SKU: 9863545812

Makoy Phal Whole | मकोय फल | Makoi Fruit | Solanum nigrum Fruit | Makoh Fruit | Mokoi Fruit | Black Nightshade Fruit | Whole Dried Fruit

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Description

Makoy Phal Whole | मकोय फल | Makoi Fruit | Solanum nigrum Fruit | Makoh Fruit | Mokoi Fruit | Black Nightshade Fruit | Whole Dried FruitMakoy Phal Whole Solanum nigrum Fruit Makoy Phal, also known as Makoi Fruit, Makoh Fruit, Mokoi Fruit, Black Nightshade Fruit, or Solanum nigrum Fruit, is a carefully selected botanical fruit material offered in whole dried form. Recognized by various regional and botanical names, this natural plant derived product is valued for its distinctive botanical identity, characteristic appearance, and traditional significance. This description focuses on

Makoy Phal Whole | मकोय फल | Solanum nigrum Fruit

Makoy Phal, also known as Makoi Fruit, Makoh Fruit, Mokoi Fruit, Black Nightshade Fruit, or Solanum nigrum Fruit, is a carefully selected botanical fruit material offered in whole dried form. Recognized by various regional and botanical names, this natural plant-derived product is valued for its distinctive botanical identity, characteristic appearance, and traditional significance.

This description focuses on product identity, composition, botanical information, and fruit characteristics without making medicinal, therapeutic, liver-related, digestive-related, disease-related, or health benefit claims.

Product Features

  • Carefully selected whole dried fruit.
  • Derived from Solanum nigrum fruit material.
  • Natural plant-derived product.
  • Characteristic appearance, texture, and natural coloration.
  • Whole fruit form for convenient storage and handling.
  • Carefully packed for quality and freshness.

Ingredients

Makoy Phal (Solanum nigrum Fruit) 

Common Names

  • Makoy Phal
  • Makoi Fruit
  • Makoh Fruit
  • Mokoi Fruit
  • Black Nightshade Fruit
  • Whole Dried Fruit

Botanical Name

Solanum nigrum

Family

Solanaceae

Plant Part Used

Fruit

Form

Whole Dried Fruit

Suggested Use

May be used for botanical reference, educational purposes, research applications, traditional identification, collection purposes, and other permitted uses as per applicable regulations.

Storage Instructions

Store in a cool, dry place away from direct sunlight, heat, moisture, and contamination. Keep the container tightly sealed after use.

Regional & Common Names

Makoy Phal, Makoi Fruit, Makoh Fruit, Mokoi Fruit, Black Nightshade Fruit, Solanum Nigrum Fruit, मकोय फल, मकोई फल, मकोह फल, Botanical Fruit Material, Natural Plant Product, Traditional Botanical Material.

Product Information

  • Product Type: Botanical Fruit Material
  • Form: Whole Dried Fruit
  • Botanical Name: Solanum nigrum
  • Family: Solanaceae
  • Plant Part: Fruit
  • Net Quantity: As per pack

Generic Search Keywords

Makoy Phal, Makoi Fruit, Makoh Fruit, Mokoi Fruit, Black Nightshade Fruit, Solanum Nigrum Fruit, Whole Dried Fruit, Natural Plant Product, Premium Makoy Fruit, Whole Fruit Material, Natural Botanical Material, Traditional Botanical Product, Plant Raw Material, Botanical Collection Material, Fruit Ingredient.

Important Note

This product description is intended only to provide information regarding the product's identity, composition, botanical source, and physical characteristics. It is not intended to diagnose, treat, cure, mitigate, or prevent any disease or medical condition. No medicinal, therapeutic, liver-related, digestive-related, health-related, or disease-related claims are made or implied.


Ingredients:

Solanum nigrum (Makoy Phal) – Dried Fruit


Generic Keywords:

makoy phal, makoi fruit, solanum nigrum, makoh, black nightshade fruit, mokoi, makoy dry fruit, ayurvedic makoy


SEO Keywords:

makoy phal benefits, solanum nigrum fruit, makoi ayurvedic herb, makoy fruit uses, makoy plant, black nightshade fruit, makoy phal raw


Common Names:

Makoy Phal, Makoi, Makoh, Mokoi, Black Nightshade Fruit, Kakamachi


Scientific Name:

Solanum nigrum


Regional Language Names:

  • Hindi: मकोय फल / काकमाची
  • Marathi: मकोय / काकमाची
  • Tamil: மணத்தக்காளி
  • Telugu: మాకు / కాకమాచి
  • Malayalam: മണിത്തക്കാളി
  • Kannada: ಕಾಕಮಾಚಿ
  • Bengali: মকই
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SKU: 9863545812

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4.3 ★★★★★
Based on 29 reviews
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Product Reviews
D
Verified Purchase
David R. Papke
Alexandria, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
D
Verified Purchase
DoubtfulReader
Grantham, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 27, 2017
M
Verified Purchase
Matt M.
Cuba, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021
J
Verified Purchase
J. Christian
Charlottesville, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
C
Verified Purchase
Classics professor
Pawtucket, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 20, 2017

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