![]() ![]() To determine if and how the surface of a liquid droplet can thermodynamically stimulate its heterogeneous crystallization, we examine crystal nucleation in the immersion and contact modes by deriving and comparing with each other the reversible works of formation of crystal nuclei in these cases. In this paper we present a model for the thermodynamic enhancement of heterogeneous crystal nucleation in the contact mode compared to the immersion one. The underlying physical reasons for this enhancement have remained largely unclear. ![]() Heterogeneous centers can have different nucleation thresholds when they act in contact or immersion modes. One of the most intriguing problems of heterogeneous crystal nucleation in droplets is its strong enhancement in the contact mode (when the foreign particle is presumably in some kind of contact with the droplet surface) compared to the immersion mode (particle immersed in the droplet). ![]()
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The hymn contains a description of the beauty, personality, power and graciousness of Goddess Lakshmi. The 21 stanzas of kanakadhārā stotram then became famous and are read by all devout Hindus for wellbeing. O, beloved of Narayana, may your eyes rain upon me (the shower of your mercy.) May She (Goddess Lakshmi) remove forever the heat I suffer due to the sins of my past, May She (Goddess Lakshmi) bestow (upon us) a stream of wealth through the wind of her mercy,įor I, utterly destitute and downcast by poverty, am as helpless as the newborn child of a bird, The stanza that contains the purport of Śaṅkara's imploration to Goddess Lakshmi is among the most important ones in this hymn: Goddess Lakshmi was so pleased that she instantly showered the lady's house with goose berries made of pure gold. Sankara implored the Goddess that the lady's act of absolute selflessness should absolve her of her sins of the past and that Lakshmi was the only one capable of changing the fate of someone by erasing or changing the writings of the future made by Lord Brahma. At first, Goddess Lakshmi refused to do so, saying that the lady had not been charitable in her previous birth and was bound by the laws of karma to have a fate bound to poverty in her current birth. Sankara pleaded with the Goddess to reverse the fortunes of this lady's family by granting her riches. Pleased by the beauty and power of the hymn, the Goddess appeared before him and asked him why he had remembered her. Sankara was so moved by the incredible kindness and selflessness of this woman that he burst forth into poetry and sang 22 stanzas in praise of Goddess Lakshmi. Having nothing edible in her home, the lady frantically searched her house, only to find a single amla (Amalak, gooseberry) fruit which she then hesitantly offered to Sankara. One day, as a young boy, he was on bhiksha for alms to prepare his lunch and happened upon the doorstep of a very poor Brahmin lady. Sankara took Sanyasa (renunciation) at the age of eight. The hymn was written in the 8th century CE by Adi Sankara, a revered Hindu philosopher, theologian and Jagad Guru(Master to the world). kanakadhārā means "the one who holds (femenine of dhar)" ( dhārā) of "gold" ( kanaka), and the hymn is called by this name since legend has it that when Adi Sankara recited it, Goddess Lakshmi appeared in front of him and unleashed a stream of gold. Kanakadhara Stotram ( Sanskrit: कनकधारा स्तोत्रम्, kanakadhārā stotram) is a hymn ( Stotra) composed in Sanskrit by Adi Sankara. JSTOR ( December 2021) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed.įind sources: "Kanakadhāra Stotram" – news Please help improve this article by adding citations to reliable sources. ![]() ![]() ![]() » MIDI | Recitativo: Bella, non lagrimare! (Achilla, Cornelia) Arioso: Deh, piangete, o mesti lumi (Cornelia) ![]() » MIDI | Recitativo: Vola, vola, mio cor, al dolce incanto (Cesare, Nireno) » MIDI | Recitativo: Non ha in cielo il Tonante (Cesare, Cleopatra) » MIDI | Recitativo: Giulio, che miri? (Cesare) » MIDI | Recitativo: Cieli, e qual dalle sfere (Cesare, Nireno) » MIDI | Recitativo: Da Cleopatra apprenda (Nirreno, Cesare) » MIDI | Recitativo: Eseguisti, o Niren, quanto timposi? (Cleopatra, Nireno) Duetto: Son nata a lagrimar / Son nato a sospirar (Cornelia, Sesto) » MIDI | Recitativo: Madre! / Mia vita! / Addio. 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In general, Handel’s treatment of fugue is freer and less rigorous than Bach’s: the part-writing (at least of the keyboard fugues) is often loosely handled, the counterpoint is Handel’s most important contributions to the genre are probably those in the choruses of his oratorios, which differ in only small ways from the keyboardįugues (two of the six keyboard fugues of 1735, for instance, ended up arranged as choruses in Israel in Egypt). Of pieces designated ‘fugue’, the most prominent being the Six Fugues or Voluntarys for the Organ or Harpsichord issued by Walsh in 1735. Handel’s focus on opera and oratorio, and the relative paucity of keyboard music from his pen, result in a very small number In contrast to the almost universal esteem accorded Bach’s fugues since at least the early 19th century, those of Handel have been somewhat neglected. 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