Pepita Seth is a British born writer and photographer, known for her accounts of the temple arts and rituals of Kerala and her photographs of the celebrated captive elephant, Guruvayur Keshavan. The Government of India honoured her, in 2012, with the Padma Shri, the fourth highest civilian award, for her services to the field of art and culture. Pepita Seth was born in East of England, UK, in a family of farmers. Pepita's maternal great grandfather was a soldier; as was the custom during those days, being a girl, did not have any formal education. She, choosing a career in films, studied film editing and got opportunities to work under film directors like Ted Kotcheff and Stanley Donen. However, Pepita's life took a turn when she chanced upon the diary of her grandfather and decided to trace his trails with the British Army and document the movements and landed in Kolkata, in 1970; the journey from Kolkata ended in Guruvayur where she became fascinated by the temple arts and rituals of Kerala.
For the next nine years, she visited Kerala several times and, in 1979, she found a home and settled in Guruvayur. Though, at first, she was denied entry to the Guruvayur Temple, her persistence made the Guruvayur Devaswom Board to relent and she remains the only foreigner to be granted entry to the Temple. Pepita was married to the Indian born British actor Roshan Seth but was estranged from her husband in the late 80s; the couple formally divorced in 2004. Pepita Seth has extensively covered the temples of Kerala through her photographs, her photographs of the elephant, Guruvayur Keshavan have been published in many magazines and journals including the New York Times and the Guardian. It is considered that Pepita's photographs of the rituals and temple arts of Kerala have helped promote the image of Kerala as a tourist destination. Pepita Seth lives in Guruvayur. Pepita Seth has authored two books with accounts and photographs. Heaven on Earth: The Universe of Kerala’s Guruvayur Temple is a research study on the Guruvayur Temple and the life, beliefs and rituals associated with the place.
It covers the elephants fostered by the temple Guruvayur Keshavan regarded as the most famous of them all. The book follows an account with photographs style and has represented the information gathered from various sources, including the priests at the temple; the book is regarded as the first such attempt on the Guruvayur Temple. It consists of 17 chapters and 215 images and covers the history of the 5000-year-old idol, made out of black bismuth, of the temple, the rituals and poojas, in detail. Pepita Seth. Heaven on Earth: The Universe of Kerala's Guruvayur Temple. Kerala: Niyogi Books. ISBN 9789381523278; the Divine Frenzy – Hindu Myths and Rituals of Kerala is an account of the spiritual and practical relationship of the people of Kerala with the deities. It attempts to depict, with the various rituals associated with Hinduism in Kerala. Pepita Seth; the Divine Frenzy – Hindu Myths and Rituals of Kerala. United Kingdom: Westzone Publishing. P. 208. ISBN 978-1-903391-14-3. Pepita Seth has written extensively about its rituals and its elephants.
She is working on a book on a ritualistic dance form of Kerala. Pepita Seth. "One Mirroring the Other". Web article. Lila Interactions. Retrieved 22 August 2014. Pepita Seth has written a novel The Edge of Another World Published by The Speaking Tiger in English and soon to be translated to Malayalam and published by Poorna Publications. In recognition of her services to the fields of art and culture, the Government of India, in 2012, bestowed the civilian award of Padma Shri on her. Guruvayur Temple Guruvayur Keshavan Theyyam Honouring Pepitha Seth – News report Interview with Pepitha Seth Reference on Narthaki.com
Fair Em, the Miller's Daughter of Manchester, is an Elizabethan-era stage play, a comedy written c. 1590. It was bound together with Mucedorus and The Merry Devil of Edmonton in a volume labelled "Shakespeare. Vol. I" in the library of Charles II. Though scholarly opinion does not accept the attribution to William Shakespeare, there are a few who believe they see Shakespeare's hand in this play. Fair Em was published in quarto twice before the closing of the theatres in 1642: Q1, with no attribution of authorship, was printed by "T. N. and I. W." The title page states that "it was sundrietimes publiquely acted in the honourable citie of London, by the right honourable the Lord Strange his seruaunts" – which dates the play to the 1589–93 period. Q2, 1631, printed by John Wright by no attribution of authorship; the full title as given on both editions is A Pleasant Comedie of Faire Em, the Millers Daughter of Manchester. With the love of William the Conqueror. Edward Phillips, in his Theatrum Poetarum, states.
Fair Em has a clear relationship with Friar Bacon and Friar Bungay. Since Greene's play is thought to date to c. 1589, Fair Em would have to have originated between that date and the publication of Farewell to Folly in 1591. This span of 1589–91 conforms to the dating based on the Lord Strange connection, noted above. In modern scholarship, the attributions of authorship that have attracted the most support are to Robert Wilson and to Anthony Munday; the attribution to Munday relies on John a Kent and John a Cumber. A play, John Day's The Blind Beggar of Bednal Green, bears noteworthy resemblances to Fair Em; the plot derives from traditional sources. In the main plot, William the Conqueror falls in love with the image on the shield that the Marquess of Lubeck carries in a tournament. In disguise, William travels to the court of King Zweno of Denmark to see the original of the portrait. Marianna, however, is faithful to her suitor and has no interest in William; the ladies stage a plot. When the woman's true identity is revealed – she is of course Blanche – William accepts her as his wife.
Lubeck and Marianne are left to each other. In the subplot, Em, the beautiful daughter of the miller of Manchester, is wooed by three suitors, Valingford and Manvile. Preferring Manvile, she pretends blindness to evade Valingford, deafness to avoid Mountney, but Manvile proves unfaithful to Em. In the end, Manvile loses both of the women he pursues, Em marries Valingford, the one of the three who has remained true to her; the two plots meet at the end, as William recognizes Goddard's banishment revokes it. Em makes William realize that the world does contain virtuous women, which helps to reconcile him to his marriage with Blanche. A few nineteenth-century commentators read hidden significance into the play, interpreting it as an allegory on the theatrical conditions of its day. Modern scholarship rejects these views as fanciful, regards the work as a light entertainment, successful on its own level. Speculations that Shakespeare may have played either William the Conqueror or Valingford have not been judged favorably.
Brian Vickers believes the play to be by Thomas Kyd. The first modern-day revival production of Fair Em opened in 2013 at the Union Theatre, London. Directed by Phil Willmott, this performance ran from January 8 to February 9. Chambers, E. K; the Elizabethan Stage. 4 Volumes, Oxford: Clarendon Press, 1923. Logan, Terence P. and Denzell S. Smith, eds; the Predecessors of Shakespeare: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln: University of Nebraska Press, 1973. Halliday, F. E. A Shakespeare Companion 1564–1964. Baltimore: Penguin, 1964. Tucker Brooke, C. F. ed. The Shakespeare Apocrypha. Oxford: Clarendon Press, 1908