks for at least a short period of time before their 20th birthday. Today, fewer young men observe the practice.
24. Medicine man Hoo Sateow from Thailand has the world's documented longest hair at 16 11 long.
25. In 1996, two rare "diamond-eyed cats," Phet and Ploy, were married in a lavish $16,241 Thai wedding, the most expensive pet wedding in the world.
26. In 1999, 30 vets worked to heal a 38-year-old cow elephants' foot, which had been destroyed when she stepped on a landmine in Thailand. It set the record for the largest number of vets in one procedure.
22. Thailand is home to the world's largest gold Buddha, the largest crocodile farm, the largest restaurant, and the world's tallest hotel
23. In the past, all Thai young men including the kings became Buddhist monks for at least a short period of time before their 20th birthday. Today, fewer young men observe the practice.
24. Medicine man Hoo Sateow from Thailand has the world's documented longest hair at 16 11 long.
25. In 1996, two rare "diamond-eyed cats," Phet and Ploy, were married in a lavish $16,241 Thai wedding, the most expensive pet wedding in the world.
26. In 1999, 30 vets worked to heal a 38-year-old cow elephants' foot, which had been destroyed when she stepped on a landmine in Thailand. It set the record for the largest number of vets in one procedure.
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212127. In 1999, a group of 282 skydivers set the record for the largest number of skydivers in a free-fall formation above Ubon Ratchathani, Thailand. They held the link for 7.11 seconds.28. The world's largest Christmas log cake was made in Bangkok, Thailand, on December 25, 1997. The cake weighed 5,071 lbs. and reached 27 6 . It was later cut into 19, 212 portions29. Thailand set the record for the longest catwalk on April 9, 2010. The catwalk was 1,584 meters long and was part of the Pattaya International Fashion Week30. Thailand is home to the world's hairiest child, Supatra "Nat" Sasuphan.27. In 1999, a group of 282 skydivers set the record for the largest number of skydivers in a free-fall formation above Ubon Ratchathani, Thailand. They held the link for 7.11 seconds.28. The world's largest Christmas log cake was made in Bangkok, Thailand, on December 25, 1997. The cake weighed 5,071 lbs. and reached 27 6 . It was later cut into 19, 212 portions29. Thailand set the record for the longest catwalk on April 9, 2010. The catwalk was 1,584 meters long and was part of the Pattaya International Fashion Week30. Thailand is home to the world's hairiest child, Supatra "Nat" Sasuphan.
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27. In 1999, a group of 282 skydivers set the record for the largest number of skydivers in a free-fall formation above Ubon Ratchathani, Thailand. They held the link for 7.11 seconds.
28. The world's largest Christmas log cake was made in Bangkok, Thailand, on December 25, 1997. The cake weighed 5,071 lbs. and reached 27 6 . It was later cut into 19, 212 portions
29. Thailand set the record for the longest catwalk on April 9, 2010. The catwalk was 1,584 meters long and was part of the Pattaya International Fashion Week
30. Thailand is home to the world's hairiest child, Supatra "Nat" Sasuphan.
27. In 1999, a group of 282 skydivers set the record for the largest number of skydivers in a free-fall formation above Ubon Ratchathani, Thailand. They held the link for 7.11 seconds.
28. The world's largest Christmas log cake was made in Bangkok, Thailand, on December 25, 1997. The cake weighed 5,071 lbs. and reached 27 6 . It was later cut into 19, 212 portions
29. Thailand set the record for the longest catwalk on April 9, 2010. The catwalk was 1,584 meters long and was part of the Pattaya International Fashion Week
30. Thailand is home to the world's hairiest child, Supatra "Nat" Sasuphan.
RAMAKIENA scene from the Ramakien in Wat Phra Kaew, BangkokThe Ramakien (รามเกียรติ์, "Glory of Rama", sometimes also spelled Ramakian) is Thailand's national epic, derived from the Hindu epic Ramayana. The word is derived from Sanskrit word Rāmākhyāna, (Rāma + Ākhyana) where Akhyana means a long story or epic.A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist, one of which was prepared in 1797 under the supervision of (and partly written by) King Rama I. His son, Rama II, rewrote some parts of his father's version for khon drama. The work has had an important influence on Thai literature, art and drama (both the khon and nang dramas being derived from it).While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography, and elements of nature, which are described as being Thai in style. Although Thailand is considered a Theravada Buddhist society, the Hindu mythology latent in the Ramakien serves to provide Thai legends with a creation myth, as well as representations of various spirits which complement beliefs derived from Thai animism.RAMAKIENA scene from the Ramakien in Wat Phra Kaew, BangkokThe Ramakien (รามเกียรติ์, "Glory of Rama", sometimes also spelled Ramakian) is Thailand's national epic, derived from the Hindu epic Ramayana. The word is derived from Sanskrit word Rāmākhyāna, (Rāma + Ākhyana) where Akhyana means a long story or epic.A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist, one of which was prepared in 1797 under the supervision of (and partly written by) King Rama I. His son, Rama II, rewrote some parts of his father's version for khon drama. The work has had an important influence on Thai literature, art and drama (both the khon and nang dramas being derived from it).While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography, and elements of nature, which are described as being Thai in style. Although Thailand is considered a Theravada Buddhist society, the Hindu mythology latent in the Ramakien serves to provide Thai legends with a creation myth, as well as representations of various spirits which complement beliefs derived from Thai animism.STORY, NOVEL AND EPICSTORY, NOVEL AND EPIC
RAMAKIEN
A scene from the Ramakien in Wat Phra Kaew, Bangkok
The Ramakien (รามเกียรติ์, "Glory of Rama", sometimes also spelled Ramakian) is Thailand's national epic, derived from the Hindu epic Ramayana. The word is derived from Sanskrit word Rāmākhyāna, (Rāma + Ākhyana) where Akhyana means a long story or epic.
A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist, one of which was prepared in 1797 under the supervision of (and partly written by) King Rama I. His son, Rama II, rewrote some parts of his father's version for khon drama. The work has had an important influence on Thai literature, art and drama (both the khon and nang dramas being derived from it).
While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography, and elements of nature, which are described as being Thai in style. Although Thailand is considered a Theravada Buddhist society, the Hindu mythology latent in the Ramakien serves to provide Thai legends with a creation myth, as well as representations of various spirits which complement beliefs derived from Thai animism.
RAMAKIEN
A scene from the Ramakien in Wat Phra Kaew, Bangkok
The Ramakien (รามเกียรติ์, "Glory of Rama", sometimes also spelled Ramakian) is Thailand's national epic, derived from the Hindu epic Ramayana. The word is derived from Sanskrit word Rāmākhyāna, (Rāma + Ākhyana) where Akhyana means a long story or epic.
A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist, one of which was prepared in 1797 under the supervision of (and partly written by) King Rama I. His son, Rama II, rewrote some parts of his father's version for khon drama. The work has had an important influence on Thai literature, art and drama (both the khon and nang dramas being derived from it).
While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography, and elements of nature, which are described as being Thai in style. Although Thailand is considered a Theravada Buddhist society, the Hindu mythology latent in the Ramakien serves to provide Thai legends with a creation myth, as well as representations of various spirits which complement beliefs derived from Thai animism.
STORY, NOVEL AND EPIC
STORY, NOVEL AND EPIC
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From the Ramayana to the National Epic of Thailand The Ramayana, holy revered text of Hindus, is believed by many archaeologists and historians to be a collection of stories from Hindu mythology concentrating on the work of the gods in the lives of men, and was first written down, as legend states, in the forests of India by Valmiki[1] in the fourth century BC. There are several holy sites in India that point to the reality of Rama's existence, including his birthplace, his palace, and the route of his journey to Sri Lanka. Nevertheless, the Ramayana came to Southeast Asia by means of Tamil Indian traders and scholars who traded with the Khmer kingdoms (such as Funan and Angkor) and Srivijaya, with whom the Indians shared close economic and cultural ties.In the late first millennium, the epic was adopted by the Thai people. The oldest recordings of the early Sukhothai kingdom, dating from the thirteenth century, include stories from the Ramayana legends. The history of the legends was told in the shade theater, a shadow-puppet show in a style adopted from Indonesia, in which the characters were portrayed by leather dolls manipulated to cast shadows on a nearby screen while the spectators watched from the other side.The Thai version of the legends were first written down in the eighteenth century, during the Ayutthaya kingdom, following the demise of the Sukhothai government. Most editions, however, were lost when the city of Ayutthaya was destroyed by armies from Burma (modern Myanmar) in the year 1767.The version recognized today was compiled in the Kingdom of Siam under the supervision of King Rama I (1736–1809), the founder of the Chakri dynasty, which still maintains the throne of Thailand. Between the years of 1797 and 1807, Rama I supervised the writing of the well-known edition and even wrote parts of it. It was also under the reign of Rama I that construction began on the Thai Grand Palace in Bangkok, which includes the grounds of the Wat Phra Kaew, the Temple of the Emerald Buddha. The walls of the Wat Pra Kaew are lavishly decorated with paintings representing stories from the Ramakien.From the Ramayana to the National Epic of Thailand The Ramayana, holy revered text of Hindus, is believed by many archaeologists and historians to be a collection of stories from Hindu mythology concentrating on the work of the gods in the lives of men, and was first written down, as legend states, in the forests of India by Valmiki[1] in the fourth century BC. There are several holy sites in India that point to the reality of Rama's existence, including his birthplace, his palace, and the route of his journey to Sri Lanka. Nevertheless, the Ramayana came to Southeast Asia by means of Tamil Indian traders and scholars who traded with the Khmer kingdoms (such as Funan and Angkor) and Srivijaya, with whom the Indians shared close economic and cultural ties.In the late first millennium, the epic was adopted by the Thai people. The oldest recordings of the early Sukhothai kingdom, dating from the thirteenth century, include stories from the Ramayana legends. The history of the legends was told in the shade theater, a shadow-puppet show in a style adopted from Indonesia, in which the characters were portrayed by leather dolls manipulated to cast shadows on a nearby screen while the spectators watched from the other side.The Thai version of the legends were first written down in the eighteenth century, during the Ayutthaya kingdom, following the demise of the Sukhothai government. Most editions, however, were lost when the city of Ayutthaya was destroyed by armies from Burma (modern Myanmar) in the year 1767.The version recognized today was compiled in the Kingdom of Siam under the supervision of King Rama I (1736–1809), the founder of the Chakri dynasty, which still maintains the throne of Thailand. Between the years of 1797 and 1807, Rama I supervised the writing of the well-known edition and even wrote parts of it. It was also under the reign of Rama I that construction began on the Thai Grand Palace in Bangkok, which includes the grounds of the Wat Phra Kaew, the Temple of the Emerald Buddha. The walls of the Wat Pra Kaew are lavishly decorated with paintings representing stories from the Ramakien.
From the Ramayana to the National Epic of Thailand
The Ramayana, holy revered text of Hindus, is believed by many archaeologists and historians to be a collection of stories from Hindu mythology concentrating on the work of the gods in the lives of men, and was first written down, as legend states, in the forests of India by Valmiki[1] in the fourth century BC. There are several holy sites in India that point to the reality of Rama's existence, including his birthplace, his palace, and the route of his journey to Sri Lanka. Nevertheless, the Ramayana came to Southeast Asia by means of Tamil Indian traders and scholars who traded with the Khmer kingdoms (such as Funan and Angkor) and Srivijaya, with whom the Indians shared close economic and cultural ties.
In the late first millennium, the epic was adopted by the Thai people. The oldest recordings of the early Sukhothai kingdom, dating from the thirteenth century, include stories from the Ramayana legends. The history of the legends was told in the shade theater, a shadow-puppet show in a style adopted from Indonesia, in which the characters were portrayed by leather dolls manipulated to cast shadows on a nearby screen while the spectators watched from the other side.
The Thai version of the legends were first written down in the eighteenth century, during the Ayutthaya kingdom, following the demise of the Sukhothai government. Most editions, however, were lost when the city of Ayutthaya was destroyed by armies from Burma (modern Myanmar) in the year 1767.
The version recognized today was compiled in the Kingdom of Siam under the supervision of King Rama I (1736–1809), the founder of the Chakri dynasty, which still maintains the throne of Thailand. Between the years of 1797 and 1807, Rama I supervised the writing of the well-known edition and even wrote parts of it. It was also under the reign of Rama I that construction began on the Thai Grand Palace in Bangkok, which includes the grounds of the Wat Phra Kaew, the Temple of the Emerald Buddha. The walls of the Wat Pra Kaew are lavishly decorated with paintings representing stories from the Ramakien.
From the Ramayana to the National Epic of Thailand
The Ramayana, holy revered text of Hindus, is believed by many archaeologists and historians to be a collection of stories from Hindu mythology concentrating on the work of the gods in the lives of men, and was first written down, as legend states, in the forests of India by Valmiki[1] in the fourth century BC. There are several holy sites in India that point to the reality of Rama's existence, including his birthplace, his palace, and the route of his journey to Sri Lanka. Nevertheless, the Ramayana came to Southeast Asia by means of Tamil Indian traders and scholars who traded with the Khmer kingdoms (such as Funan and Angkor) and Srivijaya, with whom the Indians shared close economic and cultural ties.
In the late first millennium, the epic was adopted by the Thai people. The oldest recordings of the early Sukhothai kingdom, dating from the thirteenth century, include stories from the Ramayana legends. The history of the legends was told in the shade theater, a shadow-puppet show in a style adopted from Indonesia, in which the characters were portrayed by leather dolls manipulated to cast shadows on a nearby screen while the spectators watched from the other side.
The Thai version of the legends were first written down in the eighteenth century, during the Ayutthaya kingdom, following the demise of the Sukhothai government. Most editions, however, were lost when the city of Ayutthaya was destroyed by armies from Burma (modern Myanmar) in the year 1767.
The version recognized today was compiled in the Kingdom of Siam under the supervision of King Rama I (1736–1809), the founder of the Chakri dynasty, which still maintains the throne of Thailand. Between the years of 1797 and 1807, Rama I supervised the writing of the well-known edition and even wrote parts of it. It was also under the reign of Rama I that construction began on the Thai Grand Palace in Bangkok, which includes the grounds of the Wat Phra Kaew, the Temple of the Emerald Buddha. The walls of the Wat Pra Kaew are lavishly decorated with paintings representing stories from the Ramakien.
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NOVELSLakorn Haeng Cheewit (1929) - the work of royal-blood author M.C. Arkartdamkerng Rabibhat. Karmanit (1930) - classical translation of Buddhist literature by the philosophers Sathirakoses and Nakapratheep. Damrong Phrathet (1931) - romantic fiction with peace and women's rights themes by Vethang. Nueng Nai Roi (1934) - a story of the well-to-do by pioneer female novelist Dokmaisod. Bangrachan (1936) - based on Mai Muangderm, the great historical battle between Thailand and Burma. Pol Nikorn Gim-nguan. Classical, popular comic fiction by Por Intarapalit. Puchana Sibthit (1939) - historical romance by Yakob. Peking Nakorn Haeng Kwarmlang (1943) - the story of Thai students in China during the revolution by Sod Kuramalohit Ying Kon Chua (1946) - Thailand's first protagonist prostitute created by Kor Surangkanang. Mueng Nimitr (1948) - utopian ideology by M.R. Nimitmongkol Nawarat. Pattaya (1951) - social novel satirising the pro-military and socialist movement written under the still anonymous pen-name Daohang. Phaendin Nee Kongkrai (1952) - Srirat Sathapanawat's look at corruption and discrimination. Si Phaendin (1954) - the life of a court lady by M.R. Kukrit Pramoj. Lae Pai Kangnar (1955) - Sriburapa's social comment. Pisaj (1957) - Seni Saowapong's book on a love tainted by class discrimination. Tung Maharaj (1964) - Malai Chupinit's novel based in the South. Mahabandit Haeng Mitilanakorn (1964) - Yaem Prapathong's Buddhist novel. Seplay Boy Chaorai (1969) - Acclaimed as Rong Wongsawan's verson of The Tortilla Flat by John Steinbeck. Jodmaay Jark Muang Thai (1970) - Botan's depiction of the lives of Chinese immigrants. Rao Likit Bon Lumsop Vasitthi - Ror Jantapimpa's romance set during World War II. NOVELSLakorn Haeng Cheewit (1929) - the work of royal-blood author M.C. Arkartdamkerng Rabibhat. Karmanit (1930) - classical translation of Buddhist literature by the philosophers Sathirakoses and Nakapratheep. Damrong Phrathet (1931) - romantic fiction with peace and women's rights themes by Vethang. Nueng Nai Roi (1934) - a story of the well-to-do by pioneer female novelist Dokmaisod. Bangrachan (1936) - based on Mai Muangderm, the great historical battle between Thailand and Burma. Pol Nikorn Gim-nguan. Classical, popular comic fiction by Por Intarapalit. Puchana Sibthit (1939) - historical romance by Yakob. Peking Nakorn Haeng Kwarmlang (1943) - the story of Thai students in China during the revolution by Sod Kuramalohit Ying Kon Chua (1946) - Thailand's first protagonist prostitute created by Kor Surangkanang. Mueng Nimitr (1948) - utopian ideology by M.R. Nimitmongkol Nawarat. Pattaya (1951) - social novel satirising the pro-military and socialist movement written under the still anonymous pen-name Daohang. Phaendin Nee Kongkrai (1952) - Srirat Sathapanawat's look at corruption and discrimination. Si Phaendin (1954) - the life of a court lady by M.R. Kukrit Pramoj. Lae Pai Kangnar (1955) - Sriburapa's social comment. Pisaj (1957) - Seni Saowapong's book on a love tainted by class discrimination. Tung Maharaj (1964) - Malai Chupinit's novel based in the South. Mahabandit Haeng Mitilanakorn (1964) - Yaem Prapathong's Buddhist novel. Seplay Boy Chaorai (1969) - Acclaimed as Rong Wongsawan's verson of The Tortilla Flat by John Steinbeck. Jodmaay Jark Muang Thai (1970) - Botan's depiction of the lives of Chinese immigrants. Rao Likit Bon Lumsop Vasitthi - Ror Jantapimpa's romance set during World War II.
NOVELS
Lakorn Haeng Cheewit (1929) - the work of royal-blood author M.C. Arkartdamkerng Rabibhat.
Karmanit (1930) - classical translation of Buddhist literature by the philosophers Sathirakoses and Nakapratheep.
Damrong Phrathet (1931) - romantic fiction with peace and women's rights themes by Vethang.
Nueng Nai Roi (1934) - a story of the well-to-do by pioneer female novelist Dokmaisod.
Bangrachan (1936) - based on Mai Muangderm, the great historical battle between Thailand and Burma.
Pol Nikorn Gim-nguan. Classical, popular comic fiction by Por Intarapalit.
Puchana Sibthit (1939) - historical romance by Yakob.
Peking Nakorn Haeng Kwarmlang (1943) - the story of Thai students in China during the revolution by Sod Kuramalohit
Ying Kon Chua (1946) - Thailand's first protagonist prostitute created by Kor Surangkanang.
Mueng Nimitr (1948) - utopian ideology by M.R. Nimitmongkol Nawarat.
Pattaya (1951) - social novel satirising the pro-military and socialist movement written under the still anonymous pen-name Daohang.
Phaendin Nee Kongkrai (1952) - Srirat Sathapanawat's look at corruption and discrimination.
Si Phaendin (1954) - the life of a court lady by M.R. Kukrit Pramoj.
Lae Pai Kangnar (1955) - Sriburapa's social comment.
Pisaj (1957) - Seni Saowapong's book on a love tainted by class discrimination.
Tung Maharaj (1964) - Malai Chupinit's novel based in the South.
Mahabandit Haeng Mitilanakorn (1964) - Yaem Prapathong's Buddhist novel.
Seplay Boy Chaorai (1969) - Acclaimed as Rong Wongsawan's verson of The Tortilla Flat by John Steinbeck.
Jodmaay Jark Muang Thai (1970) - Botan's depiction of the lives of Chinese immigrants.
Rao Likit Bon Lumsop Vasitthi - Ror Jantapimpa's romance set during World War II.
NOVELS
Lakorn Haeng Cheewit (1929) - the work of royal-blood author M.C. Arkartdamkerng Rabibhat.
Karmanit (1930) - classical translation of Buddhist literature by the philosophers Sathirakoses and Nakapratheep.
Damrong Phrathet (1931) - romantic fiction with peace and women's rights themes by Vethang.
Nueng Nai Roi (1934) - a story of the well-to-do by pioneer female novelist Dokmaisod.
Bangrachan (1936) - based on Mai Muangderm, the great historical battle between Thailand and Burma.
Pol Nikorn Gim-nguan. Classical, popular comic fiction by Por Intarapalit.
Puchana Sibthit (1939) - historical romance by Yakob.
Peking Nakorn Haeng Kwarmlang (1943) - the story of Thai students in China during the revolution by Sod Kuramalohit
Ying Kon Chua (1946) - Thailand's first protagonist prostitute created by Kor Surangkanang.
Mueng Nimitr (1948) - utopian ideology by M.R. Nimitmongkol Nawarat.
Pattaya (1951) - social novel satirising the pro-military and socialist movement written under the still anonymous pen-name Daohang.
Phaendin Nee Kongkrai (1952) - Srirat Sathapanawat's look at corruption and discrimination.
Si Phaendin (1954) - the life of a court lady by M.R. Kukrit Pramoj.
Lae Pai Kangnar (1955) - Sriburapa's social comment.
Pisaj (1957) - Seni Saowapong's book on a love tainted by class discrimination.
Tung Maharaj (1964) - Malai Chupinit's novel based in the South.
Mahabandit Haeng Mitilanakorn (1964) - Yaem Prapathong's Buddhist novel.
Seplay Boy Chaorai (1969) - Acclaimed as Rong Wongsawan's verson of The Tortilla Flat by John Steinbeck.
Jodmaay Jark Muang Thai (1970) - Botan's depiction of the lives of Chinese immigrants.
Rao Likit Bon Lumsop Vasitthi - Ror Jantapimpa's romance set during World War II.
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SHORT STORIESNor Mor Sor's Nitarn Vetal (1918) - translated from Indian literature. Manas Janyong's Jabtaay. Por Buranapakorn's short stories. Sor Thammayo's short stories. Tanom Mahapaoraya's Plaay Maliwan and other short stories. Jantri Siribunrod's Pudab Duang Arthit and other science fiction. Isara Amantakul's Yuk Tamin short stories. Arjin Panjapan's Muang Rae - a set of short stories about miners' lives. Loa Kam Hom's Fah Bor Kan and other stories. Dr Saneur Intarasuksri's Puernkao. Witayakorn Chiengkul's Chanjueng Mahar Kwarm Maay. Humourist's humourous short stories. Nikom Rayawa's Kon Bon Tonmai and other short stories SHORT STORIESNor Mor Sor's Nitarn Vetal (1918) - translated from Indian literature. Manas Janyong's Jabtaay. Por Buranapakorn's short stories. Sor Thammayo's short stories. Tanom Mahapaoraya's Plaay Maliwan and other short stories. Jantri Siribunrod's Pudab Duang Arthit and other science fiction. Isara Amantakul's Yuk Tamin short stories. Arjin Panjapan's Muang Rae - a set of short stories about miners' lives. Loa Kam Hom's Fah Bor Kan and other stories. Dr Saneur Intarasuksri's Puernkao. Witayakorn Chiengkul's Chanjueng Mahar Kwarm Maay. Humourist's humourous short stories. Nikom Rayawa's Kon Bon Tonmai and other short stories
SHORT STORIES
Nor Mor Sor's Nitarn Vetal (1918) - translated from Indian literature.
Manas Janyong's Jabtaay.
Por Buranapakorn's short stories.
Sor Thammayo's short stories.
Tanom Mahapaoraya's Plaay Maliwan and other short stories.
Jantri Siribunrod's Pudab Duang Arthit and other science fiction.
Isara Amantakul's Yuk Tamin short stories.
Arjin Panjapan's Muang Rae - a set of short stories about miners' lives.
Loa Kam Hom's Fah Bor Kan and other stories.
Dr Saneur Intarasuksri's Puernkao.
Witayakorn Chiengkul's Chanjueng Mahar Kwarm Maay.
Humourist's humourous short stories.
Nikom Rayawa's Kon Bon Tonmai and other short stories
SHORT STORIES
Nor Mor Sor's Nitarn Vetal (1918) - translated from Indian literature.
Manas Janyong's Jabtaay.
Por Buranapakorn's short stories.
Sor Thammayo's short stories.
Tanom Mahapaoraya's Plaay Maliwan and other short stories.
Jantri Siribunrod's Pudab Duang Arthit and other science fiction.
Isara Amantakul's Yuk Tamin short stories.
Arjin Panjapan's Muang Rae - a set of short stories about miners' lives.
Loa Kam Hom's Fah Bor Kan and other stories.
Dr Saneur Intarasuksri's Puernkao.
Witayakorn Chiengkul's Chanjueng Mahar Kwarm Maay.
Humourist's humourous short stories.
Nikom Rayawa's Kon Bon Tonmai and other short stories
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PHILOSOPHYPHILOSOPHY
PHILOSOPHY
PHILOSOPHY
Philosophy of Sufficiency Economy"Economic development must be done step by step. It should begin with the strengthening of our economic foundation, by assuring that the majority if our population has enough to live on…Once reasonable progress has been achieved, we should then embark on the next steps, by pursuing more advanced levels of economic development.""Being a tiger is not important. The important thing is for us to have a sufficient economy. A sufficient economy means to have enough to support ourselves…we have to take a careful step backward…each village or district must have relative self-sufficient."His Majesty King Bhumibol AdulyadejPhilosophy of Sufficiency Economy"Economic development must be done step by step. It should begin with the strengthening of our economic foundation, by assuring that the majority if our population has enough to live on…Once reasonable progress has been achieved, we should then embark on the next steps, by pursuing more advanced levels of economic development.""Being a tiger is not important. The important thing is for us to have a sufficient economy. A sufficient economy means to have enough to support ourselves…we have to take a careful step backward…each village or district must have relative self-sufficient."His Majesty King Bhumibol Adulyadej
Philosophy of Sufficiency Economy
"Economic development must be done step by step. It should begin with the strengthening of our economic foundation, by assuring that the majority if our population has enough to live on…Once reasonable progress has been achieved, we should then embark on the next steps, by pursuing more advanced levels of economic development."
"Being a tiger is not important. The important thing is for us to have a sufficient economy. A sufficient economy means to have enough to support ourselves…we have to take a careful step backward…each village or district must have relative self-sufficient."
His Majesty King Bhumibol Adulyadej
Philosophy of Sufficiency Economy
"Economic development must be done step by step. It should begin with the strengthening of our economic foundation, by assuring that the majority if our population has enough to live on…Once reasonable progress has been achieved, we should then embark on the next steps, by pursuing more advanced levels of economic development."
"Being a tiger is not important. The important thing is for us to have a sufficient economy. A sufficient economy means to have enough to support ourselves…we have to take a careful step backward…each village or district must have relative self-sufficient."
His Majesty King Bhumibol Adulyadej
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Modern development has caused changes in all aspects of Thai society. The positive impacts of the development are economic growth, progress of material and public utilities, modern communication systems, and improvement and expansion of education. However, few of these results have reached rural areas or the underprivileged in the society.On the other hand, rapid economic growth and the rise of consumerism has led to a state of economic dependence and deterioration of natural resources as well as the dissolution of existing kinship and traditional groups to manage them. The traditional knowledge and wisdom that have been employed to solve problems and accumulated in the past are forgotten and have started to disappear.Significantly, what has dissipated is the people's ability to rely on themselves and conduct their lives and pursue their destiny with dignity. For Thailand, the 1997 economic crisis served as a costly lesson of unbalanced and unstable growth, partly due to the improper economic and social development process, in which the economy relied heavily on foreign capital inflows and external markets.The Royal Initiative of the 'Philosophy of Sufficiency Economy'Although His Majesty has been promoting self-reliant or sustainable farming since the 1950s, it is generally accepted that the idea of Sufficiency Economy had been brought up in the 1970s during in His Majesty's speeches.Sufficiency Economy is a philosophy based on the fundamental principle of Thai culture. It is a method of development based on moderation, prudence, and social immunity, one that uses knowledge and virtue as guidelines in living. Significantly, there must be intelligence and perseverance which will lead to real happiness in leading one's life.Modern development has caused changes in all aspects of Thai society. The positive impacts of the development are economic growth, progress of material and public utilities, modern communication systems, and improvement and expansion of education. However, few of these results have reached rural areas or the underprivileged in the society.On the other hand, rapid economic growth and the rise of consumerism has led to a state of economic dependence and deterioration of natural resources as well as the dissolution of existing kinship and traditional groups to manage them. The traditional knowledge and wisdom that have been employed to solve problems and accumulated in the past are forgotten and have started to disappear.Significantly, what has dissipated is the people's ability to rely on themselves and conduct their lives and pursue their destiny with dignity. For Thailand, the 1997 economic crisis served as a costly lesson of unbalanced and unstable growth, partly due to the improper economic and social development process, in which the economy relied heavily on foreign capital inflows and external markets.The Royal Initiative of the 'Philosophy of Sufficiency Economy'Although His Majesty has been promoting self-reliant or sustainable farming since the 1950s, it is generally accepted that the idea of Sufficiency Economy had been brought up in the 1970s during in His Majesty's speeches.Sufficiency Economy is a philosophy based on the fundamental principle of Thai culture. It is a method of development based on moderation, prudence, and social immunity, one that uses knowledge and virtue as guidelines in living. Significantly, there must be intelligence and perseverance which will lead to real happiness in leading one's life.
Modern development has caused changes in all aspects of Thai society. The positive impacts of the development are economic growth, progress of material and public utilities, modern communication systems, and improvement and expansion of education. However, few of these results have reached rural areas or the underprivileged in the society.
On the other hand, rapid economic growth and the rise of consumerism has led to a state of economic dependence and deterioration of natural resources as well as the dissolution of existing kinship and traditional groups to manage them. The traditional knowledge and wisdom that have been employed to solve problems and accumulated in the past are forgotten and have started to disappear.
Significantly, what has dissipated is the people's ability to rely on themselves and conduct their lives and pursue their destiny with dignity. For Thailand, the 1997 economic crisis served as a costly lesson of unbalanced and unstable growth, partly due to the improper economic and social development process, in which the economy relied heavily on foreign capital inflows and external markets.
The Royal Initiative of the 'Philosophy of Sufficiency Economy'
Although His Majesty has been promoting self-reliant or sustainable farming since the 1950s, it is generally accepted that the idea of Sufficiency Economy had been brought up in the 1970s during in His Majesty's speeches.
Sufficiency Economy is a philosophy based on the fundamental principle of Thai culture. It is a method of development based on moderation, prudence, and social immunity, one that uses knowledge and virtue as guidelines in living. Significantly, there must be intelligence and perseverance which will lead to real happiness in leading one's life.
Modern development has caused changes in all aspects of Thai society. The positive impacts of the development are economic growth, progress of material and public utilities, modern communication systems, and improvement and expansion of education. However, few of these results have reached rural areas or the underprivileged in the society.
On the other hand, rapid economic growth and the rise of consumerism has led to a state of economic dependence and deterioration of natural resources as well as the dissolution of existing kinship and traditional groups to manage them. The traditional knowledge and wisdom that have been employed to solve problems and accumulated in the past are forgotten and have started to disappear.
Significantly, what has dissipated is the people's ability to rely on themselves and conduct their lives and pursue their destiny with dignity. For Thailand, the 1997 economic crisis served as a costly lesson of unbalanced and unstable growth, partly due to the improper economic and social development process, in which the economy relied heavily on foreign capital inflows and external markets.
The Royal Initiative of the 'Philosophy of Sufficiency Economy'
Although His Majesty has been promoting self-reliant or sustainable farming since the 1950s, it is generally accepted that the idea of Sufficiency Economy had been brought up in the 1970s during in His Majesty's speeches.
Sufficiency Economy is a philosophy based on the fundamental principle of Thai culture. It is a method of development based on moderation, prudence, and social immunity, one that uses knowledge and virtue as guidelines in living. Significantly, there must be intelligence and perseverance which will lead to real happiness in leading one's life.
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2828"…I ask all of you to aim for moderation and peace, and work to achieve this goal. We do not have to be extremely prosperous…If we can maintain this moderation, then we can be excellent…"His Majesty the King's Statement given on 4 December 1974In this royal statement, His Majesty concerned that modern development which emphasized only the economic expansion might eventually lead the country to crisis. Therefore, he stressed the importance of building a 'good and stable foundation' before further progress could be developed. This means that instead of putting the emphasis on the expansion of the industrial sector prior to development, the stability of the basic economy should be established first, that is, assuring that the majority of rural people have enough to subsist first. This is a method of development that stresses the distribution of income to build the overall economic foundation and stability of the country before going on to a higher level of development.On a personal level, the Philosophy of Sufficiency Economy can be adopted by all people simply by adhering to the middle path. The awareness of virtue and honesty is also essential for people as well as public officials."…I ask all of you to aim for moderation and peace, and work to achieve this goal. We do not have to be extremely prosperous…If we can maintain this moderation, then we can be excellent…"His Majesty the King's Statement given on 4 December 1974In this royal statement, His Majesty concerned that modern development which emphasized only the economic expansion might eventually lead the country to crisis. Therefore, he stressed the importance of building a 'good and stable foundation' before further progress could be developed. This means that instead of putting the emphasis on the expansion of the industrial sector prior to development, the stability of the basic economy should be established first, that is, assuring that the majority of rural people have enough to subsist first. This is a method of development that stresses the distribution of income to build the overall economic foundation and stability of the country before going on to a higher level of development.On a personal level, the Philosophy of Sufficiency Economy can be adopted by all people simply by adhering to the middle path. The awareness of virtue and honesty is also essential for people as well as public officials.
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"…I ask all of you to aim for moderation and peace, and work to achieve this goal. We do not have to be extremely prosperous…If we can maintain this moderation, then we can be excellent…"
His Majesty the King's Statement given on 4 December 1974
In this royal statement, His Majesty concerned that modern development which emphasized only the economic expansion might eventually lead the country to crisis. Therefore, he stressed the importance of building a 'good and stable foundation' before further progress could be developed. This means that instead of putting the emphasis on the expansion of the industrial sector prior to development, the stability of the basic economy should be established first, that is, assuring that the majority of rural people have enough to subsist first. This is a method of development that stresses the distribution of income to build the overall economic foundation and stability of the country before going on to a higher level of development.
On a personal level, the Philosophy of Sufficiency Economy can be adopted by all people simply by adhering to the middle path. The awareness of virtue and honesty is also essential for people as well as public officials.
"…I ask all of you to aim for moderation and peace, and work to achieve this goal. We do not have to be extremely prosperous…If we can maintain this moderation, then we can be excellent…"
His Majesty the King's Statement given on 4 December 1974
In this royal statement, His Majesty concerned that modern development which emphasized only the economic expansion might eventually lead the country to crisis. Therefore, he stressed the importance of building a 'good and stable foundation' before further progress could be developed. This means that instead of putting the emphasis on the expansion of the industrial sector prior to development, the stability of the basic economy should be established first, that is, assuring that the majority of rural people have enough to subsist first. This is a method of development that stresses the distribution of income to build the overall economic foundation and stability of the country before going on to a higher level of development.
On a personal level, the Philosophy of Sufficiency Economy can be adopted by all people simply by adhering to the middle path. The awareness of virtue and honesty is also essential for people as well as public officials.
The Philosophy of Sufficiency Economy and its Three Pillars- Moderation: Sufficiency at a level of not doing something too little or too much at the expense of oneself or others, for example, producing and consuming at a moderate level.- Reasonableness: The decision concerning the level of sufficiency must be made rationally with consideration of the factors involved and careful anticipation of the outcomes that may be expected from such action.- Risk Management: The preparation to cope with the likely impact and changes in various aspects by considering the probability of future situations.Decisions and activities must be carried out at a sufficient level depending on two conditions:Knowledge, comprising all-round knowledge in the relevant fields and prudence in bringing this knowledge into consideration to understand the relationship among the field so as to use them to aid in the planning and ensure carefulness in the operation.Virtue to be promoted, comprising the awareness of honesty, patience, perseverance, and intelligence in leading one's life.The Philosophy of Sufficiency Economy and its Three Pillars- Moderation: Sufficiency at a level of not doing something too little or too much at the expense of oneself or others, for example, producing and consuming at a moderate level.- Reasonableness: The decision concerning the level of sufficiency must be made rationally with consideration of the factors involved and careful anticipation of the outcomes that may be expected from such action.- Risk Management: The preparation to cope with the likely impact and changes in various aspects by considering the probability of future situations.Decisions and activities must be carried out at a sufficient level depending on two conditions:Knowledge, comprising all-round knowledge in the relevant fields and prudence in bringing this knowledge into consideration to understand the relationship among the field so as to use them to aid in the planning and ensure carefulness in the operation.Virtue to be promoted, comprising the awareness of honesty, patience, perseverance, and intelligence in leading one's life.
The Philosophy of Sufficiency Economy and its Three Pillars
- Moderation: Sufficiency at a level of not doing something too little or too much at the expense of oneself or others, for example, producing and consuming at a moderate level.
- Reasonableness: The decision concerning the level of sufficiency must be made rationally with consideration of the factors involved and careful anticipation of the outcomes that may be expected from such action.
- Risk Management: The preparation to cope with the likely impact and changes in various aspects by considering the probability of future situations.
Decisions and activities must be carried out at a sufficient level depending on two conditions:
Knowledge, comprising all-round knowledge in the relevant fields and prudence in bringing this knowledge into consideration to understand the relationship among the field so as to use them to aid in the planning and ensure carefulness in the operation.
Virtue to be promoted, comprising the awareness of honesty, patience, perseverance, and intelligence in leading one's life.
The Philosophy of Sufficiency Economy and its Three Pillars
- Moderation: Sufficiency at a level of not doing something too little or too much at the expense of oneself or others, for example, producing and consuming at a moderate level.
- Reasonableness: The decision concerning the level of sufficiency must be made rationally with consideration of the factors involved and careful anticipation of the outcomes that may be expected from such action.
- Risk Management: The preparation to cope with the likely impact and changes in various aspects by considering the probability of future situations.
Decisions and activities must be carried out at a sufficient level depending on two conditions:
Knowledge, comprising all-round knowledge in the relevant fields and prudence in bringing this knowledge into consideration to understand the relationship among the field so as to use them to aid in the planning and ensure carefulness in the operation.
Virtue to be promoted, comprising the awareness of honesty, patience, perseverance, and intelligence in leading one's life.
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BIBLIOGRAPHYBIBLIOGRAPHYPages 3 – 4 - History Pages 5- 10 - Literature Page 11 - Drama Pages 12- 15 - Poetry Pages 16-21 - Facts and Trivia's Pages 22-25 - Story, Novels and Epic Pages 26-29 - Philosophy Pages 3 – 4 - History Pages 5- 10 - Literature Page 11 - Drama Pages 12- 15 - Poetry Pages 16-21 - Facts and Trivia's Pages 22-25 - Story, Novels and Epic Pages 26-29 - Philosophy
BIBLIOGRAPHY
BIBLIOGRAPHY
Pages 3 – 4 - History
Pages 5- 10 - Literature
Page 11 - Drama
Pages 12- 15 - Poetry
Pages 16-21 - Facts and Trivia's
Pages 22-25 - Story, Novels and Epic
Pages 26-29 - Philosophy
Pages 3 – 4 - History
Pages 5- 10 - Literature
Page 11 - Drama
Pages 12- 15 - Poetry
Pages 16-21 - Facts and Trivia's
Pages 22-25 - Story, Novels and Epic
Pages 26-29 - Philosophy
