Now Nadab the son of Jeroboam became king over Israel in the second year of Asa king of Judah, and he reigned over Israel two years. And he did evil in the sight of the LORD, and walked in the way of his father, and in his sin by which he had made Israel sin. Then Baasha the son of Ahijah, of the house of Issachar, conspired against him. And Baasha killed him at Gibbethon, which belonged to the Philistines, while Nadab and all Israel laid siege to Gibbethon. Baasha killed him in the third year of Asa king of Judah, and reigned in his place. And it was so, when he became king, that he killed all the house of Jeroboam. He did not leave to Jeroboam anyone that breathed, until he had destroyed him, according to the word of the LORD which He had spoken by His servant Ahijah the Shilonite, because of the sins of Jeroboam, which he had sinned and by which he had made Israel sin, because of his provocation with which he had provoked the LORD God of Israel to anger. Now the rest of the acts of Nadab, and all that he did, are they not written in the book of the chronicles of the kings of Israel? And there was war between Asa and Baasha king of Israel all their days.
The Bible story of Elijah is found in the Old Testament, in the first book of Kings chapters 17 and 18. Elijah's story begins by introducing the state of affairs for the people of Israel. They had been governed by kings for numerous years and several of these kings had been evil. God was troubled with what the people were experiencing and he delivered his prophet, Elijah, to guide them out of corruption and suffering.
My Days With Baasha Book Free Download
It is revealed that, a few years before, Manikam lived with his parents in Bombay while his siblings were studying in Madras. Manikam's father Rangasamy was an honest man, but was employed with gangster Mark Antony, as Antony helped Rangasamy during the initial days, which made him to stay loyal to Antony for life. Manickam and his friend Anwar Baasha were protesting against the ridiculous behaviors of Antony's men, which prompted Antony to kill Anwar; Manikam was spared as he is Rangasamy's son. Enraged, Manikam decided to take the same path to destroy Antony and had killed Antony's hitmen to avenge Anwar's death.
R. M. Veerappan, who had earlier collaborated with Rajinikanth in Ranuva Veeran (1981), Moondru Mugam (1982), Thanga Magan (1983), Oorkavalan (1987) and Panakkaran (1990), was the film's co-producer,[16] along with V. Rajammal and V. Thamilazhagan.[17] Development regarding the film's script commenced in the Taj Banjara hotel in Hyderabad. Eighty percent of the script, including the flashback portions of Rajinikanth as Baashha, were ready in ten days.[18] Balakumaran was selected to write the film's dialogues. The entire team of technicians who had worked with Krissna in Annaamalai, including music composer Deva, returned to work with him for Baashha.[19]
Nagma was the first and only choice for the role of the heroine Priya after Krissna was impressed with her performance in Kadhalan (1994).[19] Krissna considered some Bollywood names for the role of the antagonist Mark Antony, but nothing worked out. He then thought Raghuvaran would be a good fit, considering his tall height and deep voice. Rajinikanth also readily agreed to this proposal. Krissna met Raghuvaran at his residence and explained the role. Raghuvaran was excited and agreed to play Antony.[3] Anandaraj was approached for an undisclosed role, later revealed to be Indiran; Rajinikanth told him the role required him to beat Manikkam who is tied to a pole, and Anandaraj agreed. According to Anandaraj, he was approached 10 days before filming ended.[20]
Principal photography began in August 1994, and was completed in less than five months.[15] The muhurat shot took place at AVM Studios at the venue which later came to be known as the Rajni Pillaiyar Temple. Fans of Rajinikanth were invited for the shot.[21] Choreography for the song "Naan Autokaaran" was done by Tarun Kumar, whose father Hiralal was also a dance choreographer.[22] Rajinikanth recommended Tarun to Krissna, who had initially wanted Raghuram to choreograph the song. Tarun completed the choreography in five days and the entire sequence was rehearsed at AVM Studios with fifty back-up dancers.[23] As in the song "Vandhenda Paalakaaran" from Annamalai, the sequence was shot with Rajinikanth looking into the lens with a smile, which was intended to make the audience feel that he was looking directly at them and then putting his hands together to greet them. The gesture, which was already effective in Annamalai, prompted Krissna to extend the screen time of the shot.[24] Krissna wanted Rajinikanth to sport a dress that would make him look slightly unkempt in appearance, but Rajinikanth finished the sequence in a smartly-tailored uniform and told Krissna that the audience would not find it odd. The filming of the song took place at the open space at Vijaya Vauhini Studios in Madras, the same area where Hotel Green Park is present;[25] the song was completed with a hundred back-up dancers used for it in four days.[26] Choreographers Kalyan and Ashok Raj were part of the back-up dancers for the song.[27]
In one of the action sequences involving the protagonist in a face-off against the antagonist's henchmen, the dialogue Naan oru thadava sonna, nooru thadava sonna madhiri (Saying it once is equal to my saying it a hundred times) is spoken. The first half of the film was shot for twenty-three days at a stretch.[21] Regarding the dialogue's development, Rajinikanth told Balakumaran that the dialogue had to be simple yet effective, as it would be used in a sequence where another side of the protagonist was revealed.[28] On the day when the sequence which featured the dialogue was to be shot, Rajinikanth came up with the dialogue, which was originally spoken by him as Naan oru vaatti sonna, nooru vaatti sonna madhiri, which impressed Balakumaran and Krissna. Before the take, Rajinikanth, who repeatedly rehearsed the dialogue, told Krissna that the word "thadava" sounded more effective than "vaatti", and suggested Krissna use "thadava" instead of "vaatti".[a] Balakumaran initially disagreed with Rajinikanth and Krissna as he felt that "vaatti" was fine and did not need changing.[29] Rajinikanth then spoke both the versions of the dialogue and convinced Balakumaran to change "vaatti" to "thadava".[30] The dialogue had such an impact on everyone present at the set that, in the break that followed, everyone started using it one way or another. The dialogues occur only five times in the film.[30] The scene where Manikkam gets beaten up to protect his sibling and the following sequence where he beats up the antagonist in turn, was suggested to Krissna by Raju, the choreographer for both the stunt sequences.[31]
Baashha was released theatrically on 12 January 1995, two days before Pongal.[47] It was released with 18 prints in North Arcot, South Arcot and Chengalpet areas. The film was a major success, and took nearly 15 months to complete its entire theatrical run.[48] For his performance, Rajinikanth won the Filmfans Association Award and the Cinema Express Award for Best Actor.[49]
Atonement is the satisfaction offered to Divine justiceby the death of Christ for the sins of mankind, byvirtue of which all true penitents, who believe in Christ,are personally reconciled to God, are freed from thepenalty of their sins, and entitled to eternal life. Theatonement made for sin by the death of Christ is representedin the Christian system as the means by whichmankind may be delivered from eternal death, reconciledto God, and restored to the Divine image. Theseends it professes to accomplish by means which, withrespect to the Supreme Governor himself, preserve hischaracter from mistake, and maintain the authority ofhis government; and with respect to man, give himthe strongest reasons for hope, and render more favorablethe conditions of his earthly probation.
Jer. XXXI, 33. But this shall bethe covenant that I will makewith the house of Israel; Afterthose days, saith the Lord, I willput my law in their inward parts,and write it in their hearts; andwill be their God, and they shallbe my people.
3. It is urged that God should issue a universal amnesty;that he should open every prison-door in theuniverse; that he should say to lost men, "You are forgiven;"and to devils, "You are free." It is contendedthat this would be magnanimity worthy of a God.139But it must be remembered that amnesty, in itself,would work no moral change. Would the thief andthe murderer become virtuous members of society bybeing simply liberated from jail? Does their moralcharacter depend upon which side of the prison-doorthey are? Would a devil be any less a devil on oneside of a prison-door than on another? It is not thedoor that makes the devil. Forgiveness requires theconsent of two parties. An enemy can not by any so-calledact of forgiveness be turned into a friend. Aman may excuse an offense against himself, but he hasno power to excuse an offense against righteousness.He may rise superior to mere personal considerations,but if he trifle with the demands of morality, whichalone can make personal considerations of any consequence,his so-called forgiveness is a sin. Hence it appearsthat even God himself can not forgive a sinner,apart from certain conditions which the sinner himselfmust supply.
"Remember the Sabbath day, to keep it holy."God enforces this command with great particularity,and gives us three to press its observance upon us.The first is taken from his own example: "The Lordrested the seventh day;" rest ye also. The second istaken from the liberal portion of time allotted for secularuses: "Six days shalt thou labor, and do all thywork." Is it not reasonable that a seventh portionshould be given sacredly to the Lord when he has sofreely and so liberally given us the rest? The thirdis the fact that God has especially dedicated it to hisown immediate service and worship. "The Lord blessedthe Sabbath day, and hallowed it." 2ff7e9595c
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