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What is the capital of the Provence-Alpes-Cote d’Azur region of France?
PROVENCE-ALPES-COTE D'AZUR : map, cities and data of the region Provence-Alpes-Côte d'Azur - France Hotel Alpes-de-Haute-Provence Le Coin Fleuri Le Coin Fleuri is located in the town centre of Digne-Les-Bains. Its restaurant serves traditional and local cuisine in the dining room or on its shaded terrace. Free Wi-Fi internet acce... Rate : from 55.00 € to 85.00 € Address : 9 Bd Victor Hugo 04000 Digne-les-Bains Hotel Alpes-de-Haute-Provence Le Petit Saint Jean Le Petit Saint Jean offers pet-friendly accommodation in Digne-les-Bains. Pra-Loup is 42 km from the property. Free WiFi is offered throughout the property. The accommodation comes with ... Price : from 0.00 € to 0.00 € Contact : 14, cours de Ares 04000 Digne-les-Bains Hotel Hautes-Alpes T2 Vintage centre ville avec parking T2 Climatisé Vintage Beau Soleil offers accommodation in Gap. The air-conditioned apartment is 47 km from Pra-Loup. Free WiFi is available . The kitchen is equipped with a dishwasher, a... Prices : from 132.00 € to 132.00 € Contact : 8 rue Grenette 05000 Gap Hotel Hautes-Alpes T2 à Gap Set in Gap, this apartment features a balcony. The property boasts views of the city is 47 km from Pra-Loup. Free WiFi is offered throughout the property. The kitchen features an oven an... Rate : from 69.00 € to 89.00 € Contact : 2e étage 16 rue saint antoine 05000 Gap Hotel Alpes-Maritimes Joli Studio en centre ville Set 1.4 km from MAMAC in Nice, this apartment features a balcony with city views. The apartment is 3.6 km from Ancient Fort of Mont Boron. Free WiFi is available throughout the property. ... Price : from 0.00 € to 0.00 € Address : Les Guesclins 12 Rue Trachel 06000 Nice Hotel Alpes-Maritimes Trachel apartment Situated 1.3 km from MAMAC in Nice, this apartment features a balcony. The unit is 3.5 km from Ancient Fort of Mont Boron. Free WiFi is provided throughout the property. The kitchen has ... Prices : from 0.00 € to 0.00 € Contact : 2ème étage 7 rue trachel 06000 Nice Hotel Bouches-du-Rhône Kyriad Marseille Blancarde - Timone Kyriad Marseille Blancarde - Timone offers accommodation in Marseille. It features a swimming pool, a fitness centre and a bar. The property is 4 km from the Old Port of Marseille. Free W... Rate : from 74.00 € to 104.00 € Contact : 2-4 Rue Emile Duclaux 13004 Marseille Hotel Bouches-du-Rhône Adamo Situated 3 km from Velodrome Stadium in Marseille, this air-conditioned apartment features free WiFi and a balcony. Adamo features views of the city and is 3.1 km from Palais du Pharo. T... Price : from 0.00 € to 0.00 € Contact : 2 éme étage 171 Rue Horace BERTIN 13005 Marseille Hotel Var Toulon Apartment Set in Toulon, Toulon Apartment offers self-catering accommodation with free WiFi. The apartment is 200 metres from Zénith Oméga Toulon. There is a dining area and a kitchen complete w... Prices : from 0.00 € to 0.00 € Address : 3E ETAGE 452 Boulevard de Tessé 83000 Toulon Hotel Var Le Jardin De Tesse Featuring free WiFi throughout the property, Le Jardin De Tesse is situated in Toulon, 200 metres from Zénith Oméga Toulon. This B&B offers two guest rooms and access to a shared garden... Rate : from 60.00 € to 65.00 € Contact : 452 Boulevard De Tesse 83000 Toulon Hotel Vaucluse Maison Mademoiselle Avignon Featuring free WiFi and air conditioning, Maison Mademoiselle Avignon is located in Avignon, 700 metres from Papal Palace. Pont d'Avignon is 900 metres away. All units include a flat-scr... Price : from 0.00 € to 0.00 € Contact : rue de la masse 84000 Avignon Hotel Vaucluse La Masse La Masse offers accommodation in Avignon, 700 metres from Papal Palace. The apartment is 900 metres from Pont d'Avignon. Free WiFi is available throughout the property. The kitchen has a... Prices : from 60.00 € to 160.00 € Contact : 19 Rue De La Masse 84000 Avignon Map of Provence-Alpes-Côte d'Azur
Marseille
Graz is the second-largest city in which country?
Provence-Alpes-Côte d'Azur travel guide - Wikitravel Time Zone UTC +1 and UTC +2(DST) Provence-Alpes-Côte d'Azur is one of the most popular holiday regions in the south of France . The region covers a large area from the Mediterranean Sea up to the French Alps . Its identity as a geographical region is a hold over from the days of the Roman Empire. Its western border is the Rhône River and its eastern border is Italy . The Provence includes the French Riviera and is famous for its sunny weather, colourful countryside, tradition, wine, food, and language ( Provençal ). Its main attractions include the city of Avignon and the wide variety of villages which can be easily explored by car or bicycle on the networkcountry roads and highways. Van Gogh spent a respectable amount of time in Arles painting the countryside. Understand[ edit ] The Provence-Alpes-Côte d'Azur region covers all the historic Provence area east of the River Rhone, together with the French Riviera, the eastern end of which used to be the County of Nice. The low lying parts of this region are generally dry and warm for most of the year, but the higher parts, stretching up into the Alps, are dry and quite cool. This southern part of the Alps is the sunniest part of the range. Provence is now a part of the official administrative region of Provence-Alpes-Côte d'Azur, but the region's identity is associated more closely with its history and culture. Although a bit stereotyped now (those lavender fields all over postcards and guidebooks, that you'll have a hard time finding!), Provence culture is rooted in what was once a lively regional culture and language. Luberon mountain is a highlight of Provence, often referred as the "Chic" Mountain that rises up the valleys of Calavon in the north, to the Durance in the south. The views of this Valley are most sought after and the lifestyle of the "pays du Luberon" are an inspiration since the Roman days. [1] All about provence], food, history, climate is unique and aspirational. Provence is a vast and beautiful region, and merits a long trip, not just a few days or a week. To truly appreciate this region you must be the type of traveler who likes food, wine and local crafts. It is recommended to make your own itinerary, and make it flexible enough to enable you linger at an outdoor cafe or winery or take in an interesting Roman ruin when the moment takes you. There is a "joie de vivre" attitude throughout this area that is contagious, especially after two glasses of the regional rose and a picnic of cheese and sausage from the local farmers. Read[ edit ] Most French cities have their own websites and tourist offices (which offer a wealth of information in many languages), allowing anyone interested the means to find what they are looking for. Those interested in literary interpretations of provincial life should look up the works of Marcel Pagnol and Peter Mayle (the latter only if wealthy British expatriates are your thing). Specifically, Mayle's "French Lessons: Adventures with Knife, Fork, and Corkscrew" also gives a bunch of practical tips and recommendations for every territory of Provence--and what every territory is best from a gourmet point of view. Talk[ edit ] French is of course the official language of this region, but you'll find that many people from here have an atypical accent. The e at the end of words is often pronounced softly in Provence, where in standard French they are not pronounced at all. An example: the word "Provence" in standard French ends with an "s" sound, as "proh-VAHNSS", where in Provence itself, it will often be ended with a sound resembling a short English "eh", as "proh-VEN-seh". Many vowels are changed as well, being pronounced in a manner somewhat closer to the English pronunciation of the written vowels. [2] Of course, standard French will be understood by the locals. This is because several generations ago, they spoke a different language - Langue d'Oc - and so learned French only in school. The dialect of Langue d'Oc spoken in Avignon was Provençal, and is the object of a strong preservation effort in the early 1900's on the part of a group of writers and artists known as the Felibrige. The most famous was Frédéri Mistral, Nobel Prize of Literature in 1908. The language has, however, now largely disappeared, though it is still taught in some regional universities and courses run by non-profit groups. Recently (around 2004) signs on the highway are printed with the village names en Français and in Provençal . Get in[ edit ] Train connections from Lyon and Paris are excellent. The TGV fast train gets you there from Paris in about three hours. Typical gateway cities include Aix-en-Provence , Avignon , and Valence. From these cities, one can easily explore the beautiful region. On Saturdays in the summer season, a Eurostar service operates to Avignon direct from London (see the Eurostar website for more information [3] ). Get around[ edit ] The best way to explore is by car or bicycle. The network of country roads and highways are easily navigated. With a village every ten minutes by car, Provence is one of those places where getting lost can work to your favour. Do[ edit ][ add listing ] The Pont du Gard is an aqueduct in the south of France constructed by the Roman Empire to supply water to Nîmes, one of the areas key towns. But there are many Roman sites worth a visit - Vaison la Romaine and Orange for example. But don't miss one or more of the marchés hebdomadaires or weekly markets, laden with local produce and products. Visit the Lac de Saint Cassien - This beautiful Lake located just outside of Montauroux is a must visit in the warm, summer months. You can try plenty of activities on the lake including; fishing, rowing and kayaking, with rental opportunities in many places. Eat[ edit ][ add listing ] Centuries of intense study of the culinary arts has produced a country where the food is almost invariably excellent. It is difficult to have a bad meal because the French standards are so high. But in the tourist spots there are places where the standards slip - to avoid this the classic tip is to choose busy restaurants. Each village in this region has a market day. You can buy local fare from the farms of each region (breads, cheeses, sausage, olives and preserves) and have a picnic while exploring the countryside. If you are going for a sit-down meal, you have many types of dining experiences to choose from. Restaurants are more formal in France, serving full dinner menus and at a pace that is slower than in, say, North America. You are expected to enjoy the food and it should be the main reason for going out. It is considered inappropriate to request that a dish be prepared in a different way than is stated on the menu. Restaurants usually have a selection of set menus, each with a different price range. You can also choose from a list of a la carte items. A bistrot is more casual and has more individual items. A café is even more casual, serving press coffee, drinks, sandwiches (like the ubiquitous croque monsieur) or pizzas. Drink[ edit ][ add listing ] All wine in this region must be tasted. While all are of fine quality, a local favorite is the rosé. Unlike the sweet, cheap stuff many of us remember from the seventies, Provencale rosé is dry, light and a perfect accompaniment to an afternoon picnic of bread and cheese. Sniff (Inhale), Grasse (inland from Cannes/Nice). Perfume capitol of the world surrounded by fields of fragrant flowers, tour the museum of perfume as well as one of the three factories, Fragonard, Molinard, or Galimard.   edit Sleep[ edit ][ add listing ] As expected with such a popular tourist destination, there are plenty of different options for accommodation in Provence in addition to the hotels, ranging from renting beautiful villas, to staying in a traditional rural Gite which normally come fully furnished. There are many different holiday sites which offer good quality accommodation in the region, particularly in the most popular months; May-September, when the weather is at its best. Stay safe[ edit ] If you decide the Provence is your place to stay, you might as well stay safe. The last 10 years have seen a sharp rise in the crime rate on Côte d'Azur, with many houses burgled and people having their belongings stolen. Help and information for victims of burglary and those who want to check or improve the security of their property is best done with the local police chief. If you decide to make the Provence your base and you are looking to buy a property, you also need to be safe. Don't just buy your property without doing the necessary research. Make sure you buy your property through a listed agent who is in possession of a 'permit". In recent years, Marseille has gained a reputation as one of France's most dangerous cities, while cities like Nice have seen their fair share of crime growth. Get out[ edit ] Monaco is a sovereign country completely surrounded by the Provence-Alpes-Côte d'Azur. It can easily be visited as a day trip.
i don't know
Ian Gillan, Graham Bonnet and David Coverdale sang for which band?
Ian Gillan Band — Free listening, videos, concerts, stats and photos at Last.fm jazz rock Ian Gillan Band was a jazz-rock fusion band formed by Deep Purple singer Ian Gillan in 1975 After leaving Deep Purple in 1973, Ian Gillan had retired from the music business to pursue other business ventures, including a motorbike manufacturing company and a hotel. These ventures all ended in failure. This fact, combined with a warm reception to his guest appearance at the Butterfly Ball in 1975 prompted him to resume a singing career and form a new band.
Deep Purple
What is Ozzy Osbourne’s real first name?
Lost Vids of Early MTV - Rainbow - All night Long (1979) / Since you've been gone (1979) - YouTube Lost Vids of Early MTV - Rainbow - All night Long (1979) / Since you've been gone (1979) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jul 18, 2010 Rainbow (also known as Ritchie Blackmore's Rainbow or Blackmore's Rainbow) were an English rock band, controlled by former Deep Purple guitarist Ritchie Blackmore from 1975 to 1984 and 1994 to 1997. It was originally established with former Elf members, though over the years Rainbow went through many lineup changes. In addition to lead singers Ronnie James Dio, Graham Bonnet, Joe Lynn Turner and Doogie White, the project consisted of numerous backing musicians. The music started out as mostly the mystical themes and epic compositions, yet went in a more streamlined commercial style following original singer's departure from the group Blackmore attempted to replace Dio with Ian Gillan, but Gillan turned him down. After a series of auditions, former vocalist/guitarist of The Marbles, Graham Bonnet was recruited instead. Gillan would replace Dio later in his career, in Black Sabbath. Powell stayed, but Daisley and Stone were both fired, the latter being replaced by keyboardist Don Airey (later in Deep Purple). The band was, at first, auditioning for bass players, but, at Cozy Powell's suggestion, it was then agreed that Roger Glover would go back to his old instrument and join the band as a full-time musician, and not only, as originally intended, as a producer and songwriter.[9] The first album from the new lineup, Down to Earth, featured the band's first major singles chart successes, "All Night Long" and the Russ Ballard-penned "Since You Been Gone". In 1980, the band headlined the inaugural 'Monsters of Rock' festival at Castle Donington in England. However, this was Powell's last Rainbow gig, as he had already given his notice to quit, disliking Blackmore's increasingly pop metal direction. He would go on to play for Michael Schenker, Whitesnake (founded by Blackmore's former Deep Purple bandmate David Coverdale) and Black Sabbath. Bonnet was fired the night Powell quit due to a drunken performance. Soon after, he would also join the Michael Schenker Group, and later pursued a solo career. Ironically, Bonnet was fired from MSG due to similar problems as with Rainbow. Joe Lynn Turner in 2008. The Turner-fronted "Stone Cold" was Rainbow's only Top 40 hit in the United States.For the next album, Bonnet and Powell were replaced by Americans Joe Lynn Turner and Bobby Rondinelli, respectively. The title track from the album, Difficult to Cure, was a version of Beethoven's Ninth Symphony. The album also contained the guitar piece, "Maybe Next Time". After the supporting tour, Don Airey then quit over musical direction and was replaced on keyboards by David Rosenthal. Category
i don't know
Who were the twin sons of Zeus and Leda?
LEDA - Spartan Queen of Greek Mythology Leda -- Leda and the Swan, Greco-Roman mosaic C3rd A.D., Cyprus Museum LEDA was a queen of Sparta, the wife of King Tyndareus, who was seduced by Zeus in the guise of the swan. There were several versions of the parentage of her children:- Some say she laid an egg from which were hatched the Dioskouroi (Dioscuri) twins, Kastor and Polydeukes, both sons of Zeus. Others say she laid two eggs each containing a child of Zeus and a child of Tyndareus--Polydeukes and Kastor in one, and Helene and Klytaimnestra (Clytemnestra) in the other. Yet others relate that the second egg, containing just Helene, was delivered to Leda by the goddess Nemesis who had lain it after coupling with Zeus in the guise of a goose. CHRONOLOGY OF MYTH In the chronology of myth Leda was a contemporary of Herakles who placed her husband Tyndareus on the throne of Sparta. Her Dioskouroi sons joined the expedition of the Argonauts and the Kalydonian Boar Hunt--albeit at a very young age--while her daughters Helene and Klytaimnestra were the wives of Trojan War heroes. In ancient Greek vase painting the generation gap between the sons and daughters of Leda was sometimes illustrated--with the full-grown DIoskouroi standing witness as Helene hatches from the egg. In myth the twins also led an army to Athens when Theseus kidnapped their ten year old sister. Leda was usually described as a daughter of Thestios, king of Pleuron. Her sister Althaia was the mother of the Kalydonian hero Meleagros (Meleager). Thestios himself was a grandson of Aitolos (Aetolus), son of the famed Endymion . FAMILY OF LEDA [1.1] THESTIOS & EURYTHEMIS (Apollodorus 1.7.10) [1.2] THESTIOS & LAOPHONTE (Pherecydes Frag, Scholiast on Apollonius Rhodius 1.146) [1.3] THESTIOS (Asius of Samos Frag, Theocritus Idylls 22.1, Pausanias 3.13.8, Clement Recognitions 10.22, Hyginus Fabulae 78 & 155) [2.1] SISYPHOS & PANTEIDYIA (Eumelus Corinthiaca Frag, Scholiast on Apollonius Rhodius 1.146) [3.1] GLAUKOS (Alcman Frag 4, Scholiast on Apollonius Rhodius 1.146) OFFSPRING [1.1] KASTOR & POLYDEUKES (by Zeus *) (Homer Odyssey 11.298, Homeric Hymns 17 & 33, Terpander Frag 4, Apollodorus 1.8.2, Apollonius Rhodius 1.146, Theocritus Idylls 22.1 & 214, Pausanias 3.16.1, Hyginus Fabulae 14 & 155, Ovid Fasti 1.705) [1.3] KASTOR, POLYDEUKES, HELENE (by Zeus ) (Homer Iliad 3.237 & 426, Clement Recognitions 10.22, Hyginus Fabulae 224, Fulgentius 2.13) [1.3] KASTOR (by Tyndareus), KASTOR (by Zeus ) (Pindar Nemean Ode 10.79) [1.4] POLYDEUKES, HELENE (by Zeus ), KASTOR, KLYTAIMNESTRA (by Tyndareus) (Apollodorus 3.10.7, Hyginus Fabulae 77, Valerius Flaccus 1.426) [1.5] HELENE (Diodorus Siculus 4.63.2) [1.6] HELENE (by Zeus ) (Lucian Judgement of Paris, Hyginus Fabulae 240 & Astronomica 1.8, Ovid Heroides 16.1 & 17.43) [1.7] HELENE (by Tyndareus) (Dictys Cretensis 1.9) [1.8] HELENE, KLYTAIMNESTRA (by Tyndareus) (Hyginus Fabulae 77) [1.9] KLYTAIMNESTRA (Aeschylus Agamemnon 914, Seneca Agamemnon 125) [1.10] TIMANDRA, KLYTAIMNESTRA, PHYLONOE (by Tyndareus) (Apollodorus 3.10.6) * Kastor and Polydeukes were called sons of Zeus but also, in the majority of these passages, Tyndaridai (i.e. sons of Tyndareus). ENCYCLOPEDIA LEDA (Lêda), a daughter of Thestius, whence she is called Thestias (Apollod. iii. 10. § 5; Paus. iii. 13. § 8; Eurip. Iph. Aul. 49); but others call her a daughter of Thespius, Thyestes, or Glaucus, by Laophonte, Deidamia, Leucippe, Eurythemis, or Paneidyia. (Schol. ad Apollon. Rhod. i. 146, 201 ; Serv. ad Aen. viii. 130; Hygin, Fab. 14; Apollod. i. 7. § 10.) She was the wife of Tyndareus, by whom she became the mother of Timandra, Clytaemnestra, and Philonoe. (Apollod. iii. 10. § 6; Hom. Od. xxiv. 199.) One night she was embraced both by her husband and by Zeus, and by the former she became the mother of Castor and Clytaemnestra, and by the latter of Polydeuces and Helena. (Hygin. Fab. 77.) According to Homer (Od. xi. 298, &c.) both Castor and Polydeuces were sons of Tyndareus and Leda, while Helena is described as a daughter of Zeus. (Il. iii. 426; comp. Ov. Fast. i. 706; Horat. Carm. i. 12, 25; Martial, i. 37.) Other traditions reverse the story, making Castor and Polydeuces the sons of Zeus, and Helena the daughter of Tyndareus. (Eurip. Helen. 254, 1497, 1680; Schol. ad Apollon. Rhod. ii. 808 ; Herod. ii. 112.) According to the common legend Zeus visited Leda in the disguise of a swan, and she produced two eggs, from the one of which issued Helena, and from the other Castor and Polydeuces. (Schol. ad Eurip. Orest. 453; Ov. Her. xvii. 55 ; Paus. iii. 16. § 1; Horat. Ars Poet. 147; Athen. ii. p. 57, &c., ix. p. 373; Lucian, Dial. Deor. ii. 2, xxiv. 2, xxvi.; comp. Virgil, Cir. 489; Tzetz. ad Lycoph. 88.) The visit of Zeus to Leda in the form of a swan was frequently represented by ancient artists. It should be observed that Phoebe is also mentioned as a daughter of Tyndareus and Leda (Eurip. Iph. Aul. 50), and that, according to Lactantius (i. 21.), Leda was after her death raised to the rank of a divinity, under the name of Nemesis. Source: Dictionary of Greek and Roman Biography and Mythology. CLASSICAL LITERATURE QUOTES Leda and the Swan, Greco-Roman mosaic from Spain Homer, Iliad 3. 237 & 426 ff (trans. Lattimore) (Greek epic C8th B.C.) : "[Helene, surveying the Greek army from the walls of Troy, speaks :] ‘Yet nowhere can I see those two, the marshals of the people, Kastor (Castor), breaker of horses, and the strong boxer, Polydeukes (Polydeuces), my own brothers, born with me of a single mother [i.e. Leda]. Perhaps these came not with the rest from Lakedaimon.’" "Helene daughter of Zeus of the aigis." [N.B. Homer knows Helene is the daughter of Zeus and Leda though her mother is not actually named.] Homer, Odyssey 11. 298 ff (trans. Shewring) (Greek epic C8th B.C.) : "[Odysseus sees the shades of heroines in the underworld :] Next I saw Leda; she was wife of Tyndareos (Tyndareus) and bore him two stalwart sons, the charioteer Kastor (Castor), the boxer Polydeukes (Polydeuces); grain-giving earth now holds them both, yet both are alive, because even underground they have this favour given them by Zeus that each of them lives on day and dies on day this and that in turn." Homeric Hymn 17 to the Dioscuri (trans. Evelyn-White) (Greek epic C7th to 4th B.C.) : "Kastor (Castor) and Polydeukes (Polydeuces), the Tyndaridai (Tyndaridae), who sprang from Olympian Zeus. Beneath the heights of Taygetos stately Leda bare them, when the dark-clouded Son of Kronos had privily bent her to his will. Hail, children of Tyndareus, riders upon swift horses!" Homeric Hymn 33 to the Dioscuri : "The Tyndaridai (Tyndaridae), the Sons of Zeus, glorious children of neat-ankled Leda, Kastor (Castor) the tamer of horses, and blameless Polydeukes (Polydeuces). When Leda had lain with the dark-clouded Son of Kronos, she bare them beneath the peak of the great hill Taygetos,--children who are delivers of men on earth and of swift-going ships when stormy gales rage over the ruthless sea." Terpander, Fragment 4 (from Dionysius of Halicarnassus, Composition 17) (trans. Edmonds, Vol. Lyra Graeca I) (C7th B.C.) : "O [Dioskouroi (Dioscuri) sons] of Zeus and Leda, saviours most beautiful." Pindar, Nemean Ode 10. 65 & 79 ff (trans. Conway) (Greek lyric C5th B.C.) : "Leda's son [Polydeukes] came in hot pursuit . . . Then swiftly ran [Polydeukes] the son of Tyndareus back to his warrior brother [Kastor (Castor)] . . . [But Kastor died and] Zeus came and stood before him [Polydeukes] and spoke these words : ‘Thou are my son; but after in thy mother's [i.e. Leda's] womb was set the mortal seed of this thy brother [Kastor], sprung from her hero husband [Tyndareus]. But see then, none the less this choice I will give thee: if freed from death and the harsh years of age, it is thy will to dwell beside my throne upon Olympos . . . But if, in thy heart's travail for thy brother, thou art in mind to share all things alike with him, then half thy days shalt thou beneath the earth draw breath, and half within the golden citadels of heaven.’" Aeschylus, Agamemnon 914 ff (trans. Weir Smyth) (Greek tragedy C5th B.C.) : "[Agamemnon addresses his wife Klytaimnestra (Clytemnestra) :] Offspring of Leda, guardian of my house." Dionysius I of Syracuse, Leda (lost tragedy) (Greek tragedy C5th to 4th B.C.) : The tyrant Dionysius I of Syracuse wrote a play entitled Leda for the Dionysia of Athens. It was probably not unique. The comedians also dealt with the story of Leda and the birth of Helene. An Apulian vase painting of the era (H29.1 below) depicts Helene hatching from the egg surrounded by actors wearing comedy masks. Scholiast on Apollonius of Rhodes' Argonautica 1. 146 (trans. Edmonds, Vol. Lyra Graeca I, Alcman Frag 4) : "It is true that Pherekydes (Pherecydes) [Greek mythographer C5th B.C.] says in his second Book that Leda and Althaia were daughters of Thestios (Thestius) by Laophonte daughter of Pleuron; but that Leda was daughter of Glaukos (Glaucus) is implied by Alkman (Alcman) [lyric poet C6th B.C.] thus : ‘. . his sons by the blessed daughter of Glaukos.’ She is made the daughter of Sisyphos and Panteidyia by Eumelos [epic poet C8th B.C.] in the Korinthiaka." [N.B. Sisyphos and Glaukos were two mythical kings of Korinthos (Corinth) and Eumelos a Korinthian poet.] Pseudo-Apollodorus, Bibliotheca 1. 7. 7 & 7. 10 (trans. Frazer) (Greek mythographer C2nd A.D.) : "Aitolos (Aetolus) and Pronoe, daughter of Phorbos (Phorbus), had sons, Pleuron and Kalydon (Calydon), after whom the cities in Aitolia (Aetolia) were named. Pleuron wedded Xanthippe, daughter of Doros (Dorus), and begat a son Agenor, and daughters, Sterope and Stratonike (Stratonice) and Laophonte. Kalydon and Aiolia (Aeolia), daughter of Amythaon, had daughters, Epikaste (Epicaste) and Protogenia, who had Oxylos by Ares. And Agenor, son of Pleuron, married Epikaste, daughter of Kalydon, and begat Porthaon and Demonike (Demonice), who had Euenos (Evenus), Molos, Pylos, and Thestios by Ares . . . Thestios (Thestius) had daughters and sons by Eurythemis, daughter of Kleoboia (Cleoboea) : the daughters were Althaia (Althaea), Leda, Hypermnestra, and the males were Iphiklos (Iphiclus), Euippos, Plexippos, and Eurypylos." [N.B. According to Pherekydes--see Scholiast on Apoll. Rhod. above--Laophonte daughter of Pleuron was the mother of Leda and Althaia. Although Apollodorus also mentions Laophonte as a daughter of Pleuron, he selects an alternate mother for the daughters of Thestios--perhaps the mother given by the poet Asios, see Pausanias 3.13.8.] Pseudo-Apollodorus, Bibliotheca 3. 10. 5 - 7 : "Hippokoon (Hippocoon) expelled [his brothers] Ikarios (Icarius) and Tyndareus from Lakedaimon (Lacedaemon). They fled to Thestios (Thestius) and allied themselves with him in the war which he waged with his neighbors; and Tyndareus married Leda, daughter of Thestios. But afterwards, when Herakles slew Hippokoon and his sons, they returned, and Tyndareus succeeded to the kingdom . . . Tyndareus and Leda had daughters, to wit, Timandra, whom Ekhemos (Echemus) married, and Klytaimnestra (Clytemnestra), whom Agamemnon married; also another daughter Phylonoe, whom Artemis made immortal. But Zeus in the form of a swan consorted with Leda, and on the same night Tyndareus cohabited with her; and she bore Polydeukes (Polydeuces) and Helene to Zeus, and Kastor (Castor) and Klytaimnestra to Tyndareus. But some say that Helene was a daughter of Nemesis and Zeus; for that she, flying from the arms of Zeus, changed herself into a goose, but Zeus in his turn took the likeness of a swan and so enjoyed her; and as the fruit of their loves she laid an egg, and a certain shepherd found it in the groves and brought and gave it to Leda; and she put it in a chest and kept it; and when Helene was hatched in due time, Leda brought her up as her own daughter." Pseudo-Apollodorus, Bibliotheca 3. 11. 2 : "Of the sons born to Leda Kastor (Castor) practised the art of war, and Polydeukes (Polydeuces) the art of boxing; and on account of their manliness they were both called Dioskouroi (Dioscuri)." Pseudo-Apollodorus, Bibliotheca 1. 8. 2 : "Kastor (Castor) and Polydeukes (Polydeuces), sons of Zeus and Leda, from Lakedaimon (Lacedaemon)." Apollonius Rhodius, Argonautica 1. 146 ff (trans. Seaton) (Greek epic C3rd B.C.) : "[The gathering of the Argonauts :] Aitolian (Aetolian) Leda sent from Sparta strong Polydeukes (Polydeuces) and Kastor (Castor), skilled to guide swift-footed steeds; these her dearly-loved sons she bare at one birth in the house of Tyndareus; nor did she forbid their departure; for she had thoughts worthy of the bride of Zeus." Lycophron, Alexandra 86 ff (trans. Mair) (Greek poet C3rd B.C.) : "I see the winged firebrand [Paris] rushing to seize the dove [Helene], the hound of Pephnos, whom the water-roaming vulture [i.e. Nemesis in the form of a goose] brought to birth, husked in a rounded shell." Lycophron, Alexandra 142 ff : "[Helene] the five-times-married frenzied descendant of Pleuron." [I.e. Helene, daughter of Leda, daughter of Thestios, son of Agenor, son of Pleuron; or else Helene, daughter of Leda, daughter of Laophonte, daughter of Pleuron.] Lycophron, Alexandra 506 ff : "Those wolves [the Dioskouroi (Dioscuri)] whose head a cloven egg-shell covers . . . the twin half-mortal Lapersioi." [N.B. The Dioskouroi wore conical caps resembling half egg-shells, after the egg laid by Leda from which they were hatched.] Leda and the Swan, Apulian red-figure loutrophoros C4th B.C., The J. Paul Getty Museum Theocritus, Idylls 22. 1 (trans. Edmonds) (Greek bucolic C3rd B.C.) : "Our song is of the sons of Leda and the Aigis-Bearer [Zeus], Kastor (Castor) to wit and with him Polydeukes (Polydeuces), that dire wielder of the fist and of the wrist-harness of the leathern thong. Twice is our song and thrice of the boys of Thestios' daughter, the two Spartan brethren which wont to save both men that are come upon the brink and horses that are beset in the bloody press; aye, and ships also." Theocritus, Idylls 22. 214 ff : "Fare you well, ye children of Leda; we pray you may ever send our hymns a goodly fame. For all singers are dear unto the sons of Tyndareus [the Dioskouroi (Dioscuri)] and unto Helene." Diodorus Siculus, Library of History 4. 63. 2 (trans. Oldfather) (Greek historian C1st B.C.) : "Helene, the daughter of Leda and Zeus, who . . . excelled all women in beauty." Pausanias, Description of Greece 1. 33. 7 (trans. Jones) (Greek travelogue C2nd A.D.) : "The Greeks say that Nemesis was the mother of Helene, while Leda suckled and nursed her. The father of Helene the Greeks like everybody else hold to be not Tyndareus but Zeus. Having heard this legend Pheidias has represented Helene [on the base of the statue of Nemesis at Rhamnous] as being led to Nemesis by Leda, and he has represented Tyndareus and his children [the Dioskouroi (Dioscuri)] with a man Hippeus by name standing by with a horse." [N.B. Pheidias was an Athenian sculptor of the C5th B.C. The same scene occurs in contemporaneous Athenian vase painting where the Dioskouroi youths stand witness as Leda receives the egg. This conforms with the tradition that the twins were half a generation older than Helene.] Pausanias, Description of Greece 3. 16. 1 : "[In the city of Sparta there] is a sanctuary of Hilaeira and of Phoibe (Phoebe). The author of the poem Kypria [Greek epic C7th or C6th B.C.] calls them daughters of Apollon. Their priestesses are young maidens, called, as are also the goddesses, Leukippides (Leucippides) . . . Here there his been hung from the roof an egg tied to ribands, and they say that it is the famous egg that legend says Leda brought forth . . . Near it is built a house, said to have been occupied originally by the sons of Tyndareus [i.e. the Dioskouroi (Dioscuri)]." [N.B. The Leukippides were wives of the Dioskouroi, the egg-born sons of Leda.] Pausanias, Description of Greece 3. 13. 8 : "[In Sparta there] is a hero-shrine of Pleuron. The sons of Tyndareus [i.e. the Dioskouroi (Dioscuri)] were descended on their mother's side from Pleuron, for Asios [Greek poet C7th to 6th B.C.] in his poem says that Thestios the father of Leda was the son of Agenor the son of Pleuron." Lucian, Dialogues of the Gods 4 (trans. Fowler) (Greek satire C2nd A.D.) : "Leda's sons [the Dioskouroi (Dioscuri)] take turn and turn about betwixt Heaven and Haides." Lucian, Dialogues of the Dead 8 : "[Menippos journeys to the underworld and asks the god Hermes, guide of the dead, to show him the great beauties of myth.] Menippos : Where are all the beauties, Hermes? Show me round; I am a new-comer. Hermes : I am busy, Menippos. But look over there to your right, and you will see Hyakinthos (Hyacinthus), Narkissos (Narcissus), Nireus, Akhilleus (Achilles), Tyro, Helene, Leda,--all the beauties of old." Lucian, Dialogues of the Dead 25 : "Each [of the Dioskouroi (Dioscuri)] has his half egg-shell, with the star on top, each his javelin and his white horse . . . Polydeukes (Polydeuces), Kastor (Castor) . . . It was decreed that one of the sons of Leda must die, and the other be immortal; and by this arrangement they split the immortality between them." Lucian, The Judgement of Paris (trans. Fowler) (Greek satire C2nd A.D.) : "Aphrodite [to Paris] : Well, she [Helene] is the daughter of Leda, the beautiful woman, you know, whom Zeus visited in the disguise of a swan. Paris : And what is she like? Aphrodite : She is fair, as might be expected from the swan, soft as down (she was hatched from an egg, you know), and such a lithe, graceful figure." Anonymous, Dictys Cretensis' Journal of the Trojan War 1. 9 (trans. Frazer) (Latin faux-journal C4th A.D. after Greek original C1st A.D.) : "She [Helene] answered that she was Alexander's [Paris'] relative . . . Agenor, he had begotten Taygete; and she had given birth to Lacedaemon by Jupiter [Zeus]; Lacedaemon had begotten Amyclas, and he had begotten Argalus, the father of Oebalus; it was well known that Oebalus was the father of Tyndareus, and he, it seemed, was her father. She also recited the relation of her mother's family with Hecuba, for the son of Agenor, Phoenix, was the ancestor both of Leda and of Hecuba's father, Dymas." [N.B. It is not clear what genealogy the author has in mind when he traces the descent of Leda from Phoinix.] Clement, Exhortation to the Greeks 2 (trans. Butterworth) (Greek Christian rhetoric C2nd A.D.) : "Zeus is no longer a snake, nor a swan, nor an eagle, nor an amorous man. He is not a god who flies, or corrupts boys, or kisses, or ravishes; and yet there are still many beautiful women left, fairer even than Leda and nearer their prime than Semele, and lads more blooming and more refined than the Phrygian herdsman [Ganymedes]. Where is now that famous eagle? Where is the swan? Where is Zeus himself? He has grown old, wings and all. For you may be sure he is not repentant because of his love affairs, nor is he training himself to live a sober life. See, the legend is laid bare. Leda is dead; the swan is dead; the eagle is dead. Search for your Zeus." Clement, Exhortation to the Greeks 4 : "Casting off shame and fear, they [the pagan Greeks] have their homes decorated with pictures representing the unnatural lust of the daimones [i.e. the gods]. In the lewdness to which their thoughts are given . . . [and] to show they approve the representation of effeminacy, they engrave in the hoops of their rings the amorous bird hovering over Leda, using a seal which reflects the licentiousness of Zeus. These are the patterns for your voluptuousness; these are the stories that give divine sanction for wanton living; these are the lessons taught by gods who are fornicators like yourselves." Clement, Recognitions 10. 22 (trans. Smith) : "Vile Transformatoins of Jupiter [Zeus] . . . Amongst those whom we have mentioned [of the adulteries of Zeus], he violated some being transformed, like a magician . . . Leda, the daughter of Thestius, being changed into a swan, of whom was born Helen; and again the same, being changed into a star, and of her were born Castor and Pollux." Clement, Recognitions 10. 34 : "The Allegories an Afterthought . . . Whence it is the more evident that prudent men, when they saw that the common superstition was so disgraceful, so base, and yet they had not learned any way of correcting it, or any knowledge, endeavoured with what arguments and interpretations they could to veil unseemly things under seemly speech, and not, as they say, to conceal seemly reasons under unseemly fables. For if this were the case, surely their statues and their pictures would never be made with representations of their vices and crimes. The swan [Zeus], which committed adultery with Leda, would not be represented, nor the bull which committed adultery with Europa; nor would they turn into a thousand monstrous shapes, him whom they think better than all. And assuredly, if the great and wise men who are amongst them knew that all this is fiction and not truth, would not they charge with impiety and sacrilege those who should exhibit a picture or carve an image of this sort, to the injury of the gods?" Helen hatching from the egg, Apulian red-figure bell krater C4th B.C., Bari Provincial Archaeological Museum Pseudo-Hyginus, Fabulae 77 (trans. Grant) (Roman mythographer C2nd A.D.) : "Jupiter [Zeus], changed into a swan, had intercourse with Leda near the river Eurotas, and from that embrace she bore Pollux [Polydeukes] and Helen; to Tyndareus she bore Castor and Clytemnestra." Pseudo-Hyginus, Fabulae 78 : "Tyndareus, son of Oebalus, by Leda, daughter of Thestius, became father of Clytemnestra and Helen." Pseudo-Hyginus, Fabulae 79 : "Helen, daughter of Tyndareus and Leda." Pseudo-Hyginus, Fabulae 240 : "Helen, daughter of Jove [Zeus] and Leda." Pseudo-Hyginus, Fabulae 14 : "Castor and Pollux, sons of Jove [Zeus] and Leda, daughter of Thestius, Lacedaemonians; others call them Spartans, both beardless youths. It is written that at the same time stars appeared on their heads, seeming to have fallen there." Pseudo-Hyginus, Fabulae 224 : "Mortals who were made immortal . . . Castor and Pollux, brothers of Helen, sons of Jove and Leda." Pseudo-Hyginus, Fabulae 251 : "Castor and Pollux, sons of Jove and Leda, return [from the underworld] in alternate death." Pseudo-Hyginus, Fabulae 155 : "Sons of Jove [Zeus] . . . Castor and Pollux by Leda, daughter of Thestius. Pseudo-Hyginus, Astronomica 1. 8 : "[Constellation Cygnus.] The sign the Greeks call the Swan, but others, out of ignorance of the story, have called it ornis, the general term for bird. This reason for the name has been handed down : When Jupiter [Zeus], moved by desire, had begun to love Nemesis, and couldn't persuade her to lie with him, he relieved his passion by the following plan. He bade Venus [Aphrodite], in the form of an eagle, pursue him; he, changed to a swan, as if in flight from the eagle, took refuge with Nemesis and lighted in her lap. Nemesis did not thrust him away, but holding him in her arms, fell into a deep sleep. While she slept, Jupiter embraced her, and then flew away. Because he was seen by men flying high in the sky, they said he was put in the stars. To make this really true, Jupiter put the swan flying and the eagle pursuing in the sky. But Nemesis, as if wedded to the tribe of birds, when her months were ended, bore an egg. Mercurius [Hermes] took it away and carried it to Sparta and threw it in Leda's lap. From it sprang Helen, who excelled all other girls in beauty. Leda called her her own daughter. Others say that Jove [Zeus], in the form of a swan, lay with Leda. We shall leave the matter undecided." Ovid, Metamorphoses 6. 110 ff (trans. Brookes More) (Roman epic C1st B.C. to C1st A.D.) : "[The loves of Zeus :] And she wove Asteria seized by the assaulting eagle; and beneath the swan's white wings showed Leda lying by the stream: and showed Jove [Zeus] dancing as a Satyr, when he sought the beautiful Antiope, to whom was given twins; and how he seemed Amphitryon when he deceived Alcmena; and how he courted lovely Danae luring her as a gleaming shower of gold; and poor Aegina, hidden in his flame." Ovid, Fasti 1. 705 ff (trans. Frazer) (Roman poetry C1st B.C. to C1st A.D.) : "Leda's divine sons . . . the brother gods [the Dioscuri]." Ovid, Heroides 8. 65 ff (trans. Showerman) (Roman poetry C1st B.C. to C1st A.D.) : "[Hermione, daughter of Helen, addresses Orestes :] ‘Can it be some fate has come upon our house and pursued it through the years even to my time, that we Tantalid women are ever victims ready to the ravisher's hand? I shall not rehearse the lying words of the swan upon the stream, nor complain of Jove [Zeus] disguised in plumage . . . She of Taenarus [i.e. Helen], stolen away across the seas by the stranger-guest from Ida [i.e. Paris], roused to arms in her behalf all the men of Argos. I scarcely remember, to be sure, yet remember I do. All was grief, everywhere anxiety and fear; my grandsire wept, and my mother's sister Phoebe, and the twin brothers [the Dioscuri], and Leda fell to praying the gods above, and her own Jove [Zeus].’" Ovid, Heroides 13. 61 ff : "O Leda's daughter [Helene], sister to the Twins." Ovid, Heroides 16. 1 ff (trans. Showerman) : "Paris to Helene : I, son of Priam, send you, Leda's daughter, this wish for welfare." Ovid, Heroides 16. 82 ff : "Sweetly Venus smiled : ‘Paris, let not these gifts move thee, both of them full of anxious fear!’ she says; ‘my gift shall be of love, and beautiful Leda's daughter [Helene], more beautiful than her mother, shall come to thy embrace.’" Ovid, Heroides 16. 253 ff : "[Paris addresses Helene :] ‘Breasts whiter than pure snows, or milk, or Jove [Zeus] when he embraced your mother [Leda].’" Ovid, Heroides 16. 291 ff : "[Paris addresses Helene :] ‘Jove's [Zeus'] delight, and the delight of Venus [Aphrodite], are in stealthy sins like these; such stealthy sins, indeed, gave you Jove for sire. If power over character be in the seed, it scarce can be that you, the child of Jove and Leda, will remain chaste.’" Ovid, Heroides 17. 43 ff : "[Helene addresses Paris :] ‘For, as to my mother's [Leda's] seeming to you a fit example, and your thinking you can turn me, too, by citing it, you are mistaken there, since she fell through being deceived by a false outside; her lover was disguised by plumage. For me, if I should sin I can plead ignorance of nothing; there will be no error to obscure the crime of what I do. Her error was well made, and her sin redeemed by its author. With what Jove [Zeus] shall I be called happy in my fault?’" Ovid, Heroides 17. 51 ff : "[Helene to Paris :] ‘This house of mine is glorious enough with its own nobility . . . Leda makes Jove [Zeus] my father, deceived by the swan, false bird she cherished in her trusting bosom.’" Ovid, Heroides 12. 64 ff : "O Leda's daughter [Helene], sister to the Twins [the Dioscuri]." Virgil, Aeneid 1. 648 ff (trans. Fairclough) (Roman epic C1st B.C.) : "Presents, too, snatched from the wreck of Ilium, he [Aeneas] bids him bring, a mantle stiff with figures wrought in gold, and a veil fringed with yellow acanthus, once worn by Argive Helena when she sailed for Pergamus and her unlawful marriage--she had brought them from Mycenae, the wondrous gift of her mother Leda." Virgil, Aeneid 3. 330 ff : "[Neoptolemos] seeking Leda's Hermione and a Spartan marriage." [N.B. Hermione, daughter of Helene, is probably called Leda's for she would have been raised by her grandmother after Helene eloped to Troy.] Seneca, Agamemnon 125 ff (trans. Miller) (Roman tragedy C1st A.D.) : "[Clytemnestra] Queen of the Greeks, Leda's illustrious child." Seneca, Phaedra 298 ff : "How often did he [Zeus] put on lower forms, even he who made heaven and the clouds: now as a bird he fluttered his white wings with note sweeter than the dying swan [to seduce Leda]; now with savage front as a wanton bull he lowered his back for the sport of maidens [to seduce Europa]." Valerius Flaccus, Argonautica 1. 426 ff (trans. Mozley) (Roman epic C1st A.D.) : "On both [the Dioscuri] alike there gleams a purple cloak bright with Taenarian dye, fair work that their mother [Leda] wove on twin looms; twice had she broidered massive Taygetus and its leafy woods, twice in pliant gold the streaming Eurotas; each is borne upon his own horse, worked in snow-white thread, and on the breast of each their swan-father [Zeus] is flying." Valerius Flaccus, Argonautica 1. 562 ff : "The sons of Leda. . . the two sons of Tyndareus." Statius, Thebaid 7. 163 ff (trans. Mozley) (Roman epic C1st A.D.) : "[On the loves of Zeus :] Not in such mood wouldst thou [Zeus] go to Danaë's city, or the Parrhasian grove [of Callisto], or Amyclae, Leda's home." Statius, Thebaid 10. 502 ff : "Thee the Oebalian woodland, thee the Laconian maiden's [Leda]s deceitful river-bank shall mourn, and the flood [the river Eurotas] that the feigned swan [Zeus] once sang of." Apuleius, The Golden Ass 10. 32 ff (trans. Walsh) (Roman novel C2nd A.D.) : "Castor and Pollux, their heads covered by egg-shaped helmets prominently topped with stars." [N.B. They wear the egg-shells of their birth as caps.] Nonnus, Dionysiaca 7. 110 ff (trans. Rouse) (Greek epic C5th A.D.) : "Eros (Love) . . . took out the divine quiver, in which were kept apart twelve firefed arrows for Zeus, when his desire turned towards one or another of mortal women for a bride. Right on the back of his quiver of lovebolts he had engraved with letters of gold a sentence in verse for each. On the back of his quiver of lovebolts he [the god Eros] had engraved with letters of gold a sentence in verse for each:-- The first takes Kronion (Cronion) to the bend of heifer-fronted Io. The second shall Europa woo for the bold bull abducting. The third to Plouto's (Pluto's) bridal brings the lord of high Olympos. The fourth shall call to Danaë a golden bed-companion. The fifth shall offer Semele a burning fiery wedding. The sixth shall bring the King of heaven an eagle to Aigina (Aegina). The seventh joins Antiope to a pretended Satyros (Satyr). The eighth, a swan endowed with mind shall bring to naked Leda. The ninth a noble stallion gives unto Perrhaibid Dia." Fulgentius, Mythologies 2. 13 (trans. Whitbread) (Roman mythographer C5th to 6th A.D.) : "The Fable of the Swan and Leda. Although love of lust is shameful in all men, yet it is never worse than when it is involved with honor. For lust in relation to honor, not knowing what it sets in motion, is always opposed to dignity. He who seeks what he wishes to be something so divine must beware lest it become what it had not been. For Jove [Zeus] disguised as a swan lay with Leda, who laid an egg from which were born the three, Castor, Pollux, and Helen of Troy. This legend carries the flavour of an allegorical interpretation, for Jove is explained as the symbol of power, and Leda is for lide, which in Latin we call either insult or reviling. Thus all power getting involved with insults changes the appearance of its magnanimity. He is said to have changed into a swan because the naturalists, particularly Melistus of Euboea who has expounded the meanings of all the natural scientists, declare that a bird of this species is so filled with reviling that when this bird clamors the rest of the birds nearby become silent. For this reason it is also called an olor, as if derived from oligoria, necessarily involved with insults. But let us see what is produced from this affair, no less than an egg, for, just as in an egg, all the dirt which is to be washed away at birth is retained inside, so too in the work of reviling everything is impurity. But from this egg are born the three, Castor, Pollux, and Helen, nothing less than a seedbed of scandal and strife, as I once wrote : ‘And the adulteress shatters both worlds with grief.’ For they explain Castor and Pollux as symbols of destruction, whence they explain the signs (signa) of the Castors in the sea as creating peril; they say that both of them rise up and fall down alternately, because pride always commands but always falls; whereby in Greek iperefania is the word for pride. Iperefania is strictly the term for appearance above, because, in those two constellations which they call by the name of the brothers, once appears above and the other sinks down, like Lucifer and Antifer; for in Greek Pollux is apo tu apollin, that is, seeking to destroy, and Castor is for cacon steron, that is, final evil." [N.B. The faux etymologies have been constructed according to the author's tastes.] The First Vatican Mythographer (Roman Christian mythographer) : According to the First Vatican Mythographer (78), Castor, Pollux, and Helen all emerged from a single egg; according to another account (204), Leda laid two eggs, one of which produced Castor and Pollux, and the other Clytaemnestra and Helen. ANCIENT GREEK & ROMAN ART K1.11 Leda & Zeus as Swan Apulian Red Figure Vase Painting C4th B.C. H29.1 The Hatching of Helen Athenian Red Figure Vase Painting C5th B.C. Z1.4 Leda & Zeus as Swan Greco-Roman Kouklia Floor Mosaic C3rd A.D. Z1.5 Leda & Zeus as Swan Greco-Roman Spain Floor Mosaic A.D. SOURCES Homer, The Iliad - Greek Epic C8th B.C. Homer, The Odyssey - Greek Epic C8th B.C.
Castor and Pollux
Who compared television to a ‘penny Punch and Judy show’?
Dioscuri Dioscuri by James Hunter The Disocuri were Castor and Polydeuces (or Pollux), the twin sons of Leda and Zeus and the brothers of Helen of Troy. Because Zeus came to Leda in the form of a swan, they are sometimes presented as having been born from an egg. Pollux was a formidable boxer, and Castor was a great horseman. Together, they were the "Heavenly Twins," often associated with the constellation Gemini. Four episodes from their careers are most notable. After Theseus kidnapped their sister Helen and carried her off to Aphidnae, Castor and Pollux rescued her; they also abducted Theseus ' mother, Aethra . Later, the twins accompanied Jason on the Argo ; during the voyage, Pollux distinguished himself by killing the belligerent king Amycus, who challenged him to a boxing match. When Peleus attacked and laid waste to Iolcus, in revenge for the evils done to him by its queen, Astydameia, the Dioscuri assisted him. Castor and Pollux also abducted and married Phoebe and Hilaeira, the daughters of Leucippus; Castor was then killed in a battle with the nephews of Leucippus, Idas and Lynceus . Pollux was granted immortality by Zeus, but he persuaded Zeus to allow him to share the gift with Castor. As a result, the two spend alternate days on Olympus (as gods) and in Hades (as deceased mortals). Article details:
i don't know
Which part of New York was named after the Dutch word for rabbit?
How did Coney Island get its Name and what does it Mean in Old English? How did Coney Island get its Name and what does it Mean in Old English? 2010.04.03 2014.07.18 | Filed Under: Animals Coney Island was formerly an island, in south Brooklyn, New York, with a beach facing the Atlantic Ocean. The neighborhood was a resort with amusement parks in the early 20th century, but it declined in popularity after World War II and had been in neglect for many years. More recently, KeySpan Park, home to the Brooklyn Cyclones minor league baseball team was opened. In Old English, the word coney meant “rabbit.” When the English came to the little island in New York, it was already heavily populated with bunnies, hence the name. It is now widely accepted that Coney Island is an English adaptation of the Dutch name, Konijnen Eiland. The English name “Conney Isle” was used on maps as early as 1690, and by 1733 the current spelling “Coney Island” was used. Some say that early English settlers named it Coney Island after its cone-like hills. J.F.W. des Barre’s chart of New York harbor in 1779 uses the modern “Coney Island” spelling. There’s yet another location that was named for rabbits, spania. This Carthaginian word gave us the name for Spain, which literally means “land of rabbits.” Read More According to Bill Bryson (in Mother Tongue) ‘coney’ is slang for pudenda. Also, any literature on baseball written in the 1800's does not credit Abner Doubleday with the invention either. But if my... 2016-12-28T23:28:08+00:00 I'm not saying that whoever wrote this did not research this at all but I am saying this explanation of the origins of baseball... 2016-12-28T23:19:30+00:00 IT TOOK ME OVER WINTER BREAK 12 DAYS 3 HOURS 5 MINUTES AND 36 SECONDS. 2016-12-28T02:49:36+00:00 The math here is false. The fundation of how this was worked out is how long it takes to count to 100 in seconds; which is fine... 2016-11-08T22:41:08+00:00
Coney Island
The Peppermint Lounge in New York was the launch pad for which 60’s dance craze?
What’s the Difference Between a Bunny, a Rabbit and a Hare? | Dictionary.com Blog Home  »  Nature  » What’s the Difference Between a Bunny, a Rabbit and a Hare? What’s the Difference Between a Bunny, a Rabbit and a Hare? March 21, 2016 by:  Dictionary.com 210 Comments The religious content of Easter is relatively easy to explain and understand. The holiday’s substance starts to blur, however, when it comes to a certain anthropomorphized bunny, baskets, pastel colors and eggs. There’s far too much in this semantic basket to tackle; let’s start with the crucial question: what’s the difference between a rabbit, a hare and a bunny? Hares and rabbits are both in the family Leporidae, but they are separate species. Both animals have long ears, powerful back legs and a divided upper lip. Hares are larger than rabbits. They also do not burrow, but make nests in the grass. Hares have exposed nesting sites and are precocial when born, requiring little parental care. They have fur and their eyes open. Rabbits, on the other hand, are born naked, blind and helpless, and live in more secure dens underground. The word hare comes not from hair, but possibly from the West Germanic word khasan or Dutch hase, meaning “gray.” Hares are usually shy and isolated creatures, but their spring mating ritual makes them most conspicuous to humans during March and April. The turn of phrase “mad as a March hare ” hints at mating season, when hares can be seen boxing each other as part of their raucous courtship ritual. Until the 18th century rabbits were called coneys, based on the French cunil, shortened from the Latin cuniculus. Rabbit first referred to the young of coneys until eventually the word took over in popularity. Incidentally, this is also the origin of the name Coney Island or Rabbit Island, the beachside amusement park in New York. It is one of the only references to coney that is still used in North America. So, how did it become the Easter bunny? German immigrants brought with them the traditions of Kriss Kringle and the Easter hare. The night before Easter children would find a quiet corner in their house and make a nest out of clothing for the Easter hare to come lay eggs. This is the origin of the Easter basket. The word hare was dropped on its way across the Atlantic and the fuzzier, cuddlier word bunny, a diminutive form for young and small animals, was applied in its place. Why a hare, and not, say, a chicken to lay those Easter eggs? The intensely short gestation period and well-known reproductive speed of hares and rabbits have a long cultural association with spring and fertility. Eggs are also a fertility symbol. During the Lent fast, Catholics traditionally were not allowed to eat eggs, so they became part of the Easter feast. A note: Welsh rabbit is an English tavern dish of cheese toast that does not contain rabbit meat. The origin of the name isn’t clear, but the dish originated at a time when rabbit meat was the meat of the poor, and the Welsh were among the poorest in England. Thus, their meat wasn’t meat at all but cheese. See Also:
i don't know
With what is Cornish Yarg cheese usually wrapped?
Cornish Yarg Cheese Cornish Yarg Cheese Cornish Yarg Cheese is a semi-firm cheese made from pasteurized Holstein cow's milk with vegetarian Rennet. The curd is cut, then moulded, pressed, set in brine for 18 hours, then dried for 2 days, then wrapped in Stinging Nettle leaves and allowed to age about 6 weeks. The cheeses are sold still wrapped in the leaves, under which the crust of the cheese is green with grey, white or green mould. Inside, the pale yellow cheese is creamy under the crust, firm towards the middle, and slightly crumbly in the middle. The crust is edible. The cheese has a slightly lemony taste. There are also some flavoured varieties available. The cheese is made by Michael and Margaret Horrell of Lynher Dairies Cheese Co., Cornwall, England. A variety called Cornish Wild Garlic Yarg is wrapped in wild garlic leaves, and made in 4 pound (1.8 kg) wheels. You don't eat the leaves; you discard them. They are used to add a very mild hint of onion / garlic to the cheese. Storage Hints Whole Cornish Yarg Cheese, about 1 month; cut wedge of cheese, about 10 days. History Notes The cheese has been made at Netherton Farm in Cornwall, England by Lynher Dairies since 1981. Allan and Jenny Gray found the recipe for this cheese in an old book in an attic, and gave the recipe to Lynher Dairies. The "Yarg" in the name is their last name, "Gray", spelt backwards. Literature & Lore "...the Nettle Cheese is so called, because when the Cheese is new-made, Nettles are put upon it; which Nettles are to be renewed once in two days." -- Hannah Woolley. The Gentlewomans Companion. London. 1673. See also:
Nettle (disambiguation)
Which inlet of the Irish Sea separates Cumbria from Dumfries & Galloway?
Cornish Yarg Cheese - Kitchen Dictionary - Food.com Cornish Yarg cheese Nutrition This delicious semi-hard cheese cheese from the British Isles is deliciously creamy under the rind and slightly crumbly in the core. It has a young, fresh, slightly tangy taste and is made by hand in open round vats. After pressing and brining, the cheese is wrapped in nettle leaves picked wild from neighboring properties and frozen for use throughout the year. The leaves are carefully brushed onto the cheese in a traditional pattern and they attract wonderful naturally occurring molds of various colors, which help the cheese ripen. As the cheese matures, these edible nettles impart a delicate, slightly mushroom taste. The final product has an attractive, lacy pattern of leaves in blue and green, giving the finished cheese a very unique appearance. Ethnicity:
i don't know
The Tay Bridge runs south from which city?
Images of Dundee, Scotland 7 . . . towers viewed from Riverside Drive         PHOTOs Malcolm McCrow Edinburgh and Glasgow lines viewed from Tesco's Car Park New lamp - March 2005  PHOTOs Malcolm McCrow Riverside Drive  PHOTOs Malcolm McCrow A sight which is scheduled to disappear by 2009 with the demolition of Dundee City Council's Tayside House (left).    Observation mast on Marine Parade    (right).   PHOTOs Malcolm McCrow The Frigate UNICORN, formerly HMS UNICORN which was the one time headquarters of Tay Division Royal Naval Reserve.  PHOTOs Malcolm McCrow UNICORN did not always boast a figurehead. It had to move berth before the Tay Road Bridge was built . The photograph above right, and the following two below show UNICORN being towed out.  PHOTOs (left) Malcolm McCrow (right) Scott W Gault Changing places.  PHOTOs Scott W Gault An RAF Whirlwind flies over HMS UNICORN as it is towed to its berth in Victoria Dock prior to the construction of the Tay Road Bridge -  Photograph courtesy and � D.C.Thomson & Co.,Ltd reproduced with kind permission Tanks . . .  Flats . . .  PHOTOs Malcolm McCrow Victoria Dock, Apex Hotel and Tayside House (above).  By 2010 the disused dockside cranes had been demolished  PHOTOs Malcolm McCrow Camperdown Dock                                                City Quay, February 2006  - PHOTOs Malcolm McCrow Restoration work has begun on the roof of  the Frigate UNICORN (left).  City Quay, February 2006  (right) - PHOTOs Malcolm McCrow NORTH CARR light vessel (left) and the Apex Hotel (right) - PHOTOs Malcolm McCrow NORTH CARR and RRS DISCOVERY - PHOTOs Malcolm McCrow Foggy Day on the Tay Signs of the times Tay Bridge Fog Warning                             PHOTOs Malcolm McCrow Abandoned Customs House City Quay and Apex Hotel                          PHOTOs Malcolm McCrow Apex Hotel Apex Hotel and Tayside House Frigate UNICORN and harbour flats.            PHOTOs Malcolm McCrow NORTH CARR Lightship awaiting preservation - W R Stewart's hackleworks (left) awaiting redevelopment in 2006 - PHOTOs Malcolm McCrow City Quay shops and Oasis Cafe                                                                 PHOTOs Malcolm McCrow SEAWAY DISCOVERY support vessel - PHOTOs Malcolm McCrow Fife - nowhere to be seen                                                                 PHOTOs Malcolm McCrow Old school . . . new houses.  Glebelands Primary School                                    Camperdown Junction                PHOTOs Malcolm McCrow The Changing Waterfront September 2007   RSS DISCOVERY (above left) in its dedicated berth at Dundee, contrasts with the Koninklijke Marine's L801 HNLMS JOHAN DE WITT  (above right) which visited Dundee during the weekend of September 22-23, 2007.  PHOTOs Malcolm McCrow TSS DUNCAN, appropriately  in Camperdown Street, (above left) is Dundee Sea Cadet Corps' Headquarters at Camperdown Dock. SCC Cadets sailing in Camperdown Dock (right) overshadowed by the mass of the Royal Netherlands Navy's  JOHAN DE WITT berthed in the Tay.  PHOTOs Malcolm McCrow Marine Parade with fashionable flats leading up to Victoria Dock. PHOTOs Malcolm McCrow Marine Parade - an old crane has been retained as a reminder, perhaps, to a once thriving dockside.  PHOTOs Malcolm McCrow Not all the flats are new builds - the ones above leading down to the waterfront once formed part of an industrial complex.  PHOTOs Malcolm McCrow While Victoria Dock looks much the same, new office blocks have been constructed west of Discovery Point and separate the walkway from the busy Riverside Drive. PHOTOs Malcolm McCrow Looking west (above) and east (right) from Compass House in Riverside Drive, west of Discovery Point. PHOTOs Malcolm McCrow Compass House reflexions - PHOTOs Malcolm McCrow Hard to believe that this building has been carefully demolished and moved from the foot of East Whale Lane and re-built at a cleared site at the top of East Whale Lane.  Unfortunately this splendid bookstore closed in 2009 - PHOTOs Malcolm McCrow Dock Street, 2007 (left).  Wishart Arch (right) - PHOTOs Malcolm McCrow Wishart Arch (left).  Many old mills are being converted into flats.  - PHOTOs Malcolm McCrow Dundee - Dock Street and Ferry Road   Classic LNER style foot bridge (left) over the Dundee and Arbroath Joint line which was operated by both the LNER and LMS prior to nationalization in 1948.  Looking north up Market Street (right) with the site of the former slaughter house on the east side of the road  - PHOTOs Malcolm McCrow Gas tank (left) and oil tanks (right) in Dock Street seen from the foorbridge above - PHOTOs Malcolm McCrow NYNAS refinery - originally William Briggs - (left).  Unsightly scrap heap with redundant dock cranes in the background (right) - PHOTOs - Malcolm McCrow Flats behind Camperdown Dock (left).  Tay Road Bridge (right) - PHOTOs Malcolm McCrow Ferry Road - north side - PHOTOs Malcolm McCrow Terraces to the north of Ferry Road - PHOTOs Malcolm McCrow Ferry Road Post Office (left).  Semi-derelict Halley's mill (right) - Malcolm McCrow Melville Lane (left) runs from the eastern boundary of the former Dundee Gasworks.  Melville Lane Steps (right) leading to Ferry Road - PHOTOs Malcolm McCrow Ferry Road - Going Up (left)                                                                            Ferry Road - Going Down (right) - PHOTOs Malcolm McCrow Peep O' Day Lane (left) and Wallace Street (right) - PHOTOs Malcolm McCrow Former Dundee Corporation Transport bus depot with modern flats south of the Dundee-Arbroath-Aberdeen railway line (left). The all but cleared site of the former Dundee Corporation Gasworks (right) - PHOTOs Malcolm McCrow Dock Street leading to Ferry Road (left).  Old jute mill buildings awaiting renovation (right) - PHOTOs Malcolm McCrow South Victoria Dock Road in May 2010 - PHOTOs Malcolm McCrow West Victoria Dock Road and site of former Tay Division Royal Naval Reserve (HMS CAMPERDOWN) - PHOTOs Malcolm McCrow West Victoria Dock Road (left);  City Quay (right) - PHOTOs Malcolm McCrow Tay Road Bridge (left); one of the Northern Lighthouse Board vessels departing Dundee, summer 2010 (right) - PHOTOs Malcolm McCrow Marine Parade - PHOTOs Malcolm McCrow Cyprian registered tanker NORDBAY of Limassol at Dundee - PHOTOs Malcolm McCrow New residences between South Victoria Dock Road and Marine Parade - PHOTOs Malcolm McCrow Flats and retail outlets at Victoria Dock - PHOTOs Malcolm McCrow Newly built housing forms the backdrop to the NORTH CARR lightship preserved in Victoria Dock - PHOTOs Malcolm McCrow Memorial to Submariners (left);  Victoria Dock (right) - PHOTOs Malcolm McCrow The Frigate UNICORN, Victoria Dock, Dundee - PHOTOs Malcolm McCrow  
Dundee
What is Britain’s most southerly National Park?
RAILSCOT | Tay Bridge and associated lines Tay Bridge and associated lines Tay Bridge and associated lines (North British Railway) This line is open. The line runs from Leuchars in Fife to Dundee. The works include a railway from Leuchars to Wormit, the 2 miles long Tay Bridge across the Firth of Tay, a station in Dundee, a tunnel under the docks in Dundee and short sections of line connecting to the neighbouring lines. A portion of original Tay Bridge famously fell, with a train, into the river. A new bridge was constructed slightly further west. Survey No Tay Bridge Disaster  The Tay Bridge was hailed at a great Success at its opening. Not only did it cross an Estuary but it now provided the North British Railway with direct access to Dundee from Fife; at last they could compete with the Caledonian Railway for traffic. Queen Victoria travelled over the bridge not long after its opening and Thomas Bouch , the Engineer, was knighted.  The first Tay Bridge fell on the 28th of December 1879. The High Girders fell into the Tay along with a train. All 75 of the occupants were killed. The High Girders section were mounted with the box between the piers containing the track within to provide clearance for vessels on the Tay. A combination of the high pressure of wind on that section containing the train and the poor quality of the design and materials used were blamed in a later public enquiry. Sir Thomas Bouch , the engineer and contractor, was blamed for the disaster. He died, a broken man, during the period of the inquiry. The bridge had been built within tight financial constraints; it had not been possible to buy pre-fabricated sections from established suppliers and Bouch had decided to operate his own foundry for iron parts. Some of the Iron from this foundry was very poor quality. Also during its construction one high girder on a barge was lost to storms for a night and another was dropped onto the sea-bed whilst being lifted into place. These sections were still used. The dropped section was slightly twisted; the engine drivers commented on the slight change of direction of their engines on entering that girder.   The weather was exceptionally bad that night;  the high tower at Kilchurn Castle on Loch Awe also fell and many houses in Scotland lost their roofs. Telegraph wires were felled throughout the country.  In the subsequent re-construction, designed by Benjamin Baker and Sir John Fowler, many of the low girder section of the first bridge were re-used. A novel feature of the first bridge had been the use of caissons; Bouch had needed to use these since a footing for bridge piers could not be found in the estuary. This is because a survey of the sea-bed had erroneously found that a rock bed was not far under the silt of the sea-bed. During the construction of the first bridge the original set of brick-built piers at the north end of the viaduct kept "going over" until caissons were used. This project was one of the first large scale uses of caissons. Although the caissons were considered to be designed correctly it was decided to lay a second line of them across the estuary for the new bridge. As a result at low tide one may see the old piers supported by the old caissons from a train.  The train was raised from the sea-bed and delivered to Tayport for examination. The Staff (a piece of wood) for the section over the Tay Bridge is now held in the Glasgow Transport Museum and the locomotive was re-fitted and used for a number of years, being known (un-officially) as "The Diver". Amongst the 75 killed were Mr Watson and his two young sons, David Neish (a teacher) and his daughter Bella, and a young couple, the boyfriend travelling with his girlfriend to see her safely to Dundee. The new bridge was designed to take two tracks, but due its present condition and the increase in the weight requirements of freight trains it is to be reduced to carrying one only. For a number of years now the signalling on the bridge has been interlocked to only allow one train into the new High Girder section at a time. The very poor blurred photograph below is taken from a train looking at the other track and parapet - something which may not be possible in the future. William McGonagle's Poem;
i don't know
The support about which a lever pivots?
Fulcrum - definition of fulcrum by The Free Dictionary Fulcrum - definition of fulcrum by The Free Dictionary http://www.thefreedictionary.com/fulcrum Also found in: Thesaurus , Medical , Legal , Encyclopedia , Wikipedia . fulcrum relative position of the fulcrum in three basic types of levers, with arrows indicating the direction of the effort and the downward force of the load ful·crum n. pl. ful·crums or ful·cra (-krə) 1. The point or support on which a lever pivots. 2. Zoology An anatomical structure that acts as a hinge or a point of support. 3. An agent through which vital powers are exercised. [Latin, bedpost, from fulcīre, to support.] fulcrum n, pl -crums or -cra (-krə) 1. (Mechanical Engineering) the pivot about which a lever turns 2. something that supports or sustains; prop 3. (Zoology) a spinelike scale occurring in rows along the anterior edge of the fins in primitive bony fishes such as the sturgeon [C17: from Latin: foot of a couch, bedpost, from fulcire to prop up] ful•crum (ˈfʊl krəm, ˈfʌl-) n., pl. -crums, -cra (-krə). 1. the support, or point of rest, on which a lever turns in moving a body. 2. any prop or support. 3. any of various structures in an animal serving as a hinge or support. [1665–75; < Latin: back-support of a couch] fulcrum This diagram shows the relative position of the fulcrum in the three basic types of levers, with arrows indicating the direction of the effort and the downward force of the load. top: The effort and load are on opposite sides of the fulcrum, as in a crowbar. middle: The load is between the fulcrum and effort, as in a wheelbarrow. bottom: The effort is between the fulcrum and load, as in a person's forearm, where the fulcrum is the elbow and the load is something held in the hand. ful·crum The point or support on which a lever turns. ThesaurusAntonymsRelated WordsSynonymsLegend:
Fulcrum
Which iconic gangster film begins with a Tony Bennett rendition of Rags To Riches?
The fixed point on which a lever moves is called? | Reference.com The fixed point on which a lever moves is called? A: Quick Answer The fixed point on which a lever moves is called the fulcrum. A lever is a simple machine with three parts: effort, load and the fulcrum. The lever would be useless without the fulcrum, as it is the point on which the lever pivots. Full Answer A lever consists of a metallic rod, a plank of wood or a wooden pole resting on a support. At one end of the lever, a load in the form of an object is used while at the other end, effort or force is applied to shift or move the object. A lever allows heavy objects to be shifted or lifted by applying minimal force. There are three classes of levers based on the position of the load and effort with respect to the fulcrum. Some examples of the use of the lever are a pair of pliers, tongs and scissors.
i don't know
Where did Gabriel Byrne pretend to execute John Turturro?
Best Fight Scenes - 10 Best Standoffs in Movie (and TV) History 1 Of 8 Why We'll Always Remember Adam Goldberg: The Fights The historian Shelby Steele made himself famous when he explained why the North has generally forgotten the Civil War and the South is still obsessed with it: You always remember the fight you lost. Steele was right. And for proof of his contention look no further than the film career of Adam Goldberg. He's a fine character actor who brings a self-questioning intensity to his portrayals of neurotic Jewish intellectuals. But his entire career is a footnote to the two fights he has had onscreen. They are both unforgettable, because he loses both. The first is from Dazed and Confused, Richard Linklater's great and hauntingly accurate evocation of high-school life in the seventies. Goldberg plays Mike, a brainy boy seeking to become a man of action — "I wanna dance!" he tells his friends, on their way to the big end-of-year party under the Moon Tower. It's the kind of party he's never been invited to, and he goes as a kind of disinterested observer — "someone's tokin' some reefer" — until the someone toking the reefer turns out to be Clint, seen earlier challenging Matthew McConaughey to a drag race. Clint's a throwback, a greaser who would have been at home in American Graffiti but for his love of weed: "So I'm blazin' with my friends, I'm a fuckin' pothead. What's it to you?" The brainy boy who wants to be a man of action finally meets a man of action, and the man of action takes off his shirt and, with a shove, nearly puts the brainy boy on his ass, ending the confrontation with the classic kiss-off: "I only came here to do two things: kick ass and drink some beer... Looks like we're almost outta beer." If you've seen the movie, and I presume you have, I don't have to tell you that Mike spends the rest of the party deciding whether or not to take action against Clint — and that when he does, the fight doesn't go the way he figured it would go, which makes it the most realistic fistfight in cinematic history. Mike plans for the fight to end quickly — "Most fights in places like this never get past a punch or two before they're broken up, know what I'm saying?" But the jocks who enforce the boundaries of the battle have no interest in breaking it up; they want to see someone get his ass kicked, and that's what happens. Mike cold-cocks Clint; then Clint gets up, pins him down, and mercilessly beats the shit out of him. The fight ends with Mike helplessly calling Clint a fascist, and then weeping in his best friend's arms. The question, however, is not whether he loses the fight; the question is whether losing the fight makes him a loser. One of the things that has always surprised me when I talk to people about Dazed and Confused is the prevailing conviction that it does — that Mike gets what's coming to him when he takes on the "dominant male monkey motherfucker," and ends up what he fears turning into: humiliated, "a little ineffectual nothing." But that's not it, at all. Mike gets exactly what he wants out of the fight. He's triumphant because he triumphs over himself; he acts, and on the way home he even starts fashioning his loss into legend: "I mean, you wouldn't say that I got my ass kicked..." Five years later, Goldberg gets into another fight, and this time loses more comprehensively. In Saving Private Ryan, he plays Private Mellish, and goes hand-to-hand with a German soldier on the second floor of a bombed-out building. Both men's lives are on the line, but the scene doesn't even belong to Goldberg; it belongs to Jeremy Davies, who plays Upham, a translator cowering on the steps. Upham has a gun, and a belt of ammunition; he has the power to save Mellish. Instead, he is paralyzed by fear, and the scene becomes almost unbearable to watch and especially to listen to. Goldberg's fight in Private Ryan is to mortal combat what his fistfight in Dazed and Confused is to schoolyard brawls; it is utterly realistic, because of its horrible intimacy. Mellish is not unarmed; he has a bayonet, and the bayonet becomes the fulcrum of the battle. He has it within inches of the German's flesh, but the German is physically stronger than he is, and turns it against him, in agonizingly slow increments. Goldberg even has a chance to try bargaining, as the point of the blade makes its way to his solar plexus; indeed, when he says, "Listen to me, stop!" he sounds recognizably like Mike in Dazed and Confused. But he might as well be bargaing with death itself, and his submission, when it comes, is almost sexual, with the German soldier whispering tenderly to him as he is penetrated, and the bayonet finds its way slowly and inevitably home. The tears, this time, belong to Jeremy Davies, when the German who has just dispatched Mellish walks down the stairs and doesn't even think enough of him to try killing him. Upham is not just a coward; he is a non-person, which is exactly what Mike in Dazed and Confused dreaded becoming. At the end of Dazed and Confused, you figure that Adam Goldberg's vanquished character is going to be okay; he might even grow up to become Adam Goldberg. But you can't imagine the lifetime of hell in store for Upham. You would rather be Melish, his lifeless eyes wide open on the landing. That's because the message of Adam Goldberg's two losing battles is not Shelby Steele's — it's not that you always remember the fight you lost. It's that you always remember the fight you ducked or ran away from. The fight that never happened. —Tom Junod 2 Of 8 The Godfather The scene in which Sonny beats the living shit out of Carlo on the street doesn't look like much of standoff; it looks more like a thrashing, one of the most sustained thrashings in cinema. But the beauty of The Godfather is how subtly the machinery of power is hidden in plain sight. Carlo getting beaten is actually Carlo winning, preparing his revenge against the family for their decision to sideline him and leading to Sonny's murder. The amazing thing about that scene is that only a viewer as careful as Michael Corleone would notice the intricate Machiavellianism of what's really going on. Michael doesn't do standoffs of course. He kills without confrontation. It's also a great reminder of the actual power of the Corleones. Up to that point in the movie, you can pretend that they're just a powerful family. That scene shows that they're the kind of family that can beat someone on the street and everybody just watches. —Stephen Marche Advertisement - Continue Reading Below 3 Of 8 The Wire After more than a half-century of watching gunfights, my favorite — rivaled only by Indiana Jones's hilarious introduction of his pistol in the face of fancy swordplay in the marketplace in Raiders of the Lost Ark — is from The Wire, the showdown between the stick-up man Omar Little and the hired assassin Bowtie, also known as Brother Mouzone. Not a shot is fired. This particular scene is the opening of the teleplay "Middle Ground," the 11th and penultimate episode of season three, nominated for an Emmy. It was written by the author and TV writer George Pelecanos (more recently he has written for David Simon's Treme). I saw the episode before I realized Pelecanos was responsible — I have known him since our salad days, when he was still selling appliances at a chain store in the Washington, DC, area. This standoff breaks most of the rules of standoffs, starting with Omar's refusal to lay down his weapon. The dialogue is crisp and original, the flow of the scene avoids cliché — you have the sense that you're listening in on a meeting between two professionals from vastly different worlds, their appreciation of each other as warriors. —Mike Sager PLUS: George Pelecanos on writing the scene: "The opening scene (the teaser) of episode 311, 'Middle Ground,' was written, obviously, as an homage to the Westerns I love. In the writers' room, Ed Burns had the idea that Omar would draw his gun very slowly as he talked. Our house director, the brilliant Joe Chappelle, shot it in the Leone style. The banter between Omar and Brother Mouzone was meant to be Hawksian; think John Wayne and Christopher George in El Dorado, mutual respect amongst professionals. Add to that the gunmen's curiosity about their opponent's hardware paired with threat and menace (Omar: 'Heard those Walthers jump some.' Brother Mouzone: 'As will you, with one in your elbow.'), and you have the scene. "We shot it in the middle of the night and wet the streets. In the opening wide shot, we waited for a train to cross over the bridge as Omar appears, whistling 'The Farmer in the Dell' (that whistling... a nod to Morricone). To this day, when I take the Amtrak to New York City, I pass that very location, and I never fail to smile. It was magic, man." 4 Of 8 The Good, The Bad, and the Ugly It's obvious, but only because it's elemental. The scene defined the movie standoff as we know it. And it did more: It redefined how music can connect us to what's happening onscreen. There are no words spoken. Only simple cuts, from an establishing shot of the desert to the furtive glances between the men. The music by Ennio Morricone propels all the tension. It does so with blunt, brute force. You could never edit and score a standoff like this these days, unless you did so ironically (see: all the films of Quentin Tarantino) or as sly homage (see: The Wire). Perhaps that's for the best, because no one could ever do it as well again. —Paul Schrodt Advertisement - Continue Reading Below 5 Of 8 Miller's Crossing My favorite movie is Miller's Crossing, which is what happens when the Coen brothers decide to put their twist on the gangster picture. In it, there are many standoffs, or some altered version of the standoff, turned ten degrees off the expected. The loudest involves an army of cops, and the bloodiest centers on Leo (Albert Finney) and his thousand-round Tommy gun , but it's the quieter confrontations that linger. When Tom (Gabriel Byrne) twice takes Bernie (John Turturro, holy smokes) at gunpoint out to Miller's Crossing, we see the essence of the standoff, boiled down to its core. "I can't die... out here in the woods... like a dumb animal," Turturro begs. But it's how he says "Look in your heart" that really makes both scenes, and maybe even Miller's Crossing itself. Because this movie's truest standoff unfolds where the truest standoffs always do: in a divided heart. —Chris Jones 6 Of 8 Butch Cassidy and the Sundance Kid As movie standoffs go, the final three minutes of Butch Cassidy and the Sundance Kid ain't much in terms of drama — two aging, bleeding bandidos versus what looks like an entire Bolivian army brigade. The outcome — their doom — is absolutely certain, and they know it. They know it, and it doesn't matter; they're still bickering, still making plans, still acting like everything's okay. No whimpering indifference, no self-pity, much less fear: Just one last charge into fate's cruelly kind embrace. —Scott Raab Advertisement - Continue Reading Below 7 Of 8 True Romance Every Tarantino movie is, essentially, a remix of old standoff scenes, but the best of the bunch for my money is in True Romance, which was written by Tarantino and directed by Tony Scott. It's great mainly because the confrontation is between Christopher Walken and and Dennis Hopper, the meeting of two titanic forces of character acting. (With James Gandolfini in a supporting role, no less!) And what's more amazing is they're both under-acting, by their standards, at least. Hopper, who's being interrogated by Walken's mobsters and knows he's going to die, takes his last smoke and explains to Walken why "Sicilians are n*****s." At first Walken laughs. Then you can guess, or watch, what happens next. It's chilling and funny without ever being over-the-top, which it no doubt would have been if Tarantino had directed it. —PS 8 Of 8 Heat: The Two-for-One Edition Michael Mann's movies are sometimes dismissed for their cool machismo, but at their best, they expose a vulnerability much deeper than the gun barrels. Mann's heist movie, Heat, is generally remembered for two things: the heists, and the scenes between Robert De Niro and Al Pacino. Of the latter, the first is a brilliantly contained coffee meeting, during which Pacino's cop and De Niro's gangster get to know each other and casually agree they would kill each one another if necessary, though they wouldn't enjoy it. The second scene, the climax , is the inevitable realization of that agreement. They square off at night in a field near an airport runway. After a tense back-and-forth, a noisy jet passes by. De Niro goes for the kill, but his shadow gives him away. Lying on the ground, dying, De Niro says to Pacino, "Told you I'm never going back." Pacino's cop understands. He even sympathizes. The beautiful final shot of the film is of Pacino's back, standing and looking at De Niro's dead body. It's the moment we knew we were headed to all along, yet it fills us not with the bloodthirsty satisfaction we may have expected. Instead it fills us with a kind of peace. —PS
Miller's Crossing
Who composed the opera Cavalleria Rusticana?
Watching the Debate – Balloon Juice April 26, 2007 at 7:39 pm I also was surprised that Obama sounded so uninteresting. Not how I think of him at all. (I am watching on TiVo, so I’m about half an hour behind.) I often think that women’s voices don’t sound good on TV. I notice that a lot when there are women on the talking head shows (not that you often see women on those shows). I really like Dodd. I like his defense of the Constitution, and his defense of habeas corpus in the Senate. Too bad he doesn’t have a chance at the nomination. 3 there is some crazy gray-haired guy who seems to be mixing things up Indeed. Who is that guy? Must be before my time. Saw pieces of the debate. Apparently the crazy gray-haired guy is a former senator from Alaska, Mike Gravel. He seemed to be trying to out-Kucinich Kucinich. Missed how he set it up, but I think I heard he wanted to make it a felony to continue the Iraq War? Then bust Bush for the crime? Ooookay. Other than crazy dude and the dweeb, Kucinich, not too bad a debate. Actually, looking more forward to the Pub debate. Want to see how much distance they put between themselves and Bush, see if they rely on the “The Dems are worse” meme, and see how much they suck on the Dobson tit. Go Brownback! 8 April 26, 2007 at 8:58 pm Gravel was hilarious, I heartily enjoyed his contribution to the debate. And yes, John, Chris Matthews is a moron, Olbermann is a million times quicker on his feet and smarter than him — but Chris Matthews is a moron with a bit of seniority, so he’s special in that respect. I occasionally find it somewhat amusing when Matthews just has to take a minute to admire the clever things that (only) other people say (like, often, Olbermann) — but then of course he has to repeat them until it no longer seems all that clever. And that’s not even going into his signature crazy laugh (HA!). 9 April 26, 2007 at 9:17 pm I think Cole’s assessment is off-base. The three leading candidates dealt their share of bromides, Biden was his usual annoying self, and Dodd — why the hell is Dodd even trying?. But Kucinich, Richardson, and ex-Senator Gravel did well, I thought. Gravel excelled by bringing up precisely the sorts of issues that Dems are afraid to even hint at, let alone discuss. He threw some bombs, true — I don’t think any Dem really wants to launch a nuclear war. But it was damn good to hear somebody point out that all the talk about the “menace” of Iran is hysteria and fear-mongering. I also appreciated his point that as long as we have our wildly overbuilt nuclear arsenal, it’s a little hard for us to persuade other states to sign on to nonproliferation measures. By the way, Biden’s “happy talk” attack was the typical tough-guy pose that the blowhard from Delaware is so famous for. He was saying that refusing to use force won’t solve problems in Darfur, among other places. No doubt things in Darfur are awful. Does Biden have any clue about what, exactly, American troops are going to do there, after the militias have been (temporarily) dispersed? 10 April 26, 2007 at 10:12 pm Chris Matthews is a moron, Olbermann is a million times quicker on his feet and smarter than him—but Chris Matthews is a moron with a bit of seniority, so he’s special in that respect. He’s special, all right. Of all the idiotic gasbags that clog the news airwaves, Matthews stands out from the pack with his special blend of cluelessness, bombast, and shameless brownnosing. Between the size of his ego, the emptiness of his freakishly large head, and the amount of hot air he produces, it’s amazing that he doesn’t float right off the planet. I’m betting that his anchor chair is just that – a chair with a cunningly designed system of tethers that anchor him to the ground. 16 He’s special, all right. Of all the idiotic gasbags that clog the news airwaves, Matthews stands out from the pack with his special blend of cluelessness, bombast, and shameless brownnosing. What the fuck, why are you guys picking on Tweety? He’s just doing what they want him to do, you know, talk about pearl necklaces and clothes and being shrill. I love him, he was in the Peace Corps, don’t ya know? And what’s up with Olbermann not being able to get in a word edge-wise? I did not see any of the debate, only a little of the the “analysis.” I’m with you John C., this campaign is going to be too fucking long. Personally, I spent the evening drinking most of a bottle of Cotes Du Rhone and watching the excellent “Millers’ Crossing,” a marvelous Ethan Cohen gangster film with Gabriel Byrne, Marcia Gay Harden, John Turturro and Albert Finney. It even has Steve Buscemi in it as a (murdered) character named “Mink.” Gabriel Byrne is fabulous, one of the very best. And Marcia Gay Harden is just, well, smokin’. Who won the debate? Who gives a damn, there’s almost two years of this shit left! 18 sglover, like I said, I only saw the lats twenty minutes. Ah, OK, point taken. I guess I should emphasize that I don’t think any the Dems will be a bad choice, by the standards of our tottering democracy. They all offer the traditional (but sadly under-rated) Democratic virtue of competent technocratic management. But it’s very frustrating watching almost all of them run away from discussing root problems, like our military-centric foreign policy, and our petroleum habit. (Some of the candidates did almost verge on mentioning a carbon tax, though.) I expect the Republican debate will be lots more entertaining, in a scumbags vs. nutcase tag team kind of way. Incidentally, one of the weirdest questions of the night way, “So-and-so says that if the Democratic Party loses another election, it’ll go belly-up. Discuss.” About as idiotic and stone ignorant as a journalist can get — by pretty much any measure, the GOP is going to have to pull a miraculous turn-around to avoid a 1932-scale stomping. 21 April 26, 2007 at 11:03 pm I liked Gravel a lot. I really don’t care how loopy the guy is – he could be drinking buddies with Toucan Sam for all I care – what counts is that he comes off like an actual person. After all the Imus absurdity (which is merely the latest manifestation of the 24/7 absurdity which has crammed down our throats for the last 30 years) I am very pleased to see a guy out there who is a real person and not a soundbite robot. Probably the one thing I liked about Imus – and I’d be the first to admit that there isn’t much to like about the guy – is that he seemed genuine. I know plenty of white dudes who make fun of blacks and Mexicans. I know plenty of blacks and Mexicans who trash white people. It’s how real people are. Someone decided at some point that white people aren’t allowed to make those jokes, just like it decided that we needed a War on Drugs, and then a War on Terror… and this one really gets me scratching my head… exactly when did it become weird for a dude to be attracted to hot teenage girls. Like, is there any evidence that this is in any way deviant? No. I know I’m going way off topic here, but it’s worth pointing out because this particular bit of conventional wisdom, which a recent phenomenon, is especially bizarre to me. I mean, Scarlett Johansson is so obviously smoking, and has been for some time. She was smoking at 16 and you all damned well know it. So, you know, does not compute. I digress… Back to Gravel, he makes alot of sense. Not because he’s left wing (is he actually that much of a lefty?) but he’s a sensible fucking human being. Nuking Iran is insane. In the worst case, they get the bomb and gain leverage against Israel. How exactly is that our problem? No one should want to leave themselves open to criticism on thi point, yet they do. And military spending is out of control. I’m no raving liberal. In fact, I despise Kucinich. He’s a total flake. He’s a knee-jerk ideologue. I doubt he even believes half the shit he says. I’d be even more turned off by him if he did. I heard Gravel talking about tax policy on teevee at some point and he seemed to have some pretty wild ideas about balancing the budget. But considering the last 30 years of Reaganomics, maybe it’s time for some radical ideas to fix the mess. Or not. Whatever. I’m not saying Gravel is the Savior of America, I’m just saying he really exposed the other candidates for the lying, phony retards that they are. 24 BTW, was it Gravel who said “the United States doesn’t have any enemies?” I guess there’s a reason we have debates, to separate out the idiots. Gravel was making the eminently reasonable and level-headed observation that all the hyperventilation about “threats” and “enemies” is a lot like watching an elephant stampede at the sight of a termite. Our latest deadly enemy, Iran, has an economy maybe about a tenth the size of ours — in a good year. Fear-mongering keeps us distracted, anxious, weak. It’s also the tool of choice of a whole galaxy of scumbags, angling to make us “secure”. 26 BTW, was it Gravel who said “the United States doesn’t have any enemies?” I guess there’s a reason we have debates, to separate out the idiots. Gravel was making the eminently reasonable and level-headed observation that all the hyperventilation about “threats” and “enemies” is a lot like watching an elephant stampede at the sight of a termite. Our latest deadly enemy, Iran, has an economy maybe about a tenth the size of ours — in a good year. Fear-mongering keeps us distracted, anxious, weak. It’s also the tool of choice of a whole galaxy of scumbags, angling to make us “secure”. 27 John, you sound like a fucking jack ass. Drink some scotch, eat some of that faggy Hola sherbet, whack off to Colin Farrel or whatever it is you do, shower, and get back to us. A.) Drinking scotch turns me into a jackass. B.) Why do you have to attack my ice cream? C.) I didn’t think I was unfair. I just reported what I saw,I thought it was a fiar assessment. I am kinda hoping Gavel goes to some more debates. Hell, I wish Al Sharpton would announce again. From a blogging/entertainment standpoint, I am kinda sour I missed the Perot era. 28 April 27, 2007 at 12:24 am DougJ, Pb—since I see you over at Kos, I’m going to ask: is Kos as bad as it seems to be? Yes, but like most other partisan blogs, you get used to it after a while–by and large, you learn where the imaginary soft and hard boundaries of ‘free’ discourse are. Of course, I’ve been hanging out there for years, so it’s pretty easy for me to say that… it has its own ingrown culture, of course, they all have our pet issues and pet peeves, and there are some users out there with an authoritarian bent, and others that are just plain nutty, but what else is new. I love the idea of it but the commenters…I think you know what I mean, no? I love the sheer amount of commenters and diarists, and the variety. Some things do slip through the cracks, but by and large Daily Kos does manage to catch a lot of what goes on in politics, and ends up discussing it and pondering it fairly well. However, it also has its fair share of nonsense, internal flame-wars, and other such ‘inefficiencies’. But it’s a great reference, and a pretty decent forum apart from my pet peeve that the reclist is limited to only eight slots, total, which is one reason why I don’t bother trying to write diaries much any more. 35 April 27, 2007 at 7:53 am I watched the debate but no pre- or post- commentary. Here’s an idiot’s rundown of the candidates: Hillary Clinton – tried to show she’s “tough enough”, her voice is an easy mark for unserious people to complain about Barack Obama – not as smooth as he usually appears, also tried to show he was a tough guy John Edwards – not “slick”, but intelligent and compassionate. Will never, ever get past unserious people obsessed with his hair Bill Richardson – He’s a governor, in case you missed it the first 7 times. Always looks like he has indigestion. Joe Biden – I imagine Biden having to listen to the little angel and little devil that are always sitting on his shoulders. “Go long-winded, Joe” the little devil urges. “And make sure you smile a lot” the little angel counsels. Chris Dodd – Vanilla. I’ll bet the Republicans wish they had a candidate half as good as him, though. Dennis Kucinich – I guess he serves a purpose. Actually thought he did a good job with his response to the Cheney impeachment question, even though I don’t agree with him. Mike Gravel – Like Kucinich, he serves a purpose. Keeps things interesting. Doesn’t have a snowball’s chance in hell. 39 1992: Bush/Clinton 1988: Bush/Dukakis Those were all of the elections I could vote in and I don’t remember one time where I actually liked a candidate. Our system isn’t set up so we vote for the person we like, rather we vote for the person we hate the least. It’s something I guess… April 27th, 2007 at 8:13 am Who cares if you “like” a candidate? That’s childish and what got the nation into trouble the last 6 plus years (remember all the dipshits who’d rather have a beer with the recovering alcoholic currently in the WH?). Vote for the candidate who is most qualified to be POTUS. 41 April 27, 2007 at 9:22 am zzyzx Says: I meant “like” as in agreed with their beliefs and thought they were competent, not “like” as in I’d like to hang out with them. April 27th, 2007 at 8:52 am I was thrown by the use of the word “hate” (as opposed to “like”). “Our system isn’t set up so we vote for the person we agree with, rather we vote for the person we disagree with the least.” You’ve been voting for the lesser of the evils, but haven’t we always been voting that way? zzyzx Said: Those were all of the elections I could vote in and I don’t remember one time where I actually agreed with a candidate. Our system isn’t set up so we vote for the person we like, rather we vote for the person we hate the least. It’s something I guess… April 27th, 2007 at 8:13 am 43 “You’ve been voting for the lesser of the evils, but haven’t we always been voting that way?” Exactly. I didn’t watch last night, but I already know I’d vote for any of the Dems on that stage over any of the Republican candidates, declared or undeclared. I’m still pulling for Newt Gingrich to be the Republican candidate, though. Next to Biden, no one puts his foot in his mouth more consistently. Come to think of it, Biden vs Gingrich would be a comedy goldmine, material for the Daily Show for decades. Long shot, though. 47 A.) Drinking scotch turns me into a jackass. Me, too, my wife tells me. What qualifications do you look for? The person with whom you would most like to share a joint. All due respect, Baby Jane, but NO. I am so done with the idea that we should somehow feel comfortable enough with a Presidential candidate that we’d want to “have a beer” with him/her or “share a joint.” We have now elected (twice, by some counts) a true idiot to be President, some say because people felt he was a “regular guy.” Fuck that shit. I want editors of the Harvard Law Review, Rhodes Scholars and stone-fucking wizards. Give me people who can find their own asses without needing a map. Give me people who can pronounce words and form thoughts. After six and a half years of incompetence, isn’t it about time we elected an over-achiever to the job? Obama, Clinton, Edwards, Richardson, Dodd. Let’s decide which one and get this show on the road. Time to show the country what a real leader looks like. 49 April 27, 2007 at 10:27 am DougJ Says: Pb—since I see you over at Kos, I’m going to ask: is Kos as bad as it seems to be? I love the idea of it but the commenters…I think you know what I mean, no? I used to diary at Kos but started spending time elsewhere. Whatever you do don’t point out that Hugo Chavez is just another dictator in liberators clothing or you’ll get flamed hard. Seem’s he’s a sacred cow over there despite reports that sure the poor are getting some help in Venezuela but it’s still the upper class benefiting from the Oil and wealth. 50 What qualifications do you look for? Someone who isn’t running for President, but someone we need as President. Richardson is the most qualified for the position, but I think he may want it a bit too much, he still has my strongest support. Gravel now has my interest, as he also shows strong Liberal Libertarian leanings, at least with taxes. And thats a very good note in my book. We need someone radical to shake things up. You know, someone who hasn’t spent the last 20 years preparing for their Presidency. April 27th, 2007 at 10:31 am I don’t want an “accidental” President. That’s fine for Dave Kovic and Tom Dobbs , but not so good for the real world. 52 April 27, 2007 at 12:20 pm To bang my favored drum, the milquetoast nature of most of the candidates (including Obama, sadly, from the reports I’ve read…though if everyone is going after him it means one thing – they are scared. Of the field of possibilities, I think Gore would be the best President, by a good margin, but of the current choices, Obama is my pick at the moment, but I digress) serves as object lesson in the desirability of public financing. As it is, even the Dem candidates have to do too much sucking up to ‘corporate’ interests, and AIPAC, and so on. The GOP candidates are similar – Romney is probably nowhere near the wingnut he is trying to be (he was elected governor in Massachusetts for f’s sake…), but their donor base makes every single one of them have to turn into ne-plus-ultra Dobsonite warmonger. I strongly believe that with public financing we’d see a much broader variety of opinions, and, additionally, the people who did get elected would be less ‘beholden’ to insular groups, and almost by definition more responsive to their constituents. Of course, it will never happen, because the present system is so protective of incumbents that who is going to make the effort to change it? 55 April 27, 2007 at 6:44 pm Since it appears that the Dems will hold the House and Senate in 2008, I may end up voting for the my first Republican for Prez ever. I do not want one party to have absolute control of our government, but that is just my opinion. With the Repubs holding all of the strings, we get one flavor of hell. We get another flavor of hell with the Dems in full control. I want tension in government, not a one way street. Neither side represents all of my views, and both represent threats to what I view as good for our nation. Both parties combined cover more of the bases I am interested in. The last thing I want is a gun free, PC nanny state, and I feel that this is what would be foisted on us if the Dems get absolute control. Maybe that is a bit strong, but I feel that is the direction in which the Dems would move. I did not watch the debates, and judging from what I have read I did not miss much. Instead, I changed to the comedy channel (Faux Noise). Billo was a riot about Moyers taking him apart, but what was really interesting was Insanity and Colmes. They had Bernard McGurk on (Of Imus infamy), and he was having a field day. He took Sharpton and MSNBC apart, and he did a good job of it IMO. Insanity and Colmes (and I) agree on something. The world must be coming to an end… 58 April 27, 2007 at 8:15 pm Since it appears that the Dems will hold the House and Senate in 2008, I may end up voting for the my first Republican for Prez ever. I do not want one party to have absolute control of our government, but that is just my opinion. With the Repubs holding all of the strings, we get one flavor of hell. We get another flavor of hell with the Dems in full control. I want tension in government, not a one way street. Neither side represents all of my views, and both represent threats to what I view as good for our nation. Both parties combined cover more of the bases I am interested in. You’re an idiot. I’ll bet you find David Broder’s analsyses of issues to be wise, moderate, and insightful. 59 April 28, 2007 at 1:34 am There is simply nothing Democrats could do between now and 2008 that would piss me off enough to vote Republican. And that includes Cindy Sheehan as VP- we survived Quayle, after all. There needs to be a real bloodletting. The GOP needs to be out of the executive branch for at least 4-8 years, and they need to be about 35% of the Senate and 40% of the House and think long and fucking hard before they ever are in leadership again. I simply will not vote for Republcians in 2008. Maybe if the Democratic Presidential candidate murders 100 cats and rapes a few newborns I will vote for Ron Paul. But I am not going to even pretend to be coy. There is no wooing me, at least for a while. I am not voting Republican in 2008. The rot runs deep, and no one with a brain would pretend otherwise. 61 April 28, 2007 at 1:55 am “I do not want one party to have absolute control of our government, but that is just my opinion. With the Repubs holding all of the strings, we get one flavor of hell. ” I would suggest that you should vote for good, non-Rovian Republicans at the state and local levels. If there are any, that is. If they all suck at Rove’s malignant teat, find a Libertarian. That’d improve the GOP’s national bench down the road. Voting GOP for President in 2008 just rewards them for epically bad behavior and for squandering over 3,000 American lives. 62 April 28, 2007 at 6:03 am I would only vote for a ‘real’ Republican if I ever felt I had to. Out of the current crop, that is nearly impossible. Ron Paul would be a good choice, maybe Fred Thompson. But I have to admit that I know little about Thompson. Any of the others are no-go. But on the Dem side, Hillary is unacceptable (no more Bush/Clintons, I am tired of them), as is Obama (little experience, and his move to stab Imus in the back after all of the support Imus threw him and Harold Ford Jr. turned me off). Edwards is ok, but nothing to get excited about. I like Biden, Dodd and Richardson too. But in the end, I do not want to participate in giving one party absolute control of the government. My wife and I are only two votes, but at least when things screw up (as they inevitably do with one party control) we can say ‘don’t blame us!’. My high school history/American government teacher said one thing that has stayed with me all of my life. He was so right about it that I laugh about it to this day. It was something like: ‘American government is like the pendulum in a clock. It swings from extreme to extreme, spending very little time in the middle. As soon as the people get fed up with one side of the swing, they move it to the other side until that exhausts them and they move it again. While it moves through the center of its swing, things are pretty good for most people. But it will keep moving to either extreme, it will never stay in the middle.’ He had that one dead on, IMO. One other thing he said that he was right about was: ‘If something goes wrong, like planes crashing from the sky, trains derailing or some other public crisis that upsets the American people, those in power call for committees to study the problem and to show that they are doing something about it. Since these panels can take a year or longer to reach a conclusion, by the time they issue their report, people are no longer upset and they can pretty much move on without having really done much to solve the problem. It is a method that those in power use to calm and control the masses.’ Mr. Bryant was a good teacher, and he was one of the more honest ones I had. Worst case scenario, we vote for Snoopy as a write in for Prez… 63 April 28, 2007 at 12:35 pm “as is Obama (little experience” More (and better) than Bush. And given his history and name, he’s probably the best guy to improve our relations with the Muslims who *aren’t* already signed up to strap on explosives, and can still be talked back from that line. I’d think they’d *at least* give him a huge amount of slack, waiting to see what he does, rather than assuming hostility as is likely with any other candidate. Seems to me that would be incredibly useful in getting us badly-needed traction in undoing the damage Bush has done to our position in the world. (Obviously, the hard core would still have to be dealt with, but we really need to do a better job of limiting the hard core’s recruiting ability.) 64
i don't know
Mimi is the heroine of which opera?
LA BOHEME Program Notes LA BOHEME Program Notes La Bohème:  Delight, Delirium, Death Karen Wachsmuth   The tragedy we find in Puccini’s La Bohème—an irreversible loss, too soon—might remind us of the words of the great eighteenth-century German poet and writer Friedrich Schiller: “Even the Beautiful must die” (Auch das Schöne muß sterben).  This phrase opens Brahms’ elegiac choral/orchestral work Nänie (German translation of Latin term for “funeral dirge”) and refers to the untimely death of Adonis, the Latin god of beauty and desire. While we may be familiar with the conventions of Italian opera and its sometime tragic endings, we still are shocked and heartbroken by the very real aspects of La Bohème: the mourning for lost youth, beauty, and love, and the shock of untimely death. We know that the beautiful must die, but we do not like to be reminded of it. This openness makes us the very best kind of listeners and operagoers—ready to believe, understand, and have our hearts broken again and again.   Puccini’s operas encourage us to be open emotionally, because they deal with real people and real scenarios with whom we might easily identify. His operatic style came to be known as “verismo,” or realism.  This style was radically different from other late nineteenth-century operas such as Wagner’s Ring of the Nibelungen, which featured gods, rings of fire, and supernatural realms. In contrast, Puccini’s operas have simpler, realistic plots that deal with contemporary issues.  His music is eminently singable, melodic, and often conveys a kind of emotional naïveté and innocence. Well-known nineteenth-century music critic Edouard Hanslick saw the new verismo operas as a kind of end to traditional nineteenth-century opera, “a sensational break with the last romantic and artistic traditions of opera.” (Hutcheons, p. 48)  While some may find La Bohème to be “sentimental,” thousands of appreciative listeners have flocked to hear it since its premiere in 1896.    The characters in La Bohème are a group of artists or “Bohemians,” which give the opera its title. The term “Bohemian” refers to an irregular but celebrated way of life, a cult of youth that originated in the Latin Quarter Paris of the 1830s. The Bohemian life was embraced by artists, musicians, and writers such as Baudelaire, Courbet, and Balzac.  Henri Murger (b.1822) was probably the first bohemian, with a group of friends who formed a society known as the “Water Drinkers” (Buveurs-d’eau). They spent much of their time drinking coffee and smoking at the Café Momus, often without paying the bill, lived in poverty doing odd jobs, and frequently wound up in the hospital due to poor health and appalling living conditions. Murger first wrote a series of articles on the subject called Scènes de la Bohème that were followed by a successful play, La Vie de Bohème (1849), co-written with Théodore Barrièrre. The libretto of Puccini’s La Bohème is based on these two sources.  In these scenes he introduces friends who were known as the “Four Musketeers”: Colline, the great philosopher, Marcel, the great painter, Schaunard, the great musician, and Rodolphe, the great poet.  The lovely young girl who makes artificial flowers in a factory appears in one of the articles—she is known as Louise and later becomes Puccini’s Mimi.   The appeal of the play was described by English poet Arthur Symons as irresistible:   As long as men and women are young, and not quite virtuous, so long will this kind of life exist…and never has it been rendered so sympathetically, and with so youthful a touch of sentiment…To be five-and-twenty, poor and in love: that is enough; at that age, and in those circumstances, you will feel that Murger has said everything.               (English National Opera Guide: La Bohème, Riverrun Press, 1982)   A critic of the period writing about Murger’s play defined Bohemia in a sharp but perhaps accurate way:   Bohemia was in the department of the Seine.  It was bordered on the north by the cold, on the west by hunger, on the south by love, and on the east by hope.               (English National Opera Guide: La Bohème, Riverrun Press, 1982)   Despite Murger’s success, the Bohemian life took its toll on him, and he died at the young age of 38, like so many of the Romantic composers and writers who died in their 30’s: Schubert, Mendelssohn, Chopin, Keats, Shelley, and others. His last words were: ‘No music, no noise…no Bohemia, no Bohemia!”   Artists like Murger leading the Bohemian life were highly susceptible to the plague of their time as a result of their lives of poverty.  This disease was known as “consumption,” or “phthisis” (an ancient term originally having to do with weight loss), which we now know as tuberculosis. Tuberculosis/consumption was highly contagious and a common cause of death; fully 25% of the population died from tuberculosis in Europe in the nineteenth century.  The new verismo traditions allowed the disease to make its way into opera as well, afflicting the tragic heroines of operas such as Mimi in La Bohème and Violetta in Verdi’s La Traviata.    Leading scholars have written extensively about the relationship in opera between tuberculosis in particular and disease in general, including Linda and Michael Hutcheon, Sander Gilman, and Susan McClary.  In the Hutcheons’ wonderful collaborative book Opera: Desire, Disease, Death (U. of Nebraska Press, 1996), the connection is made between tuberculosis as a kind of punishment like a Biblical plague—punishment for free sexuality in Bohemian life outside of marriage.  In the chapter entitled “Famous Last Breaths” is a quote from an 1853 medical text:   Of all vices, however, none are so apt to lead on consumption as the unnatural or unrestrained indulgence of the sensual passions.   Tuberculosis produced its own mystique, as a set of characteristics of sexual attractiveness, what we might call “hotness.”  This was known as the “phthisic beauty,” which was composed of pale skin, red cheeks, exceptional thinness, and shining eyes.  Being flushed and feverish also had a sexual connotation.  The last stage of the illness often produced a brief revival in which the patient seemed to come to life with passionate intensity before suddenly expiring.  Susan Sontag wrote about the sexual myths of tuberculosis in her book Illness as Metaphor:   TB was--still is--thought to produce spells of euphoria, increased appetite, exacerbated sexual desire…Having TB was imagined to be an aphrodisiac, and to confer extraordinary powers of seduction.   Our heroine, Mimi, is frail, beautiful, twenty-two, and already symptomatic with tuberculosis when her lover, Rodolfo, first meets her.  She has a coughing fit, pale and trembling and exhausted from climbing the steep stairs to her garret room.  She tells of her craving for spring and for fresh flowers, but instead she is surrounded by the lifeless, scentless flowers that she embroiders every day.  As a factory worker in northern Italy at the time, her working conditions would have been very cramped and would have served as an excellent breeding ground for tuberculosis.   The poet Rodolfo, who falls instantly in love with Mimi, recognizes her frailness but is mesmerized by it.  In Murger’s description: “This frail beauty allured Rodolfo… But what wholly served to enchant him were Mimi’s tiny hands…”  In Rodolfo’s famous aria, Che gelida manina (Your tiny hand is frozen!) he seeks to impart his desire and passion to her: “Let me warm it.”    The contrast between the opening scene of the opera, where the artists burn their works in a comic and fiery frenzy to create some warmth in their frozen apartment, and this tender scene is an intriguing one.  The Bohemians have learned to fend for themselves, and, in a contradictory way, even destroy their own artworks in order to continue the “life of art.”   Mimi, on the other hand, is not one of their tribe.  While she enjoys her needlework, the “fire” has gone out of her—she is cold, and ill. Rodolfo’s attraction to her is an interesting polarization of opposites.  Mimi is also seen in contrast to Musetta, the other major female character, who is bold, confident, flirtatious, and capable of doing anything to survive, even if it means using her wiles to find a wealthy man she does not love to support her.   Throughout their relationship, Rodolfo is overcome with jealousy and fear that Mimi will leave him for someone who can better provide for her material needs. Rodolfo also fears Mimi’s death.  He knows that Mimi is frail, that the disease is consuming her, and that he is bound to lose her. He finally leaves her, saying “It is finished!” The Hutcheons suggest that Rodolfo has perhaps fled for fear of his own life, since tuberculosis was by this time known to be very contagious.  He confesses his fears and his guilt to his friend Marcello in Act III:   In vain I’m hiding all the torture that racks me. I love Mimi, she is my only treasure, I, I love her, But I have fear, I have fear. Mimi’s so sickly, so ailing! Every day she grows weaker, That poor unhappy girl is condemned! A terrible cough shakes her chest, already her gaunt cheeks are blood-red… And my room’s a squalid hole, with no fire. Remorse assaults me--I am the cause of the fatal illness that is killing her!   Rodolfo’s last sentence is a curious one: how can he be the cause of her illness? Is the Bohemian lifestyle he has pledged killing the love of his life and therefore his dreams?     In the last scene, when Mimi returns to the flat she shared with Rodolfo to spend her last moments, her hands are again cold and lifeless, just as in the first scene. She has a short-lived respite from her illness, known as the “spes phthisica,” (state of euphoria) where she entertains vain hopes of recovery.  The friends take up a collection to buy her a muff to warm her hands, which Rodolfo has never succeeding in doing, despite his love for her.  Her final words are: “My hands are much warmer; and...I’ll sleep now.”   Mimi has been described as the “femme fragile” (fragile woman), a term that replaces the usual “femme fatale” operatic stereotype (Hutcheons, p. 59).  As the desirable object of Rodolfo’s affections, she represents a kind of “fatal attraction,” a dangerous beauty whose being combines both love and death.   Puccini himself was deeply touched by Mimi’s character. In Puccini’s autograph score, he marked the chord where Mimi died ppppppp (pianissississississimo--“extremely soft”).  He also drew a skull and crossbones beside it.  Puccini said later, that when he had completed this scene, he “had to get up and, standing in the middle of the study, alone in the silence of the night, I began to weep like a child.  It was as though I had seen my own child die.” (English National Opera Guide: La Bohème, Riverrun Press, 1982)   Murger, in describing the Bohemian life, writes:    Bohemia has a special dialect, a distinct jargon of its own… A gay life, yet a terrible one!   Here the word terrible is used as in the famous opening chorus of Sophocles’ Antigone-- terrifying, terrific, awesome, great, powerful, dangerous: “Many are the wonderful/terrifying things, but none is more wonderful/terrible than a human being.”   It is just this terrible aspect of these artists’ lives that we see at the end of Puccini’s opera—the terrible fate that can befall them, the great force of love, and sometimes the loss of love, of health, of their dreams.  When Mimi dies, something dies in us—the recognition that the Beautiful cannot live forever; that, as Schiller says, “Even the Beautiful must die.”  We know that from the plague of our own time, the HIV/AIDS epidemic, that has claimed a nd still claims millions of lives.  Still, La Bohème, with its vibrant rhythmic energy, beautifully crafted melodies, and innovative orchestration also reminds us of the energy and passion of our youth, our dreams of love, and the importance of art in continuing to bring us closer to the terrible but beautiful center of our beings.
La bohème
What are the women’s trousers cut to look like a skirt?
MIMÌ AND THE STAGES OF LIFE: Lyric explores why Puccini’s classic gets us all where we live « The Independent Arts Corner By Paul Horsley La Bohème is a cradle-to-the-grave kind of opera. No matter where you are in life, it has something to offer. “Each time you revisit this piece you see a whole different aspect of it, and I think that’s probably its greatest strength,” says Linda Brovsky, who directs the Lyric Opera’s production of Puccini’s classic that opens March 15th. “You’ll always find something different.” Young people can connect with the blush of first love that Mimì and Rodolfo feel in the first half of the opera, but grasping the opera’s more serious later themes of poverty, illness and death requires some maturity. “When you’re young, you concentrate on Acts 1 and 2,” says Linda, who has brought memorable productions of The Barber of Seville and Eugene Onegin to the Lyric, in addition to credits with the companies of San Francisco, Santa Fe, Seattle, Los Angeles, St. Louis, Glimmerglass and many others. “I think you have to be in your 30s and 40s to get Act 3, and in an odd sort of way you have to have experienced the loss of a loved one to really understand Act 4.” Linda Brovsky Sure, young folks can experience the weepy thunder-clap of Act 4 as a tragic end (spoiler alert!) to a short life. “But for someone who has lived and has actually gone through those things in their own life, there’s a knowing and an understanding of the greater picture.” It helps that the title character of Bohème, the seamstress Mimì, is the most adorable heroine in all of opera. Trusting, loving, vulnerable, but with a core of inner strength that draws the impetuous Rodolfo toward her, she is the archetype of the operatic heroine we love to watch die. Enter Katie van Kooten , the soprano with Metropolitan Opera, San Francisco Opera and Covent Garden credits who stole the show in the Lyric’s 2011 Marriage of Figaro. Though she says she can’t immediately relate to Mimì’s wallflowerish personality, she says she “gets” the depths and dimensions of true love that we all yearn for early in life. “All I can do it do it as me,” says the soprano, a veteran of the role whom the Houston Chronicle said “conveyed Mimì’s bravery, passion and integrity in great emotional outpourings.” Katie Van Kooten / Photo by Sussie Ahlburg “The thing that I can relate to in Mimì is that I feel things deeply,” Katie says. “I think she feels things incredibly deeply. She ponders things away in her heart. Maybe they’ll never be shared. She keeps this kind of emotional journal of what’s going on with her, so in the moments that we get to see her heart, it’s all the more powerful because she doesn’t force her way into the spotlight.” Strong as she may be, Katie says that the sheer emotion of the role, and the brilliance of Puccini’s writing, has a predictable impact each time she prepares the role. “There are moments that I can’t even get through it the first couple of times, because it’s so real and so touching and so practical.” She points to a moment in Act 4 where the poet Rodolfo says she’s as beautiful as the dawn, while the dying Mimì points out that he’s mistaken: She’s as beautiful as a sunset. “And it gets me every time. It’s so poetic, so poignant—and it’s so her. It’s the simplest way of reprimanding him, of reminding him that the sun is setting.” Giorgio Berrugi Still, not everything in Bohème is doom and tragedy. “It’s a sad show but there are a lot of light-hearted moments,” Katie says. “They’re are in the prime of their youth. Love is meant to be lived and enjoyed to the fullest.” The Lyric has assembled an aptly youthful cast: Giorgio Berrugi is Rodolfo, Ellie Dehn is Musetta, Lucas Meachem is Marcello, Ben Wager is Colline and Marcus DeLoach is Schaunard. Also see “Surprised by Her Own Voice: Five Questions for Katie Van Kooten” here . La Bohème runs March 15th through the 23rd at the Kauffman Center (816-471-7344 or kcopera.org ).  To reach Paul Horsley, performing arts editor, send email to [email protected] or find him on Facebook ( paul.horsley.501 ) or Twitter ( @phorsleycritic ).  A slider with the ID of 2 was not found.
i don't know
Which famous brewery is situated in Banbury, Oxfordshire?
Hook Norton | Village | Banbury|Oxfordshire Hook Norton Details This picturesque village, situated 9 miles from Banbury and 6 miles from the market town of Chipping Norton, is known to its local population simply as ‘Hooky’ and is synonymous with the ale produced there. Hook Norton had many thriving ironstone quarries, and whilst the railway which helped serve the same has long since disappeared, the tall stone pillars which supported two railway viaducts can still be seen to the south of the village. Hook Norton is most known for its thriving brewery, which started up over 150 years ago, with its famous steam engine that has powered most of the machinery in the brewery since 1899. The brewery has its own museum and visitors’ centre, and still supplies traditional ales to many pubs in the area. The village has a true community spirit with a large number of local events including an annual Beer Festival. Contact
Hook Norton
Who was America’s ‘Public Enemy No.1’ in the 1920s and 30s?
Local Pubs | Shotteswell.com Local Pubs Local Pubs A Selection of Pubs in the immediate area. See links to Battle field sites at Edgehill & Cropredy and Fairport music festival held every August at Cropredy. Farnborough Farnborough Inn The Inn at Farnborough is a C16th public house situated in the historic National Trust village of Farnborough, just 5 miles north of Banbury. Step inside the Inn and you will find a fabulous country pub, tastefully restored with a modern twist. Sensational food reflects the locality and the seasons and is served by friendly and attentive staff. An extensive wine list is complimented by Warwickshire Purity Brewery Real Ales and Peroni on draught. The Inn also serves ‘proper coffee’ by trained Baristas. The Inn is surrounded by some of the most fabulous walks that the region has to offer – whether a brief stroll around Farnborough Hall’s lake before lunch or a longer walk over the Dassett Hills with a stop for a pint! The Inn is perfectly situated to be enjoyed throughout the seasons with a large terraced garden, perfect to for a glass of something chilled in the summer or roaring log fires to welcome you on a cold winter’s day. “The Inn is a picture, without and within, and boasts an old-fashioned bar serving Hooky — we tried some — straight from the barrel. Everything was delicious.” Warmington Plough Warmington The Plough, Warmington 01295 690666 Privately owned real ale pub with 5 real ales available. Good home cooked food with varied menu. New owner has expanded range of offerings and well worth a visit. Wobbly Wheel Enjoy our great value menu at the Wobbly Wheel Brewers Fayre for classic food at tasty prices. At the Wobbly Wheel Brewers Fayre pub restaurant you’ll find pub food as it should be with our every day great value menu. Hornton A traditional Village Pub & Kitchen in the heart of the village of Hornton, North Oxfordshire. Comfortable, relaxed, welcoming and informal, we offer a range of cask ales, lagers, ciders and a carefully chosen wine list, most of which are available by the glass. Been walking or gardening all morning? Just leave your boots by the door and warm your feet by the fire. What about the kids? We think that they should be welcomed, not just tolerated. Dun Cow Hanwell Moon and Sixpence Situated on the outskirts of Banbury in the beautiful North Oxfordshire village of Hanwell, The Moon & Sixpence is a very popular destination. Run by chef Hylton Bradley, the pub’s highly trained brigade of cooks and equally trained waiting staff work together to give customers a meal experience second to none. Wharf Inn The Wharf Inn is a traditional canal side public house on the banks of the Oxford Canal. In addition to the attraction and convenience of our location the Wharf lnn offers much more than just an opportunity to watch the boats pass by. We have a wide selection of real ales, draft lagers and beers as well as a comprehensive range of wines, spirits and soft drinks, teas and coffees are always available. We also have a comprehensive menu that provides a choice of snacks, grills, burgers and, on Sunday, roasts Cropredy It would be difficult to imagine a more picturesque building than The Red Lion Inn with its walls of honey-coloured local stone and its roof of grey, beautifully crafted thatch. Even the porch has its own covering of thatch. Cropredy village sits beside the Oxford Canal, amongst beautiful countryside, with towpath walks stretching for miles in either direction and the inn itself, is just a few moments walk from the Cropredy Lock, along the delightful Red Lion Street. This pretty village is steeped in history and every four years witnesses the re-enactment of the 1644  Battle of Cropredy Bridge . Each year the village is home to the famous Cropredy Fesitval. This lovely, family folk festival is organised by the legendary folk band,  Fairport Convention. The Red Lion About the Brasenose Arms The Brasenose Arms is a 17th century Country Inn, situated in the heart of Cropredy, a rural village just 4 miles north of Banbury, Oxfordshire. Originally three cottages, it was converted into a Public House in the late 17th century. Cropredy lies on the west bank of the River Cherwell. Over 350 years ago,  Cropredy Bridge  was the site of a major battle during the English Civil War in 1644. Today, it hosts Britain’s (if not Europe’s) ‘friendliest’ music festival – Fairport’s Cropredy Convention – staged every year in August by members of the great British folk band – Fairport Convention. Brasenose Arms Edge Hill Can there be a more unusual pub in Britain? Can there be a pub with better views? The views from the Castle Inn’s garden and terrace stretch out across several neighbouring counties. Some say that, on a clear day, it is possible to make out the Wrekin in Shropshire and the foothills of the Welsh mountains! However, the less distant hills of Broadway and Malvern are more obvious. The pub is built on the summit of Edgehill, some 700ft above sea level. It overlooks the battlefield of Edgehill where Englishman fought Englishman in the first major battle of the English Civil War. The pub’s octagonal tower marks the spot where, on the afternoon of Sunday 23 October 1642, King Charles I raised his standard and summoned his officers about him to prepare for war. The Castle Inn, is also known as The Round Tower, or Radway Tower. Inside there are two bars –one contains replicas of armour and weapons used during the battle, the other is the place to indulge in pub games while enjoying some home cooked food. There is a small covered terrace, which offers some stunning views as does the garden outside. Although its postal address is Banbury, Oxfordshire, the village of Edgehill actually nestles about a mile inside the Warwickshire border. The octagonal tower was started in 1742 to commemorate the 100th anniversary of the Battle of Edgehill and was opened on 3rd September, 1750, the anniversary of Oliver Cromwell’s death. It was built by Sanderson Miller, or Millar, who lived in nearby Radway. The Battle of Edgehill The King’s line was along the crest of the hill. The Parliamentary soldiers under Lord Essex – having marched from Worcester via Kineton in ten days – were beyond the village of Radway in the plain immediately below the pub. Many renowned Warwickshire families were involved in the Battle of Edgehill; the Verneys, the Fieldings and the Shuckburghs. Father fought son, brother matched brother. Some 30,000 Englishmen took arms against each other. But like so many, the Batttle of Edgehill was indecisive – a mix up of slashing steel, cannon and musket fire which claimed the lives of more than 1,500 men on each side. Today the King’s men and Parliamentary troops often drink side by side at the pub as it is frequently used by groups recreating the famous battle. The pub The tower first became an Inn in 1822 when it was sold by a descendant of Sanderson Miller to become a free house. The story goes that he was a minister of religion and that the decision was unpopular with his family. In 1922 the Inn was acquired by the Hook Norton Brewery. For walkers there are many nearby public footpaths and bridle paths, There is a maze of trails in the woods close to the Inn while, across the road a public path leads through and over some of the local quarries. Location Motorists are a short drive away from Banbury, with its famous nursery rhyme Cross, Shakespeare’s Stratford, historic Warwick, Royal Leamington Spa and the rolling hills of the Cotswolds. Less than two miles from the Inn is the National Trust property Upton House. Castle Inn
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What is carrageen or Irish Moss?
Carrageen Irish Moss (Chondrus crispus) - Irish Seaweeds Carrageen Irish Moss (Chondrus crispus) Carrageen Irish Moss (Chondrus crispus) We are currently out of stock of Carrageen – sorry for any inconvenience  Carrageen / Irish Moss / Chondrus crispus Carrageen Irish Moss Carreroe Co Galway Copyright Prof Michael Guiry   Common Names : Carrageen Moss, Carrageen, Carragheen, Irish Moss, Jelly Moss Irish – Carraigín – Little rock Distribution : Carrageen / Irish Moss – Chondrus crispus – is a common red seaweed found on both sides of the Altantic Ocean, along the Canadian shoreline and from Iceland to Spain and Portugal. It can be found on the mid to low shore in poorly drained rock pools and surfaces. Description : Carrageen / Irish Moss – Chondrus crispus – is a red macro alga / seaweed that rarely exceeds 15cm / 20cm in height. Its branches / fronds are 2 to 15mm broad, firm in texture, broadening out in a fan shape. It is dark red brown in colour but bleaching to white / yellow in sunlight. Underwater the tips of Carrageen / Irish Moss – Chondrus crispus – often have a violet iridescence that disappears when the plant is out of the water. History and Uses : Carrageen / Irish Moss – Chondrus crispus – has long been known for its gelling properties and it is one of the industrial sources of Carrageenan – which is commonly used as a thickener and stabilizer in milk products, ie ice cream and processed foods. It is E407 or E407b. It is the hydrocolloid carrageenan with the plant that produces this gelling property. It is this property that makes carrageenan a low cost food ingredient for its thickening, suspension, preservative and fat and milk-protein stabilization abilities. Food applications for carrageenans (E407 and E407b) are numerous – e.g., canned food, including canned pet food, dessert mousses, salad dressings and instant desserts. Industrial applications for carrageenans and Carrageen are also diverse and numerous – e.g., clarifying beer, wine and honeys. With beer clarification, a small amount of Carrageen / Irish Moss / Chondrus crispus is boiled with the wort. It extracts the proteins and other solids which can then be removed from the mixture after cooling. Traditionally carrageenans were used in the soap industry, leather curing, calico printing, paper marbling and in the manufacture of paper and linen to help produce a soft finish to the material to help any print adhere to it. Today carrageenan uses are so diverse, you have probably consumed it and other seaweed / algae extracts without knowing it. They are used in various foodstuffs, toothpaste and creams and lotions. Traditional Medical Uses :- Carrageen / Irish Moss / Chondrus crispus has traditionally been used for numerous medical applications, some dating back to the 1830s. It is still used today to make traditional medicinal teas and cough medicines, to combat colds, bronchitis and chronic coughs. In Venezuela, Ireland and Scotland, it is boiled with milk and honey is added as a home remedy for sore throats and chest congestions. Its has also know anti-viral properties. In Jamaica and Trinidad and Tobago, it is boiled with milk and cinnamon to make the thick drink “Irish Moss” and its believed to be an aphrodisiac (!) Carrageenan is also used as a suspension agent and stabiliser in lotions and medicinal creams.
Seaweed
What is the general term for a three-panelled altar piece?
Carrageenan Dangers - Carrageenan Safety | Dr. Weil 2 min Is Carrageenan Safe? What can you tell me about carrageenan? I know that it is widely added to foods like ice cream and yogurt, but I’ve heard that it isn’t good for you and should be avoided. True? If so, why? – November 1, 2016 Carrageenan is a common food additive that is extracted from a red seaweed, Chondrus crispus, which is popularly known as Irish moss. Carrageenan, which has no nutritional value, has been used as a thickener and emulsifier to improve the texture of ice cream, yogurt, cottage cheese, soy milk, and other processed foods. Some animal studies have linked degraded forms of carrageenan (the type not used in food) to ulcerations and cancers of the gastrointestinal tract. More worrisome, undegraded carrageenan – the type that is widely used in foods – has been associated with malignancies and other stomach problems. In 2012, Joanne K. Tobacman, MD, who has published multiple peer-reviewed studies that address the biological effects of carrageenan, addressed the National Organic Standards Board on this issue and urged reconsideration of the use of carrageenan in organic foods. According to Dr. Tobacman, her research has shown that exposure to carrageenan causes inflammation and that when we consume processed foods containing it, we ingest enough to cause inflammation in our bodies. That’s a problem since chronic inflammation is a root cause of many serious diseases including heart disease, Alzheimer’s and Parkinson’s diseases , and cancer. Dr. Tobacman also told the board that in the past, drug investigators used carrageenan to cause inflammation in tissues to test the anti-inflammatory properties of new drugs. And she reported further that when laboratory mice are exposed to low concentrations of carrageenan for 18 days, they develop “profound” glucose intolerance and impaired insulin action, both of which can lead to diabetes . She maintains that both types of carrageenan are harmful and notes that, “degraded carrageenan inevitably arises from higher molecular weight (food grade) carrageenan.” Research suggests that acid digestion, heating, bacterial action and mechanical processing can all accelerate degradation of food-grade carrageenan. Despite such findings, carrageenan is still approved by the US Food and Drug Administration as an additive and remains widely used in many food products. In fact, in 2015, the Joint Expert Committee of the Food and Agriculture Organization of the United Nations and World Health Organization on Food Additives announced that carrageenan was “not of concern” when used in infant formula at concentrations up to 1000 milligrams per liter —even though the European Union has banned it for this use. All told, as far as carrageenan safety goes, I recommend avoiding regular consumption of foods containing carrageenan. This is especially valuable advice for persons with inflammatory bowel disease . Andrew Weil, M.D.
i don't know
Richard Ashcroft fronted which 1990’s band from Wigan?
The Verve - The Drugs Don't Work - YouTube The Verve - The Drugs Don't Work Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jun 22, 2009 Singer/Songwriter Caleb Lane covers The Verve's "The Drugs Don't Work" Follow Caleb Lane on Twitter @ https://twitter.com/#!/CalebLane_ The Verve were an English rock band formed in 1989 in Wigan by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bassist Simon Jones, and drummer Peter Salisbury. Guitarist and keyboardist Simon Tong later became a member. Beginning with a psychedelic sound indebted to shoegazing and space rock, by the mid-1990s the band had released several EPs and three albums. They also endured name and line-up changes, breakups, health problems, drug abuse and various lawsuits. Filter referred to them as "one of the tightest knit, yet ultimately volatile bands in history".[1] Their commercial breakthrough was the 1997 album Urban Hymns and their single "Bitter Sweet Symphony", which became a worldwide hit. Soon after this commercial peak, the band broke up in April 1999, citing internal conflicts.[2] During their eight year split, Ashcroft dismissed talk of a reunion, saying: "You're more likely to get all four Beatles on stage".[2] The band's original line-up reunited in June 2007, embarking on a tour later that year and releasing the album Forth in August 2008. In 2009, the band broke up for the third time. The founding members of Verve met at Winstanley Sixth Form College, in the Metropolitan Borough of Wigan, Greater Manchester. The band's first gig was at a friend's birthday party at the Honeysuckle Pub, in Wigan, on 15 August 1990.[4] Most of the band's early material was created through extensive jam sessions.[5] Fronted by singer Richard Ashcroft, the band caused a buzz in early 1991 for its ability to captivate audiences with its musical textures and avant-garde sensibilities. The group were signed by Hut Records in 1991[6] and their first studio releases in 1992, "All In The Mind", "She's a Superstar", and "Gravity Grave" (along with the December 1992 Verve) saw the band become a critical success, making an impression with freeform guitar work by McCabe and unpredictable vocals by Ashcroft. Those first 3 singles reached the first spot in the UK Indie charts, and "She's a Superstar" did enter the UK Top 75 Singles Chart. The band saw some support from these early days in the United States in some music scenes in big cities like New York connected with psychedelic spacey music. Category
The Verve
The French town of Montelimar is famous for the production of which confection?
The Verve - Bitter Sweet Symphony - YouTube The Verve - Bitter Sweet Symphony Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 13, 2010 The Verve (originally Verve) were an English rock band formed in 1990 in Wigan by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bassist Simon Jones, and drummer Peter Salisbury. The members had met at Winstanley Sixth Form College. Simon Tong later became a member. Beginning with a psychedelic sound indebted to shoegazing and space rock, by the mid-1990s the band had released several EPs and two albums. They also endured name and line-up changes, breakups, health problems, drug abuse and various lawsuits. Filter referred to them as "one of the tightest knit, yet ultimately volatile bands in history". Their commercial breakthrough was the 1997 album Urban Hymns and their single "Bitter Sweet Symphony", which became a worldwide hit. Soon after this commercial peak, the band broke up in April 1999, citing internal conflicts. The band's original line-up reunited in June 2007, embarking on a tour later that year and releasing the album Forth in August 2008. A year later it was announced that, for the third time, the band had split. "Bitter Sweet Symphony" is a song by English alternative rock band The Verve. It is the lead track on their third album Urban Hymns (1997). It was released on 16 June 1997 as the first single from the album, reaching number two on the UK Singles Chart. The single was released in the United States in early 1998, where it reached number twelve on the Billboard Hot 100. The song also became famous for the legal controversy surrounding plagiarism charges. Rolling Stone ranked "Bitter Sweet Symphony" as the 382nd best song of all time. In May 2007, NME magazine placed "Bitter Sweet Symphony" at number 18 in its list of the "50 Greatest Indie Anthems Ever". In September 2007, Q published a list of "Top 10 Tracks" as selected via a poll of 50 songwriters; "Bitter Sweet Symphony" is included. In the Triple J Hottest 100 of All Time, 2009 (an online music poll conducted by the Australian radio station Triple J) the track was voted the 14th best song of all time. Although the song's lyrics were written by Verve vocalist Richard Ashcroft, it has been credited to Keith Richards and Mick Jagger after charges by the original copyright owners that the song was plagiarized from the Andrew Oldham Orchestra recording of The Rolling Stones' 1965 song "The Last Time". The image is a painting by Gustav Klimt Lyrics:
i don't know
Which pop star was depicted as Christ crucified at Marylebone parish church London?
Statue of Pete Doherty as Christ crucified to be displayed in London church | Consequence of Sound The No. 1 Source For Breaking Music and Film Headlines Statue of Pete Doherty as Christ crucified to be displayed in London church Reddit Before The Libertines head out on another round of reunion tour dates this summer, frontman Pete Doherty will be heading to church — sort of. A statue of Doherty depicted as Christ on the cross will be on display at London’s St. Marylebone Parish Church from February 19th through March 17th. Set to debut alongside other representations of the Passion of the Christ, the statue, cleverly titled “For Pete’s Sake”, was originally created by Doherty’s friend and artist Nick Reynolds back in 2008. According to Reynolds, he made the piece at a time when “I saw Pete being crucified by the media and that provided the basis of my inspiration to make this piece.” Above, you can see the actual Doherty undergoing plaster casting for the statue. As for why a church would allow a former drug addict and renowned troublemaker to be depicted as their Lord and Savior, Reverend Canon Stephen Evans said that because Doherty has since found sobriety, he hopes the statue “might help visitors to the exhibition stop and reflect not only Christ’s Passion and Resurrection and what this means but also to stop and reflect on what in their own lives leads to death or to life.” The show, called simply “Stations of the Cross”, was planned by Ben Moore to benefit the Missing Tom Fund, which raises money to support the search for Moore’s sibling who disappeared in 2003. Following the exhibition, the statue will go on sale for £33,000 (approximately $50,622 USD). The Libertines, meanwhile, recently signed with Virgin EMI , with hopes of delivering a new record by the end of this year. Artists
Pete Doherty
What was the name of the bear in Rainbow?
Doherty’s ‘crucifixion’ is not blasphemous – The Student Comments 0 Pete Doherty has sparked a new controversy lately after a life size sculpture of himself crucified on a cross was unveiled in St. Marylebone church in London. The statue called “For Pete’s Sake” has sparked debate over whether it is blasphemous to have a rock star portrayed as Jesus in a church. Commissioned by Doherty himself, the piece of art, like his blood-spattered drawings of a few years ago, is talked about mostly for its shock-factor. However, while it’s not much to look at, “For Pete’s Sake” should not be regarded as blasphemous.  Indeed, it is useful in the conversation it provokes. In his article for The Guardian, Jonathan Jones reminded us how gruesome and strange depictions of Christ are hardly atypical in the history of Christianity, and in fact have been encouraged by the church over the centuries. Nor is it strange to have a pop star depicted as Jesus, though this is slightly more unsettling. Albrecht Dürer, known for his religious art, produced a self-portrait where he appears to have intentionally made himself look like Jesus. Madonna named herself after the mother of Jesus. There is nothing new about “For Pete’s Sake” in the history of Christian art. It would be silly to call such representations blasphemous, instead they are, or are attempting to be, art. Unless Pete Doherty accompanies the statue with a claim that he himself is Jesus and or God, there is nothing wrong with it.  Obviously, there is nothing in the Bible about this particular situation, but blasphemy usually involves showing contempt for God or idol worship. People are not going to start getting confused and praying to Pete Doherty because of this statue. Most Christians’ first thought when they see a piece of art in church is not “Here is a true depiction of Jesus. Let me worship it.” Usually artwork is there to make people think, remind them of enlightening Bible stories, and serve as something pleasing to look at. The statue is merely trying to make a statement, not overthrow people’s belief systems and create a new Doherty-worshipping cult. Moreover, the statue is not doing anything to insult God or Jesus. The argument that it is blasphemous to compare Doherty to Jesus is null. If it not blasphemous, why should it not be put in a church?. It is important to note that even if the work could be regarded as blasphemous, it does not mean that it should then be censored from being exhibited within a church. While I cannot say I would love to have a statue of crucified Pete Doherty hanging over me at church, kudos to the community that decided to display it in theirs. They have started a discussion over what should be considered acceptable in a church setting, leading to a possibly more liberal view on the parameters of acceptability. “For Pete’s Sake” is a piece of art which rather than contempuously challenge the tenets of Christianity, is instead appropriating an image for strictly aesthetic purposes.
i don't know
The American woodchuck is also known by what name?
Woodchucks Woodchucks [email protected] Woodchucks The woodchuck—also known as groundhog—is commonly found to the east of a line extending through Manhattan southwest to Arkansas City. Populations of woodchucks seem to be increasing and extending their range further west in Kansas. The scientific name is Marmota monax. The first part, Marmota, is the Latin word for "marmot," the name given to the European marmot or the North American marmot, which is a close relative of the woodchuck. The last part, monax is an American Indian name for this rodent and means "the digger"; it alludes to the woodchuck's habit of excavating burrows. The woodchuck has a compact, chunky body supported by relatively short, strong legs. Its tail is short and bristly. Its forefeet have long, curved claws that are adapted for digging ground burrows where it seeks refuge and hibernates during winter months. Its color is usually a grizzled brownish-gray, although fur color may vary from white to black. Woodchucks have chisel-like incisor teeth. From tip of nose to end of tail, woodchucks are approximately 20 to 27 inches long and weigh from 5 to 12 pounds. Woodchuck Control
Groundhog
Which creature has a symbiotic relationship with the Egyptian plover?
The Woodchuck The Woodchuck Some Groundhog facts   The Woodchuck (Marmota monax) is also known by the names Woods pig, Ground hog, Whistle-Pig, Mountain Marmot, Whistler, Hedge-Hog, and even the curious designation of Whatnot. The common moniker of Woodchuck is actually an anglicized corruption of this species' Indian name. The origin of its other most frequently used title, the Ground hog, is of course self-evident from the heavy, squat body and waddling gait, as well as the practice of living in the ground. The Woodchuck is a stout-bodied marmot of the family Sciuridae (of the order Rodentia). Woodchucks are black-footed, reddish and yellowish-brown to brown animals, ranging from 17 to 20 inches in length, with 4- to 6-inch tails. They weigh an average of between 4 and 14 pounds, though some corpulent specimens have been known to exceed 25 pounds!   Said to have actually originated in South America, the Woodchuck is distributed far and wide, and from the eastern and central United States northward across Canada and into Alaska, they are known as animals of the open fields and woodland edges, where they feed mainly on low green vegetation (their favorite of foods is clover.) When North America was first settled, woodchucks were relatively scarce, but as timbered areas were opened and woodland edge, fence row and meadow increased, range expanded and the animals prospered. At present Marmota Monax is common everywhere in North America. The Woodchuck is also said to be found in Europe, inhabiting the lofty alpine meadows of Switzerland as well as the Carpathian mountain ranges, Africa, and the Far East. In fact, one may find a Woodchuck in all parts of the world save Australia, New Zealand, and both Poles.   Woodchucks are first and foremost excellent diggers, constructing an elaborate system of burrows, each with both a main entrance and an escape tunnel. They are mainly land dwellers but are also on necessary occasion good swimmers and climbers. They feed quite heartily and heavily in the summer, storing the thick layers of fat that they need to see them through their winter "hibernation," though they are not in point of fact true hibernators. They will slumber for extended periods due to temperature, whereas true hibernators follow their cycle due to the length of solar exposure for a given time of the year. Woodchucks are solitary except during the spring, when litters of four to five young are born. The young stay with the mother for about two months.   Feb. 2nd, Groundhog Day, is loosely based on the date of the first Woodchuck sightings of the year, and more culturally speaking, Groundhog Day was originally based on an old Scottish couplet which went: "If Candlemas Day is bright and clear, there'll be two winters in the year." During this time, the male Woodchucks emerge, and seek out the dens of the females in order to mate. The gestation period of the female Woodchuck is roughly 31-32 days, and the young are born in early to mid March, with some born towards the end of March. During the first 3-4 weeks after the birth of the young (they may bear from two to six in the typical litter) the female will stay with her offspring and seldom if ever come out of the den to feed. The mother and young stay together for a total of a little over a month and a half.   Thus, one will seldom see a female in the early spring. After this time, Woodchucks are for the most part solitary animals. Though they do not roam together in herds, they are nonetheless plentiful in the areas in which they dwell, if one's eyes are trained to spot them. By the end of November, most Woodchucks are curled up in a profound sleep in their underground cavern. So deep is this slumbering that even if an animal is warmed, it requires several hours to awaken. Woodchucks usually slumber all winter, although during periods of mild weather, some individuals may awaken to feed for brief periods.   The Woodchuck as a Varmint Species   In an agricultural area the Woodchuck does considerable damage to crops; in other uninhabited areas he is probably beneficial, since his burrows are refuges and homes for many other game, furbearing, and predatory species. Weasels, Skunks, Opossums, Foxes, and Rabbits all exploit abandoned Woodchuck burrows for use as their dens. Also, because a great measure of subsoil is moved in the course of burrow formation, the incalculable generations of woodchucks which have inhabited North America have played a significant role in the aeration and mixing of our topsoil.   Hunting the Woodchuck   This author hates to see Woodchucks exterminated by contaminate or toxin. Poison usually takes several days and two or more doses to take effect, and in process usually harms other species as well, not to mention the several days of excruciating pain it causes the planned recipient. Marmota Monax is worthy of a better end. The Woodchuck is one of the extraordinarily few emancipated Americans! He sits on his mound as sovereign of his little meadow. He curls into a ball and dozes the winter from beginning to end, indifferent to the concerns of the humankind, while many of his more decidedly erudite (or are we?) neighbors quiver through a long frozen winter, too unintelligent or too unwise to orchestrate our political and fiscal dealings so that we might have a passable reserve of victuals and fuel to endure the winter, too irresponsible to supply ourselves passable secure and clean lodging. Simply investigate the measure of existence in any American municipality!   The Woodchuck also provides excitement and significance to even the most run down of abandoned farmsteads, and indeed all he will need is a small piece of land upon which to grow fat, and if truth be told, property upon which we more often than not might go hungry due to our own lack of precaution.   Yes, the Woodchuck is a living testimonial of resourcefulness, an allegedly unintelligent animal which can yet live, redouble his breed, his assets, and have a prospect amidst environs in which we, with all our technological aptitude, have at times failed to make a livelihood.   I usually elect to commence my Woodchuck hunting in the vicinity of mid March, eliminate a few prowling males, and then refrain for several more weeks. The young are typically weaned by May, but usually at this time the crops are beginning to grow tall. Around here, the crop and hay farmers also usually try to make their first cutting of hay by May 27 (Memorial Day.) If one limits ones early spring shooting to fields that will become corn or bean fields, you will reap the many benefits, because due to the height of these crops, corn and bean fields will be unacceptable for distance shooting of such stubby creatures as the Woodchuck later in the year. A lot of hunters overlook the bare summer hay fields and herd pastures, yet those fields can be a valuable source of chucks during the time in between planting and harvest, while the corn and beans are thick and high.    All varmint species can be tricky to hunt, as they are typically wary of man, and as such must then be taken at extremely long distances of anywhere inside a thousand yards by the most dedicated and talanted of shooters! Now this author has little experience at the thousand yard line, however an average range of one hundred to five hundred yards is not uncommon. Here on the ranch we almost exclusively pursue the Woodchuck (as well as other Varmint species) with accurized Thompson Center Arms pistols and rifles, and so all the more enjoyable is a long and successful hunt which is culminated by that one good shot! To be in the fields on an ideal varmint hunting day, with an accurized and scoped Contender single shot pistol, is truly where this Woodchuck hunter enjoys spending his leisure time.   After many years of practice at the bench and experience in the field, one may find the acquired skill which is necessary to regularly connect with Marmota Monax at his given ranges, cause him to frenziedly waive his tail, and appreciate this worthy opponent who is both destructive to our agrarian economic endeavors and yet also worthy of our admiration. Return to Varmint Species Mainpage Our Virginia Woodchuck Season: We have a continuous open season on private lands. Groundhog hunting on some public lands is allowed only during certain time periods, and one must see our National Forest-Game Department Regulations  for these regulations. Licenses Required: State or county hunting license Additional licenses, stamps or permits that may be required: National Forest Stamp while hunting on national forests State Forest Stamp while hunting on state forests Select Bibliography   1. Estey, Paul C. "The Woodchuck Hunter" Published 1936, reprinted 1993 R&R Books, 3020 East Lake RD, Livonia NY 14487   2. Landis, C.S. "Hunting with the .22" Published 1950, reprinted 1993 R&R Books, 3020 East Lake RD, Livonia NY 14487 3. Schwartz, Charles and Elizabeth "The Wild Mammals of Missouri" Published 1981 University of Missouri Press, P.O. Box 1644, Columbia, MO 65211, ALSO the Missouri Department of Conservation, P.O. Box 180, Jefferson City. MO 65102.   4. Burt, William Henry "A Field Guide to the Mammals-The Peterson Field Guide Series" Published date unknown, Boston: Houghton Mifflin Company. 1976   5. Baker, R.H. "Michigan Mammals" 1983. Michigan State University Press, Michigan.   6. Banfield, A.W.F. "The Mammals of Canada" 1981. University of Toronto Press; Toronto, Canada.   7. Jones, J.K. and Birney, E.C. "Handbook of Mammals of the North-Central States" 1988. University of Minnesota Press; Minneapolis, Minnesota.   8. Kurta, A. "Mammals of the Great Lakes Region" 1995. Revised Edition. The University of Michigan Press, Ann Arbor,Michigan.   9. Nowak, R.M. "Walker's Mammals of the World" 1991. Fifth Edition. The John Hopkins University Press, Baltimore, Maryland.   10. Virginia Dept of game and Inland Fisheries "Hunting and Trapping in Virginia" Richmond Headquarters, 4010 West Broad St. Richmond VA 23230-1104 All firearms and cutlery sales are subject to applicable BATF regulations, Federal, State, and Local laws. Text and Images copyright 1997-2016 �Christopher Sean Coombes Page Layout and Design copyright � 1997-2016 Christopher Sean Coombes Staunton River Outfitters� 1997-2016 All printed and photographic contents within, save where other's copywrited material is noted, referenced, or other authorship is attributed or linked, are my intellectual property and may not be reproduced in any form without my written consent. All Rights Reserved
i don't know
What was the age that no-one wanted to reach in Logan’s Run?
Logan's Run (1976) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error An idyllic sci-fi future has one major drawback: life must end at the age of 30. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 49 titles created 21 Feb 2013 a list of 47 titles created 27 May 2013 a list of 27 titles created 02 Jul 2013 a list of 47 titles created 08 Sep 2014 a list of 45 titles created 07 Sep 2015 Search for " Logan's Run " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. Another 7 wins & 2 nominations. See more awards  » Photos In the world ravaged by the greenhouse effect and overpopulation, an NYPD detective investigates the murder of a big company CEO. Director: Richard Fleischer Army doctor Robert Neville struggles to create a cure for the plague that wiped out most of the human race. Director: Boris Sagal In a futuristic society where reaching the age of 30 is a death sentence, a rebellious law enforcement agent goes on the run in search of Sanctuary. Stars: Gregory Harrison, Heather Menzies-Urich, Donald Moffat In a future where all flora is extinct on Earth, an astronaut is given orders to destroy the last of Earth's botany, kept in a greenhouse aboard a spacecraft. Director: Douglas Trumbull In a corporate-controlled future, an ultra-violent sport known as Rollerball represents the world, and one of its powerful athletes is out to defy those who want him out of the game. Director: Norman Jewison A group of scientists investigate a deadly new alien virus before it can spread. Director: Robert Wise A starship crew goes to investigate the silence of a planet's colony only to find two survivors and a deadly secret that one of them has. Director: Fred M. Wilcox A man's vision for a utopian society is disillusioned when travelling forward into time reveals a dark and dangerous society. Director: George Pal A robot malfunction creates havoc and terror for unsuspecting vacationers at a futuristic, adult-themed amusement park. Director: Michael Crichton Upon uncovering the dirty secret of futuristic theme-park Futureworld, an ex employee is killed after he tips-off 2 other reporters who decide to do an undercover investigation. Director: Richard T. Heffron In the distant future, a police marshal stationed at a remote mining colony on the Jupiter moon of Io uncovers a drug-smuggling conspiracy, and gets no help from the populace when he later finds himself marked for murder. Director: Peter Hyams Set in the 25th century, the story centers around a man and a woman who rebel against their rigidly controlled society. Director: George Lucas Edit Storyline It's 2274 and on the surface, it all seems to be an idyllic society. Living in a city within an enclosed dome, there is little or no work for humans to perform and inhabitants are free to pursue all of the pleasures of life. There is one catch however: your life is limited and when you reach 30, it is terminated in a quasi-religious ceremony known as Carousel. Some, known as runners, do try to escape their fate when the time comes and it's the job of Sandmen to track them down and kill them. Logan is such a man and with several years before his own termination date, thinks nothing of the job he does. Soon after meeting a young woman, Jessica-6, he is ordered to become a runner himself and infiltrate a community outside the dome known as Sanctuary and to destroy it. Pursued by his friend Francis, also a Sandman, Logan and Jessica find their way to the outside. There they discover a beautiful, virtually uninhabited world. Logan realizes that he must return to the dome to tell them what ... Written by garykmcd Richard Maibaum penned a screenplay for producer George Pal in 1968. See more » Goofs During the scenes in the city, Logan 5's hair is longer compared to his hair after he escapes and plans to re-enter the city. See more » Quotes [first lines] Logan : [tapping on a glass window of maternity room] Wake up. Francis 7 : Logan, you are here. I couldn't believe it when they told me. What are you doing? Logan : [indicates baby] Logan 6. Well it's not everyday that they authorize a new sandman. I tell you Francis, [indicating baby] Francis 7 : Well maybe, maybe not. What does it matter? Anyway, he isn't yours anymore. Logan : [continues tapping lightly on the glass] Francis 7 : All right, you want me to wake him? [bangs loudly on the glass with his baton] [...]
thirty
Which play begins ‘Now fair Hippolyta, our nuptial hour draws on apace’?
Stomp Tokyo Review - Logan's Run Logan's Run Information about this film in the Internet Movie Database. Upon your admission that you've never seen Logan's Run, a friend or family member may turn to you and say: "You've never seen Logan's Run? What do you mean, you've never seen Logan's Run?" It's that sort of movie. Considered a classic of science fiction by some, this rather silly 1976 schlock-fest represents the dying gasps of big budget sci-fi movies with pre-Industrial-Light-&-Magic grade special effects. With Star Wars arriving the next year, that's not really much of a surprise. Michael York as Logan 5, and Jenny Agutter as Jessica 6. Like The Time Machine and Planet of the Apes before it, Logan's Run is filmed in that washed-out movie stock we've all come to associate with the late sixties and early seventies. (See The Invincible Six for more on sixties' film processes.) It also shares much of the same imagery: familiar landmarks abandoned and grown over, naive inhabitants of a post-apocalyptic world dressed in loose clothing, and an intrepid, square-jawed hero in search of the truth. The makers of these mid-twentieth-century sci-fi epics were apparently reading out of the same movie-making book. Not that this is an uncommon trend in filmmaking; many a Hollywood executive has been heard to exclaim the equivalent of: "Wow, Film Concept X worked once? Let's make more films similar to it until we've milked Concept X dry and flooded the market with mediocre movies!" This is why 70% of all the movies in the theater over the next couple of months will involve volcanoes, floods, or ships sinking. Or really strong winds. Logan's Run, however, is probably the last of the films in the "Shattered Earth" sub-genre worth watching. Later movies with this approach include the unwatchable Empire of the Ants (1977) and the awful remake of Invasion of the Body Snatchers (1978). Clearly, Star Wars and its computer-enhanced, space-opera brethren (Buck Rogers in the 25th Century, Battlestar Galactica) had captured the high ground and high budgets, making the Planet of the Apes formula obselete. Logan's Run is the last example of this sort of picture that retains even the smallest shred of dignity. The title character, Logan 5, is a citizen of the City, a domed habitat that looks suspiciously like a shopping mall. (Much of the movie was, in fact, filmed in a shopping mall. All the 'help wanted' signs probably should have tipped us off.) Following the Catastrophe, the architects of the City (You can make normal words sound futurisitic by capitalizing them. Try it!) imposed a strict limit on the lifespans of its citizens: they may not live past the age of thirty. To enforce this rule, each person is implanted with a "lifeclock," a crystal that changes colors during different periods of his life. Defying all fashion sense, members of each age group wear the color which corresponds to their crystal. Young people are Yellows, teens and early twenties are Greens, and late twenties are Reds. When you reach your 30th birthday, or "lastday," your red crystal begins to blink and you are forced to ride the Carousel, a kind of roller coaster of doom. Although the Carousel ritual promises some vague hope of continued life through Renewal, some people try to escape the city when they reach their lastday. Dubbed "runners" (and we're not even close to being finished with the Logan's Run vocabulary), these erstwhile escapees are hunted down by a special corps of Sandmen, who, although they are subject to the same lifeclock rules, wear black and take great joy in terminating their less fortunate neighbors. Logan 5 is a Sandman who is assigned a special mission: he must find the rumored Sanctuary, a place to where a supposed 1056 runners have escaped. To help him do this, his lifeclock is accelerated to the blinking stage and he must pose as a runner. The ritual of Carousel. The computer voice which assigns him the mission, however, refuses to answer his questions about Renewal. Logan begins to suspect that the Carousel is more final a death than it is purported to be. After hooking up with Jessica 6, a member of the underground movement which helps runners, Logan finds himself on the run for real. Casting aside his Sandman heritage, Logan and Jessica flee the City, hoping to find Sanctuary. Michael York makes a pretty good Logan, even if they did have to alter the story from the original novel in order to match his age. He is convincingly naive at first, and his realization of the truth is well played. His pleas with the other members of the City to cast aside the Carousel ritual are a bit overplayed, but that's certainly in keeping with the tradition that Charlton Heston set before him ("You bastards! You finally did it!") in Planet of the Apes. Jenny Agutter is a wonderfully waifish Jessica 6; her character tirelessly plods after Logan, whining only occasionally about being tired or scared. Contrast that to Farrah Fawcett's character Holly, who ends her brief part in the film with mascara running down her face in pathetic streaks. Peter Ustinov adds a bit of humor to the film with his "sweet madman" who appears after Logan and Jessica have finally escaped the City. Despite the fact that the film drags horribly in the final forty minutes, the ending is remarkable in that it's actually subtle. There are no lengthy explanations or intrusive voice-overs, merely a wordless scene with some heartfelt acting. Kudos to director Michael Anderson Sr for saving this movie at the last moment. William F. Nolan, one of the original authors of the novel Logan's Run, has expressed interest in remaking Logan's Run with a big budget and modern special effects. He claims that the technology now exists to make a film closer to his original vision. While that may be true, we doubt that any remake could capture the charm evident in this orphaned child of a dying Hollywood formula. Logan's Run Special Edition, anyone? Review date: 4/9/97 This review is © copyright 1996 Chris Holland & Scott Hamilton. Blah blah blah. Please don't claim that it's yours blah blah, but feel free to e-mail it to friends, or better yet, send them the URL. To reproduce this review in another form, please contact us at [email protected] . Blah blah blah blah.
i don't know
In Othello what did the bard mean by ‘the beast with two backs’?
Othello Race Quotes Page 1 Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise! Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you. Arise, I say! (1.1.97-101) Iago uses racist slurs when he wakens Brabantio with the news that his daughter, Desdemona (a white Venetian), has eloped with Othello (an older, black man). When Iago says an "old black ram" (Othello) is "tupping" (sleeping with) Brabantio's "white ewe" (Desdemona), he plays on Elizabethan notions that black men have an animal-like, hyper-sexuality. This seems geared at manipulating Brabantio's fears of miscegenation (when a couple "mixes races" through marriage and/or sex). History Snack: It's also important to note that, although Othello is probably a Christian, Iago calls him "the devil," playing on a sixteenth century idea that black men were evil and that the devil often took the shape and form of a black man. Check out what Reginald Scott had to say in his famous 1584 book, The Discovery of Witchcraft: "Bodin alloweth the divell the shape of a black moore, and as he saith, he used to appear to Mawd Cruse, Kate Darey, and Jon Harviller." (Later, it's no surprise that Brabantio will accuse Othello of using black magic to woo Desdemona.) do you service and you think we are ruffians, you'll have your daughter covered with a Barbary horse, you'll have your nephews neigh to you, you'll have coursers for cousins and jennets for germans. […] I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs. (1.1.119; 123-127; 129-131) We've seen how Iago uses animal imagery in his racist diatribe against Othello, which is grounded in the idea that black men (and women) are inhuman. Here, Brabantio objects to Iago's middle-of-the-night assertions that Desdemona has eloped by saying his house isn't a "grange" (a farm or a farmhouse). Iago takes the opportunity to pun on the term "grange," as he claims that Desdemona is having sex with a "barbary horse" and, as a result, Brabantio will have relatives that "neigh to him." Desdemona and Othello, he says, are "making the beast with two backs" (in other words, humping, like camels). This isn't the first time Iago has implied that Othello's animal-like sexuality corrupts Desdemona. Compare this to 1.1.106-113 above. She, in spite of nature, Of years, of country, credit, every thing, To fall in love with what she feared to look on! It is a judgment maimed and most imperfect That will confess perfection so could err Against all rules of nature, (1.3.114-119) Desdemona's father argues that her love for Othello is unnatural, since, according to him, Desdemona would never fall for a black man who she "fear'd to look on." Of course, Brabantio couldn't be more wrong about his daughter – Desdemona is in love Othello. It seems that Iago has played Brabantio perfectly. Iago knew that Brabantio was racist and, as previous passages demonstrate, he used Brabantio's attitude toward the idea of a mixed marriage in order to rile the man against Othello. Brabantio repeatedly insists that Othello must have "enchanted" Desdemona with "foul charms" and magic spells. Otherwise, he insists, Desdemona never would never have run "to the sooty bosom" of Othello (1.2.70).
Sexual intercourse
Who took the name Sebastian Melmoth while living in exile?
SparkNotes: Othello: Act I, scenes i–ii Act I, scenes i–ii Act I, scenes i–ii → Act I, scenes i–ii, page 2 page 1 of 2 Summary: Act I, scene i In following him I follow but myself; Heaven is my judge, not I for love and duty, But seeming so for my peculiar end. (See Important Quotations Explained ) Othello begins on a street in Venice, in the midst of an argument between Roderigo and Iago. The rich Roderigo has been paying Iago to help him in his suit to Desdemona, but he has seen no progress, and he has just learned that Desdemona has married Othello, a general whom Iago serves as ensign. Iago reassures Roderigo that he hates Othello. Chief among Iago’s reasons for this hatred is Othello’s recent promotion of Michael Cassio to the post of lieutenant. In spite of Iago’s service in battle and the recommendation of three “great ones” of the city, Othello chose to give the position to a man with no experience leading men in battle. As he waits for an opportunity to further his own self-interest, Iago only pretends to serve Othello. Iago advises Roderigo to spoil some of Othello’s pleasure in his marriage by rousing Desdemona’s family against the general. The two men come to the street outside the house of Desdemona’s father, Brabanzio, and cry out that he has been robbed by “thieves.” Brabanzio, who is a Venetian senator, comes to the window. At first, he doesn’t believe what he hears, because he has told Roderigo to stay away from his daughter before and thinks Roderigo is merely scheming once again in order to see Desdemona. Iago speaks in inflammatory terms, vulgarly telling the senator that his daughter and Othello are having sex by saying that they are “making the beast with two backs” (I.i.118). Brabanzio begins to take what he hears seriously and decides to search for his daughter. Seeing the success of his plan, Iago leaves Roderigo alone and goes to attend on Othello. Like Brabanzio, Othello has no idea of Iago’s role in Roderigo’s accusations. As Iago departs, Brabanzio comes out of his house, furious that his daughter has left him. Declaring that his daughter has been stolen from him by magic “charms,” Brabanzio and his men follow Roderigo to Othello. Summary: Act I, scene ii Iago arrives at Othello’s lodgings, where he warns the general that Brabanzio will not hesitate to attempt to force a divorce between Othello and Desdemona. Othello sees a party of men approaching, and Iago, thinking that Brabanzio and his followers have arrived, counsels Othello to retreat indoors. Othello stands his ground, but the party turns out to be Cassio and officers from the Venetian court. They bring Othello the message that he is wanted by the duke of Venice about a matter concerning Cyprus, an island in the Mediterranean Sea controlled by Venice. As Cassio and his men prepare to leave, Iago mentions that Othello is married, but before he can say any more, Brabanzio, Roderigo, and Brabanzio’s men arrive to accost Othello. Brabanzio orders his men to attack and subdue Othello. A struggle between Brabanzio’s and Othello’s followers seems imminent, but Othello brings the confrontation to a halt by calmly and authoritatively telling both sides to put up their swords. Hearing that the duke has summoned Othello to the court, Brabanzio decides to bring his cause before the duke himself. Analysis: Act I, scenes i–ii The action of the first scene heightens the audience’s anticipation of Othello’s first appearance. We learn Iago’s name in the second line of the play and Roderigo’s soon afterward, but Othello is not once mentioned by his name. Rather, he is ambiguously referred to as “he” and “him.” He is also called “the Moor” (I.i.57), “the thick-lips” (I.i.66), and “a Barbary horse” (I.i.113)—all names signifying that he is dark-skinned. Iago plays on the senator’s fears, making him imagine a barbarous and threatening Moor, or native of Africa, whose bestial sexual appetite has turned him into a thief and a rapist. Knowing nothing of Othello, one would expect that the audience, too, would be seduced by Iago’s portrait of the general, but several factors keep us from believing him. In the first place, Roderigo is clearly a pathetic and jealous character. He adores Desdemona, but she has married Othello and seems unaware of Roderigo’s existence. Roderigo doesn’t even have the ability to woo Desdemona on his own: he has already appealed to Brabanzio for Desdemona’s hand, and when that fails, he turns to Iago for help. Rich and inexperienced, Roderigo naïvely gives his money to Iago in exchange for vague but unfulfilled promises of amorous success. The fact that Iago immediately paints himself as the villain also prepares us to be sympathetic to Othello. Iago explains to Roderigo that he has no respect for Othello beyond what he has to show to further his own revenge: “I follow him to serve my turn upon him” (I.i.42). Iago explicitly delights in his villainy, always tipping the audience off about his plotting. In these first two scenes, Iago tells Roderigo to shout beneath Brabanzio’s window and predicts exactly what will happen when they do so. Once Brabanzio has been roused, Iago also tells Roderigo where he can meet Othello. Because of the dramatic irony Iago establishes, the audience is forced into a position of feeling intimately connected with Iago’s villainy. 1
i don't know
The Talmud was written in Hebrew and which other language?
Torah in Chinese - Inner Stream - Parsha Torah in Chinese  Discuss (8) Thirty-seven days before his passing, Moses set out to teach the Torah. You might think that Moses would use his remaining weeks to teach hitherto unrevealed mysteries, but he did no such thing. Instead, he translated the Torah into the seventy languages. 1 All this for a people who did not even speak these languages. Have you ever attended a lecture in a language you did not understand? I have, and I must tell you that it left me uninspired. Why did Moses teach the Torah in languages his students didn’t understand? This question should actually be asked of G‑d. The Talmud teaches that G‑d uttered the Ten Commandments in all seventy languages, though only the Hebrew version was heard. 2 What was the point of speaking in languages that no one understood, let alone heard? These questions are compounded when we consider that the written Torah includes several words in Aramaic, Greek, Kapti and Afriki 3 —languages probably unknown to the Jews of that time! Talmud in Aramaic One can argue that translating the Torah and the Ten Commandments into secular languages paved the way for future Jewish worship in the diaspora. Lest one argue that the Torah should be studied and practiced only in Israel, these foreign words would testify that Torah is not the exclusive property of Hebrew-speaking countries. But this would not explain why the Talmud was written in Aramaic. It can be argued that Aramaic was the Jewish vernacular of that time, and our sages wrote the Talmud in a language understood by most Jews of that time. Still, does writing in the vernacular outweigh the value of documenting G‑d’s Torah in G‑d’s language? 4 Linguistic Origins The seventy languages were formed at the biblical Tower of Babel. In the year 1996 from creation (1765 BCE), the descendents of Noah gathered to build a tower from which they planned to wage war against G‑d. The group was perfectly united in their heresy, so G‑d set out to divide them. G‑d caused each tribe to form its own language. The group, now divided along lingual lines, could no longer cooperate in their joint endeavor. Unable to understand each other, instructions and requests drew blank stares or incorrect responses. They soon grew frustrated with each other, and dispersed. 5 Is It Appropriate? The Torah makes note of the fact that the Tower of Babel was built not of stone, but of brick. 6 Why is this significant? The chassidic masters explain that bricks are manmade, but stones are created by G‑d. This is precisely the difference between Hebrew and other languages. Hebrew is a divine tongue, its letters formed by G‑d. The secular languages are products of human convention. 7 This reinforces our original question: Should G‑d be worshipped in a language of human convention? Furthermore, this story indicates that secular languages were spawned in the heretical Tower of Babel. Should a language spawned in heresy be used in ecclesiastical worship? Everything Must Serve Our sages taught that every created being must serve to enhance G‑d’s glory. 8 If this is true of physical objects, then it must surely apply to languages too, even languages of human convention. Moreover, letters and words are vessels that contain ideas, sentiments and knowledge. Because all knowledge comes from G‑d, there must be a spark of divinity in every letter, regardless of language. If the secular languages are not used in ecclesiastical worship, the divine sparks embedded in them would remain forever captive in their secular mold. When G‑d uttered the Ten Commandments in all seventy languages, He bridged the gap between letters of heresy and letters of faith, and thus elevated the secular language for use in divine service. In a similar vein, Moses’ translation of the Torah into all seventy languages empowered us to draw the secular and mundane into the sanctity of Torah. 9 Removing the Bulwark Why did Moses wait nearly forty years before he translated the Torah? Why were G‑d’s translations of the Ten Commandments not heard by the nations? Because of Sichon and Og, monarchs of the Emorite and Bashanite kingdoms. Neighboring nations paid these powerful and influential kingdoms to defend their borders against the Jewish approach. The mystics see in these kingdoms not only a physical bulwark against the Jews, but also a spiritual bulwark against the Torah. Sichon and Og resisted the Torah’s influence over the seventy nations and the Torah’s use of the seventy languages. When these powerful kingdoms were finally vanquished, 10 Moses was permitted to translate the Torah. Their destruction spelled the end of their resistance. The path was now paved for the secular to be sanctified and the mundane to be uplifted. The seventy languages could now be drawn into the sacred realm of Torah. 11 This is why our sages wrote books on Torah in secular languages rather than the holy tongue. The Talmud was written in Aramaic. Maimonides wrote books in Arabic. Rashi often translated Hebrew words into French. This tradition is continued today when we translate and study the Torah in the English language. Every time the Torah is taught in a secular language, the letters and sentences of that language are drawn into the realm of the sacred, and their sparks are redeemed. This gradually purifies our world and brings us inexorably closer to the time of total divine revelation, the messianic era. Footnotes
Aramaic language
Who said ‘If only I had known, I should have become a watch maker’?
Jewish Aramaic - My Jewish Learning Jewish Aramaic The Hebrew Language Jewish Aramaic was the vernacular of Jews in the Land of Israel in the first century. It is still spoken by Jewish Kurds today. In addition, important Jewish texts and the Mourners Kaddish are also written in Aramaic. This article gives a brief overview of this ancient Jewish language. This article is reprinted with permission from www.jewish-languages.org . The Aramaic language has been around for over 3,000 years, beginning in the 11th century B.C.E as the official language of the first Aramean states in Syria. A few centuries later it became the official language, or lingua franca, of the Assyrian and Persian empires, covering vast areas and gradually splitting into two major (groups of) dialects, Eastern and Western. A Living Language Citadel of Hewler The first attested Jewish Aramaic texts are from the Jewish military outpost in Elephantine, ca. 530 B.C.E. Other Jewish Aramaic texts are the Books of Ezra (ca. 4th century B.C.E.) and Daniel (165 B.C.E.). Starting around 250 C.E., Bible translations such as the Targums of Onkelos and Jonathan began to appear. The division into Eastern and Western Aramaic is most evident in the Palestinian (Yerushalmi) Talmud (Western, completed ca. 5th century C.E.; and Midrashim, ca. 5th-7th centuries C.E.) and the Babylonian Talmud (Eastern, finished ca. 8th century C.E.). With the Islamic conquests, Aramaic was quickly superseded by Arabic. Except for some occasional bursts such as the Book of Zohar and other Kabbalistic literature (ca. the 12th cent), it almost ceased as a literary language, but remained as ritual and study language. It continued its life as a spoken language until our days by the Jews and Christians of Kurdistan (“Eastern”) and three villages (mostly Christians and some Muslims) in Syria (“Western”). Syriac-Aramaic is still used as a ritual language among many Near Eastern Christians. Jewish Neo-Aramaic The oldest literature in Jewish (and Christian) Neo-Aramaic is from ca. 1600 C.E. It includes mostly adaptations or translations of Jewish literature, such as Midrashim (homiletic literature), commentaries on the Bible, hymns (piyyutim), etc. Jewish Neo-Aramaic may be divided into three or four major groups of dialects, some mutually intelligible, and others not or hardly so. Also, in a few towns both Jews and Christians spoke Neo-Aramaic, but using distinct dialects. The Neo-Aramaic-speaking Jews emigrated to Israel in the early 1950s, and their language was superseded by Hebrew. By Yona Sabar | June 25, 2003 Jewish Aramaic was the vernacular of Jews in the Land of Israel in the first century. It is still spoken by Jewish Kurds today. In addition, important Jewish texts and the Mourners Kaddish are also written in Aramaic. This article gives a brief overview of this ancient Jewish language. This article is reprinted with permission from www.jewish-languages.org . The Aramaic language has been around for over 3,000 years, beginning in the 11th century B.C.E as the official language of the first Aramean states in Syria. A few centuries later it became the official language, or lingua franca, of the Assyrian and Persian empires, covering vast areas and gradually splitting into two major (groups of) dialects, Eastern and Western. A Living Language Citadel of Hewler The first attested Jewish Aramaic texts are from the Jewish military outpost in Elephantine, ca. 530 B.C.E. Other Jewish Aramaic texts are the Books of Ezra (ca. 4th century B.C.E.) and Daniel (165 B.C.E.). Starting around 250 C.E., Bible translations such as the Targums of Onkelos and Jonathan began to appear. The division into Eastern and Western Aramaic is most evident in the Palestinian (Yerushalmi) Talmud (Western, completed ca. 5th century C.E.; and Midrashim, ca. 5th-7th centuries C.E.) and the Babylonian Talmud (Eastern, finished ca. 8th century C.E.). With the Islamic conquests, Aramaic was quickly superseded by Arabic. Except for some occasional bursts such as the Book of Zohar and other Kabbalistic literature (ca. the 12th cent), it almost ceased as a literary language, but remained as ritual and study language. It continued its life as a spoken language until our days by the Jews and Christians of Kurdistan (“Eastern”) and three villages (mostly Christians and some Muslims) in Syria (“Western”). Syriac-Aramaic is still used as a ritual language among many Near Eastern Christians. Jewish Neo-Aramaic The oldest literature in Jewish (and Christian) Neo-Aramaic is from ca. 1600 C.E. It includes mostly adaptations or translations of Jewish literature, such as Midrashim (homiletic literature), commentaries on the Bible, hymns (piyyutim), etc. Jewish Neo-Aramaic may be divided into three or four major groups of dialects, some mutually intelligible, and others not or hardly so. Also, in a few towns both Jews and Christians spoke Neo-Aramaic, but using distinct dialects. The Neo-Aramaic-speaking Jews emigrated to Israel in the early 1950s, and their language was superseded by Hebrew. Aramaic is a close sister of Hebrew and is identified as a “Jewish” language, since it is the language of major Jewish texts (the Talmuds, Zohar, and many ritual recitations, such as the Kaddish). Aramaic has been until our present time a language of Talmudic debate in many traditional yeshivot (traditional Jewish schools), as many rabbinic texts are written in a mixture of Hebrew and Aramaic. Jewish Neo-Aramaic is both an “extension” of Jewish Babylonian Aramaic (as can be seen from its hundreds of reflexes in Jewish Neo-Aramaic), and a Neo-Jewish language. The Jewish Neo-Aramaic texts are written in a Hebrew alphabet, like most Jewish languages, but the spelling is phonetic, rather than etymological (e.g. כמשא ‘five’, rather than חמשא, and שואא ‘seven’, instead of  שבעא). As in other Jewish languages, many Judaic and even some secular terms are borrowed from Hebrew, rather than being inherited from traditional Jewish Aramaic, e.g., Hebrew עולם ‘world’, rather than Aramaic עלמא. The Hebrew loanwords were one of the major features that distinguished Jewish Neo-Aramaic dialects from their Christian counterparts, in addition to minor or quite major grammatical differences. Yet what may be a typical grammatical or lexical feature of a Jewish dialect in one place may be known elsewhere as a Christian feature.
i don't know
What was the only World War II battle fought in South America?
World War 2 List of Battles By Year and Theater World War II: Conferences & Aftermath | World War II: 101 | World War II: Leaders & People The battles of the World War II were fought across the globe from the fields of Western Europe and the Russian plains to the China and the waters of the Pacific. Beginning in 1939, these battles caused massive destruction and loss of life and elevated to prominence places that had previously been unknown. As a result, names such as Stalingrad, Bastogne, Guadalcanal, and Iwo Jima became eternally entwined with images of sacrifice, bloodshed, and heroism. The most costly and far-reaching conflict in history, World War II saw an unprecedented number of engagements as the Axis and Allies sought to achieve victory. The battles of World War II are largely divided into the European Theater (Western Europe), Eastern Front, Mediterranean/North Africa Theater, and the Pacific Theater. During World War II, between 22 and 26 million men were killed in battle as each side fought for their chosen cause. World War II Battles by Year and Theater 1939 December 13 - Battle of the River Plate - South America 1940 February 16 - Altmark Incident - European Theater May 25-June 4 - Dunkirk Evacuation - European Theater July-October - Battle of Britain - European Theater September 17 - Operation Sea Lion (Invasion of Britain) - Postponed - European Theater November 11/12 - Battle of Taranto - Mediterranean December 8-February 9 - Operation Compass - North Africa 1941
Battle of the River Plate
Common and pygmy are the only species of which large mammal?
World War 2 List of Battles By Year and Theater World War II: Conferences & Aftermath | World War II: 101 | World War II: Leaders & People The battles of the World War II were fought across the globe from the fields of Western Europe and the Russian plains to the China and the waters of the Pacific. Beginning in 1939, these battles caused massive destruction and loss of life and elevated to prominence places that had previously been unknown. As a result, names such as Stalingrad, Bastogne, Guadalcanal, and Iwo Jima became eternally entwined with images of sacrifice, bloodshed, and heroism. The most costly and far-reaching conflict in history, World War II saw an unprecedented number of engagements as the Axis and Allies sought to achieve victory. The battles of World War II are largely divided into the European Theater (Western Europe), Eastern Front, Mediterranean/North Africa Theater, and the Pacific Theater. During World War II, between 22 and 26 million men were killed in battle as each side fought for their chosen cause. World War II Battles by Year and Theater 1939 December 13 - Battle of the River Plate - South America 1940 February 16 - Altmark Incident - European Theater May 25-June 4 - Dunkirk Evacuation - European Theater July-October - Battle of Britain - European Theater September 17 - Operation Sea Lion (Invasion of Britain) - Postponed - European Theater November 11/12 - Battle of Taranto - Mediterranean December 8-February 9 - Operation Compass - North Africa 1941
i don't know
Helen Graham is the eponymous heroine of which Bronte novel?
BBC - Culture - The greatest heroines of all time Literature The greatest heroines of all time It is 200 years since the birth of Charlotte Brontë, who in Jane Eyre created one of fiction’s most memorable heroines. Samantha Ellis explains why some characters endure. By Samantha Ellis 11 April 2016 A hundred years ago, Virginia Woolf sat down to re-read Jane Eyre for Charlotte Brontë’s centenary. She was worried it would seem antiquated, but instead, she was so absorbed and exhilarated she couldn’t put it down, and when she did, she wondered how Charlotte had done it. How had she written a novel that still seemed so fresh after so many years? The secret was, she decided, the heroine, who pervaded every line and every image. “Think of Rochester,” wrote Woolf, “and we have to think of Jane Eyre. Think of the moor, and again there is Jane Eyre. Think of the drawing-room, even, those ‘white carpets on which seemed laid brilliant garlands of flowers’, that ‘pale Parian mantelpiece’ with its Bohemia glass of ‘ruby red’ and the ‘general blending of snow and fire’– what is all that except Jane Eyre?” Another hundred years have gone by, and Jane feels just as present. Her demands for justice and for happiness seem just as authentic, as vital, as urgent as they did to Woolf and, perhaps, to Charlotte herself. View image of Jane Eyre Woolf liked Wuthering Heights too – she thought Emily the better poet – and found the two Catherines in Wuthering Heights “the most lovable women in English fiction.” It’s a startling description. Wilful, contrary Cathy is not conventionally lovable. But that is the point. That’s why she’s the heroine for good girls who want to imagine being bad; to imagine running around the moors in a high wind, loving a villain with a heart of flint, who loves them back so hard that he gnashes his teeth and dashes his head against a tree until he bleeds. And for die-hard Wuthering Heights fans, Jane’s tale of hard work, patience and marrying her boss just can’t compare. Cathy is the heroine for good girls who want to imagine being bad It is rare to find a reader who loves both heroines. Janeites point out (and they are right) that Cathy is a snob. She is selfish and violent. She spends most of the book miserable, some of it mad, and does not get a happy ending. View image of Jane and Rochester And Jane is so bold! She is clever, and not afraid to show it. She sticks to her guns. She gets what she wants. And it’s hard not to love her when she asks Rochester, “Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!” Or when she insists she is talking to him “as if both had passed through the grave, and we stood at God's feet, equal – as we are!” It’s a stark contrast to Cathy’s declaration “I am Heathcliff!” which makes love sound like a rather terrifying merging, a loss of self. And yet (and I confess that for a long time, Cathy was the only heroine for me) love sometimes feels that way. ‘Hunger, rebellion and rage’ One reason the Brontë heroines have stood the test of time is because they are such fun to argue about. They can’t be pinned down. They are dazzlingly complex. They are messy, flawed and difficult and all the better for it. When Charlotte tried to simplify things in Shirley, giving all the passion to one heroine and all the denial to another, she drained the life out of both. And neither Shirley nor Caroline inspires the same devotion as Jane or Cathy. In Villette, Charlotte went back to what she did best, creating a heroine, Lucy Snowe, whose lust and fury are perpetually at war with her vehement attempts to be cool, unruffled. “I, Lucy Snowe, was calm” she says and we know she is lying through her teeth, and it is that conflict that makes us keep on reading. This was the novel that made Matthew Arnold say Charlotte’s mind contained nothing but “hunger, rebellion and rage”. Lucy hasn’t been as popular as Jane, perhaps because she is so incredibly prickly, so deeply unlikeable; an unreliable narrator who locks the reader out, a heroine who refuses to be a heroine. But I wonder if her time is coming. There has been a backlash against likeable heroines. From Claire Messud’s sour female artist in The Woman Upstairs, to Gillian Flynn’s psychopathic Amy in Gone Girl, to the man-stealing Jenn in Helen Walsh’s The Lemon Grove, novelists have been championing mean girls, villainesses and anti-heroines. Perhaps Lucy might yet eclipse Jane. View image of Gone Girl If the Brontës had written more straightforward heroines, they wouldn’t inspire such excellent fan fiction Or perhaps Anne Brontë’s heroines might get a look-in. Always in her sisters’ shadow, Anne was in fact the first to write about a governess finding fulfilment, in Agnes Grey. And in her fierce second novel The Tenant of Wildfell Hall, Anne’s heroine Helen Graham escapes an abusive marriage to forge an independent life. Charlotte hated the book, and did her best to suppress it after Anne died, but feminists have rediscovered it, and Sam Baker recently gave it a clever remix in her thriller, The Woman Who Ran, about a war photographer hiding out in Yorkshire. View image of Sargasso This is another reason the Brontë heroines are still being read so fervently; they are constantly being rewritten. We can’t decide how we feel about them so we keep going back into the stories, trying to spin them different ways. And the novels are robust enough to take any number of rewrites. Jean Rhys found Jane Eyre so problematic that she flipped the perspective in Wide Sargasso Sea, turning the madwoman in the attic into the heroine. And last year I was thrilled to discover Alison Case’s Nelly Dean, which puts Wuthering Heights’s pragmatic housekeeper centre stage. There are rewrites galore in Tracy Chevalier’s new short story collection, Reader I Married Him, in which 21 writers respond to Jane’s most famous line. If the Brontës had written more straightforward heroines, they wouldn’t inspire such excellent fan fiction. It is because they confound us and intrigue us that they don’t let us go. ‘Three weird sisters’ It is also because the Brontës themselves have become heroines. Meet Jane, Cathy and Helen and you also meet Charlotte, Emily and Anne. Ever since Elizabeth Gaskell wrote her Life of Charlotte Brontë in 1855, Charlotte and her sisters have seemed as vivid as anyone they put on the page. And even Charlotte, who once said she wanted “to be forever known”, couldn’t have imagined 70,000 people a year paying to wander round her home, staring, awestruck at her stockings in a vitrine (admiring the darning–“such tiny stitches!” said a woman from Missouri on my last visit); or couples, hand in hand, following signs in Japanese to what is now called the ‘Brontë waterfall’. View image of (Credit: The Keasbury-Gordon Photograph Archive / Alamy Stock Photo) Right now, a film crew is building a replica of the parsonage where Charlotte grew up on the moors, and I am not the only Brontë fan breathlessly following its progress on the Keighley News website. The “three weird sisters”, as Ted Hughes called them, and their heroines, still fascinate. And which modern heroines will we still be reading in 200 years? I don’t think we’ll care much about Bella Swan, of Stephenie Meyer’s Twilight. Bella’s favourite novel is Wuthering Heights, but her vampire boyfriend hates it. For him, “The characters are ghastly people who ruin each other’s lives.” (He is, it must be said, a nasty piece of work himself.) The Twilight love triangle owes much to Cathy’s story of being torn between two men, but unlike Cathy, Bella is a clumsy drip. Unlike Cathy, Bella is a clumsy drip There are more echoes of Wuthering Heights in Suzanne Collins’s Hunger Games trilogy. Katniss Everdeen lives in a dystopian future where children have to fight to the death on TV. She has to choose between two men, a kind baker called Peeta (who is basically Edgar) and a rebellious hunter called Gale (who owes much to Heathcliff). The choice is complicated by Katniss’s struggle to survive, and by her political awakening. You can argue that the ending is too conventional, you can argue about whether Katniss makes the right choice, you can argue about the politics – but the very fact there is so much to argue about makes me think that Katniss is a heroine who will last. View image of Katniss Virginia Woolf thought that Charlotte Brontë was one of those writers powered by “some untamed ferocity perpetually at war with the accepted order of things which makes them desire to create instantly rather than to observe patiently. This very ardour, rejecting half shades and other minor impediments, wings its way past the daily conduct of ordinary people and allies itself with their more inarticulate passions.” In her own novels Woolf would create heroines like To the Lighthouse’s Lily Briscoe (another keeper), who finds her voice, who recognises her own ardour, whose passions can’t be contained, not even in the pages of the book. And maybe that is really why these heroines last, because they make our own long-buried feelings come to life. Samantha Ellis’s book, How to be a Heroine, is published by Vintage. She is writing a book about Anne Brontë. If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our  Facebook  page or message us on  Twitter . This story is a part of BBC Britain – a series focused on exploring this extraordinary island, one story at a time. Readers outside of the UK can see every BBC Britain story by heading to the  Britain homepage ; you also can see our latest stories by following us on  Facebook  and  Twitter . And if you liked this story,  sign up for the weekly bbc.com features newsletter , called “If You Only Read 6 Things This Week”. A handpicked selection of stories from BBC Future, Earth, Culture, Capital, Travel and Autos, delivered to your inbox every Friday.
The Tenant of Wildfell Hall
Who refuses Mr St John Rivers’ offer of marriage?
Project MUSE - Masculinity and Gossip in Anne Brontë's Tenant Masculinity and Gossip in Anne Brontë's Tenant Priti Joshi (bio) Abstract This paper examines Anne Brontë's novel against debates about women and women's influence. It argues that Brontë forges a middle ground between Mary Wollstonecraft and Hannah More, rejecting not only the former's repudiation of women's culture but also the latter's aggrandizement of women's influence. Brontë exposes some of the most dearly held fictions of femininity, even as she sympathetically explores its engagement with the production of a "new masculinity." To this end, she offers the very "feminine" behavior of "gossip" or "idle chat," rather than women themselves, as a tool to rehabilitate men who are drawn to a hypermasculine culture of violence. In A Vindication of the Rights of Woman: With Strictures on Political and Moral Subjects (1792), Mary Wollstonecraft counters Jean-Jacques Rousseau's claim that girls have a "natural" fondness for "dolls, dressing, and talking" by noting instead that "a girl, condemned to sit for hours together listening to the idle chat of weak nurses . . . will endeavour to join the conversation . . . [and] imitate her mother or aunts." 1 Substituting Rousseau's essentialism with social constructivism, Wollstonecraft advances an argument for women's equality, but, as her sneering remarks about "weak nurses" and "idle chat" indicate, only at the cost of disdain for women. Wollstonecraft's antipathy for women's lives is so palpable that even her most sympathetic readers have suspected her of wishing to make women not equal to but the same as men. 2 Wollstonecraft's contention that rather than looking to their mothers, women should imitate "manly virtues, or, more properly speaking . . . those talents and virtues, the exercise of which ennobles the human character," lent support to this suspicion. 3 Her self-correction ("or, more properly speaking") and critique of aristocrats elsewhere make it evident that her target is not exclusively women but also aimless, idle lives that stoke vanity and repulse thought. The "manly virtues" Wollstonecraft venerates—rationality, purpose, achievement—are those of the emerging middle-class man. Nonetheless, her assaults on femininity are so frequent, her rhetoric so blistering—"these weak beings are only fit for a seraglio!"—that contemporaries, notably [End Page 907] Hannah More, responded angrily, insisting that women are morally superior to men. 4 In 1799, More wrote: "I would call on [women] . . . to raise the depressed tone of public morals . . . On the use . . . which [women] shall . . . make of this influence, will depend . . . the well-being of those states, and the virtue and happiness, nay, perhaps the very existence, of that society." 5 For More, men and women are different, and, rather than imitate men, women must act as moral guides influencing men's behavior. For much of the nineteenth century, More seems to have won the argument. According to Barbara Taylor, William Godwin's Memoirs made Wollstonecraft a pariah, and most women in the nineteenth century either rejected the "evil book," or, if they were inclined toward women's rights or equality, read it surreptitiously but did not acknowledge or openly ally themselves with Wollstonecraft. 6 Anne Brontë appears to be one of those writers who quietly supported Wollstonecraft's ideas about femininity's drawbacks while avoiding Wollstonecraft's name. Brontë's The Tenant of Wildfell Hall (1848), whose heroine inveighs against chat and talk as feminine and disruptive, has been read as a straightforward Wollstonecraftian indictment of gossip as degraded and feminine, but this is a distortion of the text and a simplification of Brontë's gender politics. 7 Reading Tenant against Wollstonecraft, I demonstrate that, contrary to appearances, Brontë not only refuses the Wollstonecraftian indictment of the feminine, but also rejects its Moreian elevation. My reading reveals a nineteenth-century "feminism" that forges a path between the extremes of the Wollstonecraft-More spectrum. Recent Tenant criticism has highlighted the novel's protofeminist themes—marriage as a prison for women, women's struggle to gain independence and an identity outside marriage, and an exposé of men's bad behavior. 8 Yet, few have noted that alongside the novel's critique of existing modes of masculinity is its portrayal of the formation of a new masculinity, one that emerges not, as More would have it, under the tutelage of a woman, nor, as Wollstonecraft would have it, by eschewing the feminine. In Tenant, a reformed masculinity emerges by emulating feminine ways, the very gossip or "idle chat" that Wollstonecraft excoriated in Vindication; only in Brontë's novel, it emerges without the aid of women. The feminist rediscovery of Brontë has obscured her more radical account of masculinity-in-the-making. Focusing on gossip, I demonstrate that Brontë was no surreptitious or inadvertent Wollstonecraftian, but an engaged interlocutor who defended "idle chat" and offered it as the model for a reforming masculinity. [End Page 908] In doing so, Brontë upended the Wollstonecraftian preference for masculine virtue over feminine culture. And yet, Brontë did not essentialize gossip as necessarily feminine; in Tenant, "idle chat" is not so much gendered—not so much associated with women—as classed, the lifeblood of a healthy middle class. I aim to unpack Brontë's gender politics, reveal her radical blueprint for masculine reform, and complicate analyses of gossip as either a dangerous or liberating weapon wielded by women—the coin they circulated in lieu of the monetary circulation from which they were largely excluded. To position gossip as merely a substitute for an engaged life is to neglect that, as a form of human exchange, it is an engaged life. Brontë, unlike Wollstonecraft, understood this, and, unlike some nineteenth-century novelists, did not attempt to beat the habit out of her characters. I Slipping out of a dinner party in Linden-Car, Helen Graham complains to Gilbert Markham: "I was wearied to death with small-talk—nothing wears me out like that . . . Is it that they think it a duty to be continually talking . . . and so never pause to think, but fill up with aimless trifles and vain repetitions, when subjects of real interest fail to present themselves?" 9 Such remarks have led critics to suppose that Brontë is a critic of idle talk, but this blurs character with author. Although Brontë presents daily life in Linden-Car as punctuated by small talk, rumor, and gossip—Helen's appearance in the crumbling mansion, her origins, her reputed affair with her landlord, Frederick Lawrence, and her flight are closely scrutinized by her genteel neighbors—she does not dismiss this talk as Helen does, but presents it as serving the vital function of creating fellowship and community. The novel begins as domestic social comedy, with idle talk creating connection and interjecting humor. As Mrs. Markham presides over tea and quizzes her sons, Gilbert and Fergus, about their day, her daughter, Rose, unable to contain herself, breaks in: "I was going to tell you an important piece of news I heard there—I've been bursting with it ever since. You know it was reported a month ago, that somebody was going to take Wildfell Hall—and—what do you think? It has actually been inhabited above a week!—and we never knew!" "Impossible!" cried my mother. [End Page 909] "Preposterous!!!" shrieked Fergus. "It has indeed!—and by a single lady!" . . . "Oh dear! that spoils it—I'd hoped she was a witch," observed Fergus, while carving his inch-thick slice of bread and butter. (pp. 13–4) Fergus's exaggeration and self-mockery, as he slices his prosaic bread and butter, mark Brontë's gentle indulgence, and the scene is suffused with love and comfort. Such banter, cheeriness, and affection are utterly lacking in the central section of the novel, when Helen's diary takes over and chronicles her isolated life on her alcoholic and abusive husband's estate, Grassdale. The gossip of middle-class Linden-Car functions not as a critique of the behavior, but rather to heighten its contrast with the chilling atmosphere of the upper-class estate. 10 Gossip has long been identified with women and danger, but, in Linden-Car and Tenant, it is neither exclusively feminine—Markham and the vicar join in every conversation—nor particularly malignant. 11 Indeed, much of what passes between the neighbors in Linden-Car is precisely idle gossip, speculative but harmless. True, rumors that Helen and Lawrence are lovers lead Markham to attack his rival, but if we recall that Markham refuses to heed the gossip and only acts when he has visual proof of the relationship, it is clear that his volatility and hypermasculinity, not idle village talk, are the sources of the violence. Brontë's lengthy transcriptions of such chat make evident that, while annoying to Helen, the village talk in fact builds social contact and community. 12 In her positive representation of gossip, Brontë differs from writers such as Jane Austen who also narrativize idle chat in small communities. Yet, while talk and misunderstanding propel plot in Austen's novels, the narrator does not condone them: Emma, for instance, must learn not to credit rumors, not to devise fictions from slim evidence. Only the narrator is permitted to use gossip to reveal character or create fictions from the stuff of chat. Patricia Meyer Spacks has noted the similarities between "gossip" and the novel, yet most nineteenth-century novelists condemned their characters' gossiping ways. 13 Anne Brontë is an exception. That Brontë does not share Helen's lofty rejection of idle talk is clear when Helen's diary takes over and we are plunged into the life of the landed gentry in which social relations are pinched and hobbled. In this world, Helen asks Annabella Wilmot, a woman she dislikes intensely, to be her bridesmaid, explaining simply "I [End Page 910] have not another friend" (p. 181). Later we learn that Helen has had no contact with her brother since their parents died, and although she turns to him when she escapes, their relationship is so reserved that Helen plans to repay him the expenses he has borne to set her up—in their own childhood home (p. 393). Even having reestablished ties with this beloved brother, however, Helen does not attend his wedding (p. 470). The cozy tea table at which Mrs. Markham involves herself in her children's lives and presides over their gossip is unknown in the upper-class world—and its absence is damaging. In place of human fellowship, Helen's only "confidential friend" is her diary. Into its "ears" she "pour[s] forth the overflowings of [her] heart" because if "it will not sympathize with [her] distresses . . . it will not laugh at them, and, if [she] keep[s] it close, it cannot tell again; so it is, perhaps, the best friend [she] could have" (p. 154). Helen's sense of propriety and desire for confidentiality is so powerful that it isolates her. But more than that, as Brontë details in an elaborate subplot, it wrecks the possibility of alliances. When Helen discovers that her husband, Huntingdon, is having an affair with Lady Lowborough, she angrily confronts him but decides not to share her discovery with Lord Lowborough (p. 311). Two years later, when Lowborough eventually learns of his wife's infidelity, he accuses Helen: "You helped to deceive me" (p. 341). She protests that her motive was "kindness" and that it was his "wicked" wife who deceived him, but Lowborough insists: "'And you madame,' said he sternly . . . 'you have injured me too, by this ungenerous concealment'" (pp. 341–2). The accusation is not unjust: while Helen chooses to ignore her husband's affair as long as it puts an end to their "conjugal endearments," her refusal to gossip denies Lowborough the same choice (p. 306). As a result, he must bring up as his own the daughter of the adulterous union between his wife and Huntingdon. The episode reveals the cost of intense reserve: all exchange, even the most pertinent, is shut down. What remains are superficial and frivolous exchanges—the very sort of "small talk" of "aimless trifles and vain repetitions" that Helen objected to in Linden-Car (and that may explain her aversion to and misunderstanding of its function at Linden-Car). As many critics have pointed out, Tenant targets the bad behavior of upper-class men. 14 But, it also censures the silences that enshrine and perpetuate such behavior—and here Helen too is culpable. In light of the isolation, loneliness, and repression that cripple the relations between characters in the upper class, it is impossible to read the exchange, talk, chat, and gossip of middle-class Linden-Car as undesirable. [End Page 911] Brontë furthermore recuperates what Helen denigrates as "small talk" by undercutting the alternative to the oral that our narrators, Helen and Markham, embrace. Both are suspicious of the spoken word, demanding "proof" (p. 126) to support what they are told, and, like Othello, accept only the "ocular" as evidence, but Brontë exposes this reliance on the empirical as naive. 15 During her passionate courtship with Huntingdon, Helen refuses to credit the word-about-town that he is "wild" and has affairs with married women (pp. 135, 149). She asserts that "I don't believe a word of it . . . [T]ill people can prove their slanderous accusations, I will not believe them" (p. 149). The gossip, however, as Helen learns from Huntingdon's own bragging shortly after their wedding, turns out to be a laundered version of his actual debauchery (pp. 208–9). In light of Huntingdon's subsequent brutality and psychological abuse of her, Helen's high-minded refusal to heed the "gossiping" hints appears not admirable, but delusional. 16 Given her reliance on the empirical, Helen's rejection of sight once she discovers her husband's perfidy is predictable: "I have found it my wisest plan to shut my eyes against the past and future, as far as he at least is concerned" (pp. 268–9). As with any naive adherent of a faith, with disappointment comes complete rejection. Markham shares Helen's empirical naivety. While he refuses to believe the whispered innuendos about Helen and Lawrence, he is led astray precisely by the evidence of his eyes: spying Helen walking with Lawrence, Markham concludes that Lawrence is her lover and shuns her (pp. 106–7, 113–4). When Helen demands an explanation, their conversation is a telling exchange of the competing claims of the spoken word and visual evidence. When Helen demands, "why did you not come to hear my explanation . . ." Markham responds, "because, I happened, in the interim, to learn all you would have told me,—and a trifle more I imagine" (p. 123). Their exchange continues: "Impossible, for I would have told you all!" cried she passionately—"But I won't now, for I see you are not worthy of it! . . . [Y]ou never understood me, or you would not soon have listened to my traducers . . . Tell me . . . on what grounds you believe these things against me; who told you; and what did they say? . . . " "I do not make jest of them, Mrs Graham," returned I [Markham] . . . "And as to being easily led to suspect, God only knows what a blind, incredulous fool I have hitherto been, perseveringly shutting my eyes and stopping my ears [End Page 912] against everything that threatened to shake my confidence in you, till proof itself confounded my infatuation!" "What proof, sir?" "Well, I'll tell you. You remember that evening when I was here last?" "I do." "Even then you dropped some hints that might have opened the eyes of a wiser man; but they had no such effect on me . . . " "You should have come to me, after all," said she, "and heard what I had to say in my own justification . . . You should have told me all . . . " "To what end should I have done so?—You could not have enlightened me farther, on the subject which alone concerned me; nor could you have made me discredit the evidence of my senses . . . " said I. (pp. 123–8; emphases added) Markham insists on the authority of his eyes while Helen simultaneously disdains and privileges the oral by challenging others' words and offering in their place her own. But because both have discredited speech, it is difficult for Helen to offer words or Markham to credit her: what he has seen, her words cannot undo. But while her protagonists put their faith in the ocular, Brontë does not: Helen's naive empiricism leads to her disastrous marriage, and Markham's to the only physical violence in a book about male brutality. Suspicious of the spoken word and reliant on the visual, Helen and Markham put their faith in the written word (their courtship begins with an exchange of Sir Walter Scott's Marmion), but here too Brontë exposes their naivety. The lovers' reliance on text is most evident when Helen, finally pushed to counter the evidence of Markham's spying eyes, chooses, not a verbal explanation, but a silent offering to him of her diary, which he reads alone (pp. 129, 397). Helen's diary is the most abused aspect of the novel's narrative structure. Reviewers and critics have complained that the technique is clumsy, the premise—Markham writes a lengthy letter to his friend Halford in which he transcribes her diary—implausible, and the two narratives distinct tales with little in common. 17 Until recently, conventional wisdom was that Brontë should have dispensed with the diary and had Helen orally narrate her story to Markham. 18 But this suggestion denies Brontë's craft, the way, as Garrett Stewart puts it, she "presses structure [End Page 913] back into plot." 19 The diary is a fitting narrative device because the characters require it. Their textual exchange, rather than marking Brontë's clumsiness as a writer, indicates her protagonists' faith in the written word and Brontë's cannily selected device to reflect this faith. But their faith in the written word is folly too: as Brontë demonstrates, words on a page can betray. Helen's distrust of talk and the classed reserve that lead her to "confide" her troubles to her diary exposes her to Huntingdon, who confiscates it, discovers her "scheme of escape," and imprisons her (pp. 154, 362). 20 But Huntingdon is not alone in using Helen's diary to expose her; Markham also does so. Tenant is an epistolary novel that includes Markham's letters to his friend Halford recounting his courtship of Helen. While part of the story is Markham's, the bulk is Helen's and appears in the form of her diary. Because Halford is, in Markham's derogatory description, "as great a stickler for particularities and circumstantial details as my grandmother," Markham transcribes Helen's diary into his letters (pp. 10, 129, 431, 432). The violence of this act is unmistakable; for the second time, Helen is exposed and spoken for. Some critics have speculated that Markham may have obtained his wife's consent before sharing the contents of her diary, but this argument is undercut by Brontë's deliberate narrative architecture. 21 She places on the same page two events that are widely chronologically separated: Helen's plea when she first hands Markham her diary—"Don't breathe a word of what it tells you to any living being—I trust to your honour"—and Markham's promise to Halford twenty years later: "I know you would not be satisfied with an abbreviation of [the diary's] contents and [so] you shall have the whole" (p. 129). The juxtaposition draws attention to Markham's violation of Helen's trust and cannot be redeemed by reading outside Brontë's text. II Positioning Huntingdon's and Markham's uses of Helen's diary as mirror images of one another—one uses it to imprison her, the other to expose her—Brontë indicates a continuity in the men's attitudes and behavior toward women. Although Markham is unlike Huntingdon in crucial ways—he does not drink, gamble, or abandon his wife—he is, nevertheless, a disturbing hero and lover for our much-abused heroine. The list of Markham's faults is long; he is brutal in his assault of Lawrence (pp. 116–7), vicious when [End Page 914] he vindictively slanders Jane Wilson (pp. 416–7), self-absorbed and petulant when he flirts with Eliza Millward, and cruel in his dismissal of her when Helen warms (p. 26). Furthermore, Markham desires power over women, as when he declares, "I felt it glad to have it in my power to torment [Helen]" (p. 123). As readers from Charles Kingsley onward have asked: is Markham an appropriate mate for the long-suffering Helen? The answer, I contend, is that he is not. In this novel, Brontë challenges the central tenet of domestic ideology—women's influence on men—that More articulates. The doctrine was simultaneously empowering and burdensome and found its way into even "protofeminist" novels such as Jane Eyre, where Jane fulfills (or reduces) her ambitions for a wider life by taming and managing her "master." In Tenant, however, Anne Brontë narrates a tale in which masculinity is impervious to the softening or "superior" influence of women. The novel is, instead, an excruciating exposé of the utter fictionality of this doctrine. Helen, following More's script, marries Huntingdon in the grip of the ideology, convinced that she can reform him. Six years later, she must escape to protect herself and her son. In rejecting the fantasy of masculine reform at the hands of women, Brontë undermines the basic Moreian premise of domestic ideology. But while Huntingdon is beyond redemption, critics have pointed out that Markham is more pliable. They have suggested that through reading Helen's diary, Markham learns sensitivity, thereby providing Helen with the partnership of equals she is unable to have with Huntingdon. 22 For such critics, Markham's faults are not puzzling but necessary; they demonstrate that although Helen fails to reform Huntingdon, she succeeds with her second husband, a man who also clearly requires reform. Others have countered that there is scant evidence of Markham's reform (and much evidence of his continued self-absorption, insensitivity, and petulance) underscoring the limited choices available to women. 23 I concur with these latter critics that any reform on Markham's part is so slight as to be hardly worth mentioning. Yet in debating whether Markham changes or not, we miss a basic point: that the text posits it as desirable that he should. Tenant suggests that Markham ought to reform—and reform by becoming more "feminine." Wollstonecraft had urged women to "imitate manly virtues," but Brontë reverses this dictum, suggesting that men imitate womanly behaviors. If, with Helen's first husband, Brontë exposes the practical limits of More's injunction to women to elevate men, with the second husband she rejects [End Page 915] the Wollstonecraftian gender hierarchy of virtues. Markham is to be reformed and feminized, but, in keeping with Brontë's skepticism about the limits of women's influence, the vehicle for that reformation is not Helen but another man. Throughout the novel we have no textual evidence of Helen's wielding positive influence on Markham. (Tellingly, critics who assert Helen's influence on Markham—N. M. Jacobs, Elizabeth Langland, Linda Shires, and Juliet McMaster—can only speculate about it.) Notably, Markham composes his letter to Halford while Helen is away. 24 The complete absence of female supervision of male reform is so striking that it gives the lie to any argument that Brontë maintained faith in its possibility. Instead of a woman's tutelage of a man, Brontë sketches a portrait of two men, Markham and Halford, tottering unsteadily toward a new form of masculinity. Recent studies of Victorian masculinities have offered a nuanced view of that once-monolithic creature, the Victorian Man, confident, imperious, rigid. 25 Scholars have demonstrated that, in the early decades of the century, masculine identity was in flux, unstable, and recreating itself. Leonore Davidoff and Catherine Hall write that "far from carrying the blustering certainty of the late Victorian paterfamilias, early nineteenth-century masculine identity was fragile, still in the process of being forged and always measured against the background of condescension from the gentry as well as the long tradition of artisan pride." 26 In contrast to the eighteenth century's proliferating forms of masculinity (the fop, the rake, and the gentleman), the 1830s, David Glover and Cora Kaplan write, were notable for "a strong bid to establish a dominant form of masculinity for the industrial era," and Thomas Carlyle, according to Herbert Sussman, "quite self-consciously [sought] to establish a foundation myth of manliness for an industrial society." 27 As the middle class acquired an identity and became more confidently established—unevenly, yes, but nevertheless distinctively—it reimagined gender identity and relations and tussled with existing and new forms of masculinities. To put it in Raymond Williams's terms, in the 1820s and '30s residual and emergent forms of masculinities jockeyed for dominance. 28 Studies of early Victorian masculinities have focused on men—their self-fashioning and self-articulation—and Carlyle, Charles Dickens, Charles Kingsley, Alfred Lord Tennyson, and Thomas Arnold feature prominently. To my knowledge, no critic has examined Victorian women's responses to masculinity, emerging or residual. (By contrast we know a great deal about nineteenth-century men's responses to femininity and the nascent [End Page 916] women's movement.) The study of Victorian masculinities is ripe for such extension, and Brontë's Tenant is a rich place to begin as it tackles precisely these questions of competing forms of masculinity and masculine self-fashioning. Brontë carefully dated her novel: Markham's letters to Halford are composed in 1847, but the events narrated occur in 1827, a moment when masculine identity in Britain was in flux. Remarkably, although biographically inclined critics beginning with Charlotte Brontë offer the decline of Branwell as the standard explanation for the source of Anne's dark tale, the question of masculinity is never raised as a theme that Brontë engages; the biographical is used to reduce Anne to a scribe of life's experiences, not to see her as engaging those experiences. This is a grave error as Tenant is an incisive critique of old forms of masculinity and a clear-eyed vision of the pain of birthing new forms. The new masculinity that Markham reaches toward in the frame letters is sketched in contrast to the aristocratic masculinity of Grassdale. Huntingdon and his friends spend little time in the company of women and are neither domestic nor domesticated. Their pastimes—drinking, hunting, and gambling—are exclusively masculine, and women are only either wives or lovers. Helen notes that Huntingdon's "notions of matrimonial duties and comforts are not my notions . . . [H]is idea of a wife is a thing to love one devotedly and to stay at home . . . and when he is absent, to attend to his interests . . . no matter how he may be occupied in the meantime" (p. 244). She desires a companionate marriage centered around the romantic heterosexual couple, a novel—in both senses of the word—arrangement if ever there was one. In such a marriage, the "new man" spends considerable time in the company of women. After his reform, Hattersley, Huntingdon's partner in debauchery, avoids "the temptations of town," remaining contentedly "in the society of his happy little wife" (p. 458). And Markham, despite his many faults, has this in his favor: he is accustomed to and comfortable in the company of women and, aside from when he dashes across the fields to spy on Helen, he is almost always ensconced in the ladies' sitting room, a room Huntingdon will not enter. Yet, despite his comfort with women, Markham is emotionally undomesticated. He is unable to form an "intimacy" with Lawrence and is so emotionally clumsy that when Helen virtually proposes to him by handing him a rose, he freezes—"I dared not speak lest my emotion should over-master me"—for so long that she "misconstru[es] this hesitation into indifference" and angrily [End Page 917] withdraws her offer (pp. 40, 454, 483). The letters from Markham to Halford are written twenty years after this near miss, and in them we glimpse Markham shakily trying to open up to another person. That the exchange is between two men—not a man and a woman, as in so many English novels in which a woman tutors a man to know his emotions—indicates Brontë's interest, given her skepticism about women's influence, in probing alternate avenues for the development of masculine sensibility. 29 Tenant opens with a tiff between Markham and Halford. The men have quarreled because, when last they met, Halford, "not naturally communicative," shared a confidence and "requested a return of confidence" (p. 9). The emotionally awkward Markham resisted, and Halford was "deeply injured" (p. 9). The letter Markham writes—the story we read—is his attempt to "atone" for this injury (p. 21). He offers it as a "coin," the "first installment of [his] debt," challenging Halford to read "the treasure" and "charge me with ingratitude and unfriendly reserve if you can" (pp. 21, 10). The exchange indicates that even after twenty years as Helen's husband, Markham has not been cured of his emotional clumsiness—so much for women's influence. Furthermore, while Markham's and Halford's exchange is a step in the development of a new form of masculinity, this masculinity has birthing pains as it searches for a vocabulary and emotional register. Hence, Markham's recourse to economic metaphors and masculine verbal backslapping, as when he calls Halford "old boy" and "old buck" (pp. 9, 72). The process of emotionally revealing himself—a gesture labeled "feminine"—requires the reassertion of conventional masculinity. In this moment, residual and emergent masculinity rub shoulders uneasily. But the crucial point is that in sharing Helen's story, Markham offers Halford what is, in essence, "gossip." 30 This exchange of her story not only creates community as it did in Linden-Car, but also, more importantly, promotes masculine behavior that remedies the upper-class chill and aloofness that crippled social relations in Grassdale. As that reserve enabled a brutal masculinity, this "gossipy" exchange of narrative, imperfect as it is, is welcome for the new masculinity it ushers in. Let me be explicit: not only does Brontë not reject what some term "gossip," she instead maintains its centrality in creating fellowship and community. Communication and oral exchange between siblings, mothers and sons, and neighbors and friends keeps middle-class Linden-Car free of the isolation and brutality that thrive in Grassdale. Had Helen listened to the word-about-town on Huntingdon, had she learned to gossip, she would not [End Page 918] have undertaken her disastrous marriage, nor would she have been so isolated once in it. But Brontë's most important recovery of gossip comes with Markham and his framing letters, where she makes it plain that only by learning to gossip—exchange talk, communicate, reveal emotions—can Markham redeem himself, become a new man, and, possibly, a worthy husband for Helen. III Finally, Brontë redeems gossip by herself narrating the unspeakable. Her unsavory tale of an abusive alcoholic husband and his debauched friends, of the limits of women's influence, of the creative fiction that is marriage, is akin to "gossip" in that she puts into words—albeit written—what was only hinted at, surmised, imagined, whispered, but seldom spoken of in fiction. The response to her novel suggests that reviewers did not wish to hear these unpleasant truths. The Spectator considered the subject matter "offensive." 31 The North American Review opined that the novel gave unnecessary prominence to "the brutal element of human nature." 32 Sharpe's London Magazine complained that there was a "disgustingly truthful minuteness" to it, and the Rambler believed that the author dwelt on "offensive" details. 33 Even Kingsley, in his otherwise favorable review in Fraser's Magazine, wrote: "The fault of the book is . . . the coarseness of subject which will be the stumbling-block of [sic] most readers, and which makes it utterly unfit to be put in the hands of girls." 34 While hoping that "every man in England might read and lay to heart that horrible record [narrated in Helen's diary]," Kingsley contradictorily continued: "But what greater mistake . . . can there be than to fill such a diary with written oaths and curses, with details of drunken scenes which no wife, such as poor Helen is represented, would have the heart, not to say the common decency to write down as they occurred . . . The author . . . seems to have forgotten that there are silences more pathetic than words." 35 For Kingsley and other reviewers, Brontë had violated propriety; the things she spoke of might happen but should not be narrated. Yet, the very silence Kingsley enjoins on Brontë is the silence Helen retreats into and that isolates her. It is a silence that Brontë refuses. Stung by the reviews, Brontë responded in an 1848 preface to the second edition of Tenant: "I know that such characters do exist, and if I have warned one rash youth from following in [Huntingdon's] steps, or prevented one thoughtless girl from falling into the very natural error of my heroine, the book has [End Page 919] not been written in vain" (p. 4). Rejecting silence or withdrawal, Brontë redefined her text as an act of witnessing that aims to be interventionist and meliorative. Yet, comparing herself to a maid who in cleaning a "careless bachelor's apartment" receives "more abuse for the dust she raises, than commendation for the clearance she effects" (p. 4), Brontë allies herself with servants who were often accused of "carrying tales" or "airing dirty laundry." 36 The analogy indicates that Brontë was aware that, like the maid, she too would be marginalized: "If I can gain the public ear at all," she writes, "I would rather whisper a few wholesome truths therein than much soft nonsense" (p. 4; emphasis added). Her choice of the verb—"whisper"—to describe this exposé of the dearly held fictions of matrimony, domesticity, and women's influence, indicates her poignant awareness that her tale will likely be relegated to the dismissed realm of the oral. As it was. The greatest blow to Anne Brontë's reputation and the novel's survival was Charlotte Brontë's 1850 "Biographical Notice" in which she wrote that "the choice of subject was an entire mistake." 37 The Tenant's "unfavorable reception" led Charlotte to single it out: when her publisher offered to reprint her sisters' novels in single-volume editions, Charlotte selected only Wuthering Heights and Agnes Grey, declaring: "'Wildfell Hall' it hardly appears to me desirable to preserve." 38 Her decision was not, perhaps, made entirely for aesthetic reasons. Given Charlotte's customary condescension toward her youngest sister—she regularly referred to Anne as a "poor child," "quiet," "sweet," "patient," "simple"—it must have stung Charlotte that reviewers compared Tenant to Jane Eyre, Huntingdon to Rochester. 39 Even William Smith Williams, the man who "discovered" Charlotte, noted a resemblance, to which Charlotte responded testily: "You say Mr Huntingdon reminds you of Mr Rochester—does he? Yet there is no likeness between the two." 40 To be compared not to Emily—whom Charlotte considered a genius—but to Anne, who she believed was an "inexperienced writer," must surely have rankled. 41 Is it not possible that a little competitive rivalry or offense at being compared to the less-glamorous sister fueled Charlotte's decision? But then, such speculation would be indulging in gossip. Priti Joshi Priti Joshi is associate professor of English and Gender Studies at the University of Puget Sound. She has written on Edwin Chadwick and masculinity as well as Charles Dickens and empire, and is working on a study of Jane Eyre and its many revisions. Notes 1. Mary Wollstonecraft, Vindication of the Rights of Woman, ed. and intro. Miriam Brody Kramnick (New York: Penguin Books, 1985), p. 128. 2. Barbara Taylor writes that Vindication has "misogynist" tones and inflections (Mary Wollstonecraft and the Feminist Imagination [Cambridge: Cambridge Univ. Press, 2003], pp. 198, 209, 216.) [End Page 920] 3. Wollstonecraft, p. 80. 4. Wollstonecraft, p. 83. Chapter 1 of Wollstonecraft's Vindication provides some instances of her critical stance vis-à-vis the aristocracy. 5. Hannah More, Strictures on the Modern System of Female Education; with a View of the Principles and Conduct Prevalent among Women, vol. 6 of The Works of Hannah More, 7 vols. (New York: Harper and Brothers, 1835), p. 313. 6. Taylor, pp. 248-50. 7. Anne Brontë, The Tenant of Wildfell Hall, ed. Stevie Davies (London: Penguin, 1996). Subsequent references to The Tenant of Wildfell Hall, hereafter Tenant, are from this edition and will appear parenthetically in the text and notes by page number. Jan B. Gordon does not directly reference Wollstonecraft, but his essay's argument that "gossip devalues" and "threatens cultural values" and that Helen needs to embrace textual (letter and diary) forms to take control of her life equates talk with a femininity in need of correction and ascribes to Brontë a critique of talk that this essay argues against ("Gossip, Diary, Letter, Text: Anne Brontë's Narrative Tenant and the Problematic of the Gothic Sequel," ELH 51, 4 [Winter 1984]: 719-45, 724-5). 8. Laura Berry, "Acts of Custody and Incarceration in Wuthering Heights and The Tenant of Wildfell Hall," Novel 30, 1 (Fall 1996): 32-55; N. M. Jacobs, "Gender and Layered Narrative in Wuthering Heights and The Tenant of Wild-fell Hall," in The Brontës, ed. and intro. Patricia Ingham (London: Longman, 2003), pp. 216-33; Elizabeth Langland, Anne Brontë: The Other One (Totowa NJ: Barnes and Noble, 1989); and Deborah Denenholz Morse, "'I speak of those I do know': Witnessing as Radical Gesture in The Tenant of Wildfell Hall," in New Approaches to the Literary Art of Anne Brontë, ed. Julie Nash and Barbara A. Suess (Burlington VT: Ashgate, 2001), pp. 103-26. 9. Tenant, p. 85. The novel's central character has no fixed name. She appears first as Helen Graham, a pseudonym she adopts on fleeing her husband. During much of the novel she is Helen Huntingdon, née Lawrence, and in the closing pages, we anticipate her becoming Helen Markham. The surfeit underscores women's "tenancy" in masculine nomenclature. I refer to her as "Helen." 10. Although Linden-Car is an agricultural town with a squire and "gentleman farmers," the villagers' faith in strictly demarcated gender relations, companionate marriage, and domesticity are firmly midcentury, middle-class values. For more on such values, see Leonore Davidoff and Catherine Hall, Family Fortunes: Men and Women of the English Middle Class, 1780-1850 (Chicago: Univ. of Chicago Press, 1987), especially pp. 18-28. 11. See Patricia Meyer Spacks, Gossip (New York: Knopf, 1985). Spacks traces the association to the Ancients, but notes that anxiety about women and talk intensified in the eighteenth century, when upper-class women had more free time and when the novel—the form that required minute observation and countless details—emerged (pp. 41, 148-53). Her book is a brilliant redemption of that "serious" gossip which creates intimacy and sustains relationships (pp. 5-6). Although Spacks briefly mentions Tenant, she views the novel's use of gossip as disciplinary (pp. 7-8), a reading my article counters. [End Page 921] 12. Not all nineteenth-century novelists had such a positive view of gossip: for "urban" novelists such as Charles Dickens gossip was more dangerous, largely because in the city, where anonymity prevailed, idle chat was often used to slander and blackmail. Little Dorrit, Bleak House, and Our Mutual Friend all have subplots in which slander is circulated or repressed with disastrous consequences. In smaller communities such as Linden-Car, however, where intimate knowledge of members makes slander foolhardy, gossip can have the positive function that Brontë ascribes to it. 13. Spacks, pp. 21-4. In Elizabeth Gaskell's Cranford, the "Amazons" thrive on endless small talk, but their chat, like the women themselves, is not generative or productive. Rather, it is restrictive, defining who can say what and when. Thus, while Gaskell shares Brontë's indulgence of characters' chat, she does not view it as serving a vital function, only as the remnant of a fast-disappearing world. In George Eliot's Middlemarch talk is the circulatory system that predates more complex systems—railways, the post, banks, medical analysis of the heart—and, as Gillian Beer subtly demonstrates, when the old and new circulation systems collide, blackmail ensues ("Circulatory Systems: Money and Gossip in Middlemarch," Cahiers Victoriens et Édouardiens 26 [October 1987]: 47-62, 49-52). 14. Juliet McMaster, "'Imbecile Laughter' and 'Desperate Earnest' in The Tenant of Wildfell Hall," MLQ 43, 4 (December 1982): 352-68, 353-8; Morse, pp. 104-7. 15. Shakespeare, Othello, ed. Michael Neill (Oxford: Clarendon Press, 2006), III.iii.362. 16. For nineteenth-century distinctions among vision, insight, seeing, and perception, see Kate Flint, The Victorians and the Visual Imagination (Cambridge: Cambridge Univ. Press, 2000), pp. 1-39. 17. George Moore, Conversations in Ebury Street (London: Heinemann, 1930), pp. 219-20, 218, 216, qtd. in Miriam Allott, ed., The Brontës: The Critical Heritage (London and Boston: Routledge and Kegan Paul, 1974), p. 35; from an unsigned review, Examiner (29 July 1848), pp. 483-4; rprt. in Allott, pp. 254-5, 255; and from an unsigned review, Sharpe's London Magazine (August 1848), pp. 181-4, rprt. in Allot, pp. 263-5. See Jacobs, p. 221, for a brief overview of critiques. 18. McMaster, pp. 362-3. McMaster ascribes the initial suggestion to Moore in 1924 and its repetition to Winifred Gérin in 1979. 19. Garrett Stewart, "Narrative Economies in The Tenant of Wildfell Hall," in New Approaches to the Literary Art of Anne Brontë, ed. Julie Nash and Barbara A. Suess (Burlington VT: Ashgate, 2001), pp. 75-102, 75. 20. Unlike Mr. B in Samuel Richardson's Pamela, Huntingdon is persuaded not to fall in love with Helen upon reading her text, but rather to punish her. His friend, Hattersley, is transformed after reading Helen's letters, but the letters, rather than being the motivating cause, are only the icing on the cake of his fear of descending into the same alcoholic hell as Huntingdon. 21. Jill Matus, "'Strong Family Likeness': Jane Eyre and The Tenant of Wildfell Hall," in The Cambridge Companion to the Brontës, ed. Heather Glen (Cambridge: Cambridge Univ. Press, 2002), pp. 99-121, 104. 22. Jacobs, p. 226; McMaster, pp. 363-4; Langland, "The Voicing of Feminine Desire in Anne Brontë's The Tenant of Wildfell Hall," in Gender [End Page 922] and Discourse in Literature and Art, ed. Antony Harrison and Beverly Taylor (DeKalb: Northern Illinois Univ. Press, 1992), pp. 111-23, 116; and Linda Shires, "Of Maenads, Mothers, and Feminized Males: Victorian Readings of the French Revolution," in Rewriting the Victorians: Theory, History, and the Politics of Gender, ed. Shires (New York: Routledge, 1992), pp. 147-65, 160-2. Langland acknowledges that the novel "explodes the myth of woman's redemptive spirituality and insight," but also insists that, with Markham, Helen succeeds (p. 118). 23. Matus, pp. 104-9; Tess O'Toole, "Siblings and Suitors in the Narrative Architecture of The Tenant of Wildfell Hall," in Allott, pp. 234-51, 237-9. 24. The letter begins: "the family are absent on a visit" (p. 10). While "visit" could suggest a social call, the fact that Markham sits down with "certain musty old letters and papers . . . musing on past times," as well as the length of the letter suggests that the visit is of some duration, perhaps out of town. By 1800, "visit" meant both a social call and an excursion or a "short or temporary stay at a place" (OED, 2d edn., n. "visit," 1a, 1d). 25. Victorian masculinity studies is a burgeoning field due to the pioneering work of, among others, John Tosh and Michael Roper in their edited collection Manful Assertions: Masculinities in Britain since 1800 (New York: Routledge, 1991) and James Eli Adams's Dandies and Desert Saints: Styles of Victorian Manhood (Ithaca: Cornell Univ. Press, 1995). 26. Davidoff and Hall, p. 229. 27. David Glover and Cora Kaplan, Genders (New York: Routledge, 2000), pp. 56-85, 69, 78; Herbert Sussman, Victorian Masculinities: Manhood and Masculine Poetics in Early Victorian Literature and Art (Cambridge: Cambridge Univ. Press, 1995), p. 16. 28. See Raymond Williams, "Base and Superstructure in Marxist Cultural Theory," New Left Review I/82, November-December, 1973 (online). 29. Nancy Armstrong has argued that since Pamela "readers remain thoroughly enchanted by narratives in which a woman's virtue alone overcomes sexual aggression and transforms male desire into middle-class love" (Desire and Domestic Fiction: A Political History of the Novel [New York: Oxford Univ. Press, 1987], p. 6). 30. Spacks describes letters as "written gossip" in which writers exchange intimacies, chat, and create plot and narratives out of incidents (pp. 72-6). 31. From an unsigned review, Spectator (8 July 1848), pp. 662-3, rprt. in Allott, pp. 249-50, 250. 32. E. P. Whipple, from "Novels of the Season," North American Review (October 1848), pp. 354-69, rprt. in Allott, pp. 261-2, 262. 33. From an unsigned review, Sharpe's London Magazine (August 1848), pp. 181-4, in Allott, pp. 263-5, 264; from an unsigned review, "Mr Bell's New Novel," in Rambler (September 1848), pp. 65-6, rprt. in Allott, pp. 266-8, 267-8. 34. Charles Kingsley, from an unsigned review, Fraser's Magazine (April 1849), pp. 417-32; rprt. in Allott, pp. 269-73, 270. 35. Kingsley, rprt. in Allott, p. 271. 36. Bruce Robbins, The Servant's Hand: English Fiction from Below (New York: Columbia Univ. Press, 1986), pp. 108-9. Helen rebukes her maid Rachael for carrying "idle rumours" (pp. 200, 298). Spacks writes that, for [End Page 923] subordinates, gossip about the dominant is a form of alliance and an "alternative discourse" (pp. 45-6). James Scott has developed this point brilliantly in Domination and the Arts of Resistance (New Haven: Yale Univ. Press, 1990) from an anthropological and postcolonial perspective. 37. Charlotte Brontë, "Biographical Notice," Wuthering Heights and Agnes Grey, 2d edn. (Leipzig: Bernh. Tauchnitz Jr., 1851), pp. v-xiv, v. 38. Charlotte Brontë to Ellen Nussey, 5 February 1850, in The Letters of Charlotte Brontë, with a Selection of Letters by Family and Friends, ed. Margaret Smith, 3 vols. (Oxford: Clarendon Press, 1995-2004), 2:156. 39. Juliet Barker, The Brontës (London: Weidenfeld and Nicolson, 1994), pp. 308, 479, 502-3, 530, 596; Allott, pp. 259-60, 266-7. 40. Smith, 2:99, qtd. in Matus, p. 117. 41. Charlotte Brontë to Ellen Nussey, 5 February 1850, 2:156. [End Page 924] Copyright © 2009 William Marsh Rice University
i don't know
Barry Fairbrother collapsed and died in the first episode of which recent BBC drama?
Rory Kinnear - IMDb IMDb Actor | Soundtrack Rory Kinnear was born on February 17, 1978 in London, England as Rory Stewart Kinnear. He is an actor, known for The Imitation Game (2014), Skyfall (2012) and Quantum of Solace (2008). He is married to Pandora Colin . They have two children. See full bio » Born: a list of 31 people created 18 Jan 2012 a list of 33 people created 17 Mar 2013 a list of 38 people created 22 Aug 2015 a list of 25 people created 3 months ago a list of 30 people created 3 months ago Do you have a demo reel? Add it to your IMDbPage How much of Rory Kinnear's work have you seen? User Polls 3 wins & 6 nominations. See more awards  » Known For The Imitation Game Detective Robert Nock (2014)  2017 Guerrilla (TV Mini-Series) ( filming ) Pence  2017 Quacks (TV Movie) ( completed ) Robert  2015 The Casual Vacancy (TV Mini-Series) Barry Fairbrother  2013-2015 Count Arthur Strong (TV Series) Michael Baker  2012 Loving Miss Hatto (TV Movie) Young Barrie  2011 Black Mirror (TV Series) Michael Callow  2009 Ashes to Ashes (TV Series) Jeremy  2008 Messiah: The Rapture (TV Mini-Series) Stewart Dean  2005 Secret Smile (TV Movie) Nick  2005 Silent Witness (TV Series) Paul  2003 The Second Coming (TV Mini-Series) Father Dillane  2002 Ultimate Force (TV Series) Policeman  2001 Judge John Deed (TV Series) Tony Cootes - Duty of Care (2001) ... Tony Cootes Hide  - The Day Tennyson Died (2016) ... (performer: "All Through the Night" - uncredited) Hide   2014 Dinner at 11 (TV Movie documentary) Narrator  2011 BBC Proms (TV Series) Himself - Narrator  2008 Bond on Location (TV Short documentary) Himself  2007 BBC London News (TV Series) Himself - Stage Actor - Episode dated 6 February 2007 (2007) ... Himself - Stage Actor Hide   2007 Five Days: Making Five Days (Video documentary short) Kyle Betts (uncredited) Personal Details Other Works: He acted in William Shakespeare 's play, "The Taming of the Shrew", and John Fletcher 's play, "The Tamer Tamed", in a Royal Shakespeare Company production at the Queen's Theatre in London, England with Jasper Britton , Alexandra Gilbreath , Ian Gelder , Eve Myles , Christopher Godwin , Nicholas Tennant , Paul Chahidi , Daniel Hawksford ... See more » Height: Did You Know? Personal Quote: I can tell you it's all bullshit. It feels like my name has been randomly chosen to satisfy the public appetite. I can firmly deny that I am the next Doctor Who (2005). I don't know what the motive was - to be honest I can't even be bothered to think about it. Having said that, the rumour doesn't do any harm. I just know the show as something that's out there in the ether. I realise that it's ... See more » Trivia: Won a Laurence Olivier Award for his performance as "Sir Foppling Flutter" in "The Man of Mode" at the Royal National Theatre in 2008. See more » Star Sign:
The Casual Vacancy
Which 10-part Channel 4 drama starring Julie Walters depicts the 1930’s British Raj?
The Casual Vacancy: BAFTA Q&A | Life of Wylie The Casual Vacancy: BAFTA Q&A “OVER my dead body, Andrew…” Rory Kinnear as Barry Fairbrother in BBC1’s new three-part adaptation of JK Rowling’s The Casual Vacancy. Jo Rowling’s first novel for an adult audience, published in 2012, became a global best-seller with over six million copies sold to date. The 3 x 60 minute television adaptation, written by Sarah Phelps and directed by Jonny Campbell, begins on BBC1 at 9pm on Sunday Feb 15. Set in what appears to be the idyllic English village of Pagford. Those who have read the 500-page book will know that it deals with how we live today, including issues of community and responsibility. Or as Sarah Phelps put it about those who live on The Fields estate nearby: “It’s kind of the lives of people you recognise from the Thirties. But we’ve started to make it their fault. “And that just seems like …there’s something weird has happened. I don’t like it. So that’s part of the story.” Rory Kinnear as Barry Fairbrother. She was talking during a Q&A session this week after the premiere of the first episode at BAFTA in London. My full transcript of that Q&A is below, including a new quote from J.K. Rowling. It’s a fairly long read but, as usual I’d argue, worthy of your time. The tabloid press will no doubt focus on, among other things, Keeley Hawes as Samantha Mollison and tales from her lingerie shop in the Q&A. Plus a quote from Keeley in her BBC Press Pack interview. (Which I’ve posted at the very bottom of this blog) Along with references to JK Rowling’s Harry Potter past. Her name helps draw attention, of course. But The Casual Vacancy is an entertaining, thought-provoking and important story, worthy of BBC1 exposure. Whether it attracts and retains a large mainstream Sunday night audience is another matter. Hopefully a cast list including Michael Gambon, Julia McKenzie, Rory Kinnear, Emilia Fox, Keeley Hawes, Rufus Jones, Simon McBurney and Monica Dolan will help. Also introducing Abigail Lawrie as teenager Krystal Weedon. Daughter of drug addict Terri, played by former Coronation Street and Emmerdale actress Keeley Forsyth. *************************************************************** Keeley Hawes as Samantha Mollison. Quote from JK Rowling: “Sarah Phelps is a writer at the top of her game. Having met Sarah, and discussed the television adaptation of The Casual Vacancy, I was happy and confident to hand over the job of crafting my novel for the small screen.  Sarah has done a great job and I am delighted with how it has turned out.”  BBC One Controller Charlotte Moore introduced the screening: “It’s absolutely thrilling to be bringing the work of JK Rowling to BBC1. It’s an extraordinary tapestry of modern Britain. A book of such richness that through humour, social commentary and, above all, fantastic characters, I think it says something really insightful and entertaining about the country we live in.” Q&A with: Julia McKenzie (Shirley Mollison), Rufus Jones (Miles Mollison), Keeley Hawes (Samantha Mollison), Jonny Campbell and Sarah Phelps. Chaired by Amy Raphael. Q: Sarah – can you tell me about your involvement from the beginning and where you decided to go with the story? What you wanted to take from the original novel? Sarah Phelps: “Well it’s a massive novel. A huge novel. Loads of characters and loads of different…I thought, ‘I’ll have to talk to Jo about this.’ Said what I thought what the story was about. Which is I think it’s Krystal’s (Abigail Lawrie) story. Krystal is the beating heart of the story. She goes right through the centre of it.” Abigail Lawrie as Krystal Weedon. Q: Did Jo say to you, ‘You can run with it, to a degree, how you want’, or..? Sarah Phelps: “Well when we had the original meeting and we talked a lot about the book and I said that, for me, the beating heart of the story was Krystal’s and it was all about unpacking Krystal’s story. And that tallied very much with her and she was very cool about the whole thing. I’ve adapted dead writers, which is great because they can’t come and annoy you by email. (laughter) And it could have been really difficult. But the great thing is, she’s used to the process of adaptation. Of having to let her book go into that process from having the films done and everything. And I don’t know if it’s different being TV and this book is very different for her. But she was brilliant about just, ‘That’s your side of the job. Step back and let you do it.’ So there was a great deal of freedom of me…she read the scripts as they came in and commented appropriately. But, honestly, it’s been…” Q: But she didn’t give you scary notes. You weren’t sitting there thinking, ‘What’s she going to say?’ Sarah Phelps: “No. Not at all. She’s a writer. She understands what that’s like.” Q: And as a writing process, is it easier to work with an adaptation than starting something from scratch? Sarah Phelps: “No. All of it’s a nightmare.” (laughter) Q: I just love you on writer’s block. I love you talking about, it’s tea, then it’s fags, then it’s booze… Sarah Phelps: “Oh, that’s when it’s going well.” Michael Gambon and Julia McKenzie as Howard and Shirley Mollison. Q: And when you’re writing you maybe make it blue as well? Sarah Phelps: “Just to get me going, I used to write really kind of BlueEnders and then just terrible things would happen upstairs in the Vic and it would be really shocking. And then after about three pages of EastEnders as Goodfellas, shooting each other and punching each other and hitting each other with sinks and then doing foul things to…Caligula, you know…and then I’d just go, ‘Delete’, then just start again. So a dog would come in. All of it, whether it’s original…and, yeah, people sort of say about adaptations, ‘So you already…’ It’s kind of like, ‘Ah, just knock that out over the weekend, round of golf, whatever.’ But it isn’t. It’s sometimes almost more difficult because you’re working with something that’s established. You’ve got to make sure you tell a story and you’ve got to bring a lot to it. It’s always a blank page and you’re always wanting to do the story and the characters justice. So I find it just as terribly painful and traumatic and awful.” (feigns mock horror) Q: And what a great job you did… Sarah Phelps: “Oh, ta very much. That makes it all better. The cirrhosis of the liver was worth it.” Rufus Jones as Miles Mollison. Q: Jonny – where did you come on board, and we were talking a little bit before about some ideas you’d had about it before… Jonny Campbell: “I came on board about a year ago. Almost to the day now. And Sarah had written the first episode, I think, by then. You saw the script, ‘Based on a novel by…’ And it’s like, ‘Yeah, where do I sign? Let’s do this straight away.’ But I tried to ignore the JK Rowling factor and just concentrate on it as a story and see whether I had an affinity to the characters and the storytelling. And it was a really rich script that Sarah had written. But because of the number of characters – I hadn’t read the book before but I went to the book and read it a couple of times and then re-read the script before meeting to talk about it. And then it all clicked into place, what Sarah had done and why. The novel, there’s a lot of characters and a lot of inner monologues in the way that Jo gets inside a character’s head and that’s obviously not something you can do quite so easily in an adaptation. But what appealed to me was one of the reasons, I think, why Jo wrote it in the first place. Was that she had this idea to write a novel with 19th century sensibilities but applying it to a contemporary setting. In the vein of Trollope or Hardy or Dickens, even. And that’s what I was really excited by. Was this nature of the classical themes that just go round and round in circles no matter which era you live in, telling a timeless story, really.” Keeley Forsyth as Terri Weedon. Q: And had you as the acting force, the creative crew over there (Julia, Rufus and Keeley), had you read the novel before getting the call about the job? Rufus Jones: “I hadn’t. There. I hadn’t. Now I’ve said it.” Keeley Hawes: “No, I hadn’t either. I did immediately.” Rufus Jones: “Yeah. That’s kind of how it works. I remember we got the nod and read it and devoured it. I’d actually never read any of JK Rowling’s books. I am the last person on Earth who hasn’t read them. And…” Sarah Phelps: “I haven’t read any Harry Potter.” Keeley Hawes: “Neither have I. I’ve got three children. I’ve got no excuse.” Rufus Jones: “I don’t know what I was expecting but I wasn’t expecting a book with a kind of anger about it. A kind of social anger. A socialist anger, actually. And that was really exciting. And having read the script, I could then see what it had come from.” Keeley Hawes: “I think you’ve done an incredibly difficult job, Sarah, because they are so beautifully written and well drawn and there are so many characters. The first 50 pages – even reading the book…it’s so difficult to unpick it. And when you do, it’s fantastic. And then you’re in. But when I read it I thought, ‘How is this going to work? And how is it going to work in three parts?’ Because they’re so complex. But you managed it.” Mo Johnson played by Hetty Baynes. Q: And Julia, what was the experience like for you? Julia McKenzie: “Oh, it was wonderful. We filmed in the Cotswolds in this wonderful summer we’ve just had. It couldn’t be better, could it? It was lovely. And I got lovely lines to say, in the next two episodes.” (laughter) Q: I believe it gets darker, though? Julia McKenzie: “They do. But I don’t.” Jonny Campbell: “Julia’s character – you get unleashed, don’t you? Beautifully acted. You relished playing the bitch for a change, didn’t you?” Julia McKenzie: “Yes. It was nice to do a different sort of part.” Q: Playing against type? Julia McKenzie: “Oh yeah. It was lovely. I was amazed to get the part. I’m normally offered something with a duster in my hand or something like that. But this was very nice to be offered. And I’d worked with Jonny before many years before in a PD James. Death In Holy Orders.” Paul Price (Sonny Serkis) and Andrew Price (Joe Hurst). Q: You mentioned a kind of socialist angle and it feels to me, personally, like a glorious left-wing, ‘What the hell are we doing to our country?’ With the coming UKIP contingency. That, for me, was the background that’s going on. And I’m not saying that’s on screen. But it makes you think about how we like to segregate and how this government likes to segregate? Did you think about it from a socialist point of view or…I think JK Rowling was going to call it ‘Responsible’ initially. That was her working title for a long time… Jonny Campbell: “I don’t think that’s just a party political area. I think the whole point is the responsbility angle isn’t confined to just the left-wing bias. For me it was more of a generic thing about responsibility and philanthropy in society, which I think is a universal issue, rather than anything socio-political in that sense. That was how I read it. It was part of the timelessness of it. Hence the Victorian link, which was interesting.” Michele Austin as Kay Bawden. Sarah Phelps: “It was very interesting, because in the book the dispute is over a boundary line. And it’s difficult to put a boundary line into a TV drama. And I thought, ‘What if it was one of those kind of houses that philanthropic squires and land owners and things like that, they made these huge philanthropic gestures towards the poor and the needy to alleviate their suffering.’ I’m just reading Alan Johnson’s ‘This Boy’ on the train, which is brilliant if you haven’t read it. He just popped out this thing about, just for some reason talking about the people he’s met and Peabody, who was an American banker based in London who made this huge endowment. Peabody flats are famous in London. And it all came from him. A huge endowment for the poor and needy of the metropolis to alleviate their suffering and promote their betterment. And that was in 1862. And it was part of that thinking, of these great acts of generosity or sense of awareness that wealth was there to spread out. That there was a sense of community, a sense of responsibility. So I thought, ‘Well, what if it wasn’t a boundary line. It’s a house.’ A house is bequeathed like the one you see. Because then it’s right there in the centre of the village and it’s really visible, it’s concrete, you respond to it immediately. Especially somewhere like that where property is through the roof. And we were walking around Painswick, which is a beautiful small town. Absolutely perfect, idyllic, it’s gorgeous. And we came slap bang against a house exactly like that. Which was, some local squire had bequeathed it to the local people for their use and their enjoyment and their betterment. And it just felt like it was really of its time and it was a good way of anchoring the argument but where we were then and how things change. Like the countryside changes. The people of The Fields aren’t working in the fields. The fields are now a housing estate and the whole point and purpose and function of the countryside is not to feed the nation, it’s to be a leisure activity. And it was a way to bring in loads of ideas of about where we were and where we are now. About responsibility and community, there was a phrase I kept talking about with Jonny which is, ‘It takes a village to raise a child.’ We talked about it a lot, that famous proverb. The other thing I kept thinking about was John Donne, ‘No man is an island.’ And, ‘Never send to know for whom the bell tolls…Every man’s death diminishes me because I am involved in mankind.’ Anyway, those felt like great humanitarian battle cries and those were the things that were going through my head when I was writing.” Julia McKenzie: “That marvellous speech you wrote about immersing yourself in wellness…when Rory Kinnear finished that speech, Gambon looked at me and said, ‘What an actor.’ One brilliant actor acknowledging another.” Richard Glover as Simon Price. Q: I don’t want to bang on about the political thing but would you say it’s political with a small ‘p’ or it’s not even about that at all? Sarah Phelps: “I think there is real politics involved in it but I think it is, like Jonny says, I’m really wary of finger-wagging and waving. I think rather than demarcating it out so that people feel entrenched into a position…what it is, it’s about trying to appeal to something bigger than perhaps our party political instincts. When you’re watching Newsnight or something, you think people are just arguing a point for the sake of the entrenched opposite. Actually, if we can just jump over that and just see things, so that we’re not..” Jonny Campbell: “Something beyond a five year plan, I think, with a Victorian sensibility of philanthropy. That’s the way I see it…” Sarah Phelps: “Just being generous and just not being so mean to each other. And also we’ve done this terrible thing where we look at the media now, we’ve caught all people whose lives…history has not been kind to them. Lives are difficult. You live on the very precipice of being able to feed or house yourself. It’s kind of the lives of people you recognise from the Thirties. But we’ve started to make it their fault. And that just seems like …there’s something weird has happened. I don’t like it. So that’s part of the story. Who knows?” Stuart “Fats” Wall (Brian Vernel) and Gaia Bawden (Simona Brown). Q: But there’s also, everybody has a different life behind closed doors and what’s going on with you guys (Keeley and Rufus), a very unsettled relationship with no communication at all.” Keeley Hawes: “There are three of us in this marriage…four of us.” Q: Tell me, as well, about Abigai (Lawrie) who plays Krystal. What a find. How did she get discovered? Jonny Campbell: “It was our casting director, Lucy Bevan. She sent us a tape one day of this girl – they did a huge trawl for newcomers in the area, the West Country and so on. And this tape came in with this amazing audition that blew us away. And then at the end of it this girl went, ‘Is that right? Is that what I’m supposed to do?’ And it turns out she’d never, ever, done an audition before, never put herself on tape or anything. And so we all looked at each other and went, ‘We need to meet her really quickly.’ So she came in and she was delightful. And we discovered that she’s actually Scottish. I said, ‘Well she’s either from Pagford or from RADA,’ because she had such instincts and when we met her I thought it was too good to be true. But no, she really worked hard at it and was absolutely a born actress. Really lovely. She was on set quite a lot because she is, as Sarah said, the beating heart of the story. We were really lucky to find her.” Monica Dolan as Tess Wall. Q: HBO are involved in this. Is there a feeling, is this something that will translate? Sarah Phelps: “I hope so. Look at the cast. There’s a universality. You’re just watching people’s behaviour, managing relationships…I mean they look beautiful these villages but, I’ve got to say, if I lived in one I’d run a mile. They’re so perfect. I like to be in my pyjamas till at least four o’clock in the afternoon and generally look awful. But they were really, really beautiful and I think it would be quite hard work to live somewhere like that. I’d find it hard work.” Parminder Jawanda played by Lolita Chakrabarti. Amy then opened up questions to the audience: Q: Sarah – as a writer do you find it easier adapting material from something that’s already been written, especially when it’s a best-selling novel? Or do you actually like the process more of adapting something that you’ve written yourself? Sarah Phelps: “They’re all a nightmare. You say, ‘Especially if it’s adapted from a best-selling book.’ Because it comes with a weight of responsibility. Similarly, something like Dickens. Oliver Twist has been adapted over 50 times. You can’t just go, ‘Well, I’ll just do what everybody else has done.’ Because you’ve still got to invest all of that rawness and whatever you’re doing. Yes, you’re talking about characters that you know. But in something like The Casual Vacancy, there are so many people in it. There’s a huge amount of getting in amongst them and kicking and shoving it to get the story. So it was still a blank page and it was still blood, sweat and tears. It’s still staring at a blank piece of paper until your forehead bleeds, to be honest. If it’s original no-one can tell you how it should be. But I was lucky. I got to make my pitch and then crack on and do it.” Sam Redford as Obbo. Q: If there’s myriad voices, is it really hard getting those individual voices..? Sarah Phelps: “Yeah, absolutely, And making sure that all those stories get told. And all those stories get told in a way that feeds into the story that you’re telling and that they all come to a fruition at the right time.” Q: Do you have locked script or do you let the cast add..? Sarah Phelps: “No…” Jonny Campbell: “When you’ve got a good script you don’t need to ad lib…” Q: I don’t mean ad lib. I mean, like, say, if Keeley thought… Sarah Phelps: “If Keeley approached me and said, ‘Do you know what? Can I say that like this?’ I’d go, yeah.” Keeley Hawes: “You’re incredibly generous. And also the great thing…to having a book and then an adaptation is that from an acting point of view it’s great. Because you read the book and even if those things don’t then translate or they can’t be used for whatever reason in the adaptation, you still have them. As a family, you have all of that background. And you can use those stories. There are things that break your heart because they have to go in an adaptation otherwise…from my point of view it would be called ‘Samantha’ but…” Sarah Phelps: “Thinking about the book, you could actually do an adaptation of each single person’s life. Miles’s story…I could have wraggled on with harridan Shirley for ever and a day.” Keeley Hawes: “It’s great to have the book to get the kind of investment…it informs us and our backgrounds.” Rufus Jones: “We did stick to the script pretty thoroughly. I don’t think anyone felt the need to contribute. It was interesting watching it because, actually, the style, the edit and what Jonny’s done, it’s got a looseness to it that can feel slightly extemporised occasionally, which is really nice. There’s an immediacy that it doesn’t feel written in that way. That’s testament to the edit itself. We just say the words, lovey.” Q: Keeley – was it liberating to play someone who is so blunt and provocative? Keeley Hawes: “Yeah. She’s such great fun. I can’t quite believe my luck. When I read it, she is my favourite character. It was just a delight. At the same time there are so many layers to her. She’s very blunt but she’s become that way through this series of events and being in this relationship with her husband and his parents. She’s got a great journey. It was really good fun.” Q: We see you with your lingerie shop. It looks very believable. Did anybody mistake it for the real thing while you were filming? Keeley Hawes: “They did.” Jonny Campbell: “They complained about it at the local parish council meeting. Said it was a disgrace, on the one hand. And then there were a couple of other occasions where we were filming there and a couple of old ladies – literally white hair, stick – were walking past looking in the window. And we were saying, ‘Please excuse us.’ (Reply) ‘Oh no, I’ve got all that stuff.’ Someone came in. They thought it was a sale on. We found people looking around at some of the stuff in there. It was amusing.” Q: With Keeley serving them? Jonny Campbell: “That would have been their dream come true.” Q: Was this in Painswick? Jonny Campbell: “Yeah, it was Painswick. The whole place was made up of about half a dozen Cotswold villages and it was lovely to stitch them together to make the fictitious place, Paxford.” Emilia Fox and Julian Wadham as Julia and Aubrey. Q: I just wanted to ask about how you got into the roles? How you got into your characters and the rehearsal process? Did you discuss any back stories or did you just get together and start reading? Jonny Campbell: “The script is the most important thing. And as Keeley said, the book was really useful as a bible for some character background material. But one had to be careful to make sure that the elements that were in the book were still relevant and in the adaptation, some of the choices Sarah had made. So those of you who know the book will notice, for example, that Simon Price was a disparate character in the book but Sarah, to draw him into the story more, makes him a half brother of Barry Fairbrother. There are 30 named characters in this. And if they’re all living independent lives then someone has to imagine how they’re going to all cross paths a bit more than just meeting in a shop or something. So that was a very clever idea and it just gave a new dimension to that relationship. It gave us an opportunity to show the character of Simon Price as being a sort of dark and nasty character. But in the book there’s a lot more violence associated with his character, for example. So it’s important to make sure that the actor isn’t going to go off and pick some of the traits which Sarah has either slightly adapted to make that relationship work…but I would say with 90 per cent of the characters it was really useful to talk about some of the motivation from the book and then just do normal rehearsal, which is obviously really crucial. But quite interesting, of course, a lot of the characters never meet each other. It is a tapestry of a place and that was one of the challenges, certainly with this opening episode, to introduce all of the characters as much as one could without confusing people. And making sure that you could see how the lives were crossing over one another and hopefully giving a suggestion of what lies beyond closed doors that we don’t see. That we are intrigued by it to bring you in to the next episode.” Emily Bevan and Rory Kinnear as Mary and Barry Fairbrother. Q: Especially the ghost of Barry… Jonny Campbell: “Yeah. But also what Sarah did…Barry Fairbrother dies on page three of the novel. And Sarah cleverly found a device, for us to get to know him a bit and to show his relationship with some of the characters without relying totally on flashbacks, for example, and to let us know what made him tick and then we feel hopefully more empathy with the characters when they’re grieving. You sense more of his loss because he’s the main character for a while and then suddenly he’s gone. So that was another change from the novel which was important to make sure that we got right.” Rufus Jones: “In terms of rehearsals, we had a rehearsal week and I had dreadful food poisoning. So I didn’t do any of it. But the practicalities of making TV is that, actually, once you hit the ground running you don’t stop, for two months in our case. Truthfully speaking, the opportunities of rehearse and investigate is limited.” Julia McKenzie: “And rare.” Rufus Jones: “And rare. I think there was a) a surprising amount of it on this production beforehand and b) you always have to have faith in the director, basically, to steer you, which Jonny did brilliantly. Because, especially on a show like this, there are so many dynamics and so many relationships going on. If everyone was doing their own personal research project it would just be chaos. So you need that strong hand on the tiller.” Silas Carson as Vikram Jawanda. Q: Sarah – was there any burning question you wanted to ask JK Rowling when you started this process. And did you tell her that you hadn’t read the Harry Potter books? Sarah Phelps: “Do you know what, the Harry Potter books never came up. Except for when I said that my niece was a huge fan and Jo very sweetly gave her a book and put a really beautiful dedication into it. That cuts a lot of ice with me, that somebody would do something like that. The kind of burning question I’d have loved to ask Jo was nothing to do with the books. I’d love to know how she manages to keep her sanity. She’s Harry Potter Woman. I think it must be quite an extraordinary thing to be. And yet she writes and writes and writes and writes and doesn’t stop and keeps pushing herself. The burning question I’d have liked to ask is how she does it? The other thing about the Harry Potter…it just never came up. We were just too busy talking this and Krystal.” Julia McKenzie: “Incidentally, if I can interrupt. I was watching Pointless last night and learned a very good fact. That, in fact, a JK Rowling book was the most taken out book from the British library. And they said, ‘Oh, Harry Potter.’ And they said, ‘No, The Casual Vacancy.’ So, I was rather pleased with that.” (laughter) Simon McBurney as Colin Wall. Q: Jon – you talk about the Victorian themes. How did you go about thinking about that from a visual standpoint. How did that translate? Jonny Campbell: “I think it was important in choosing the locations, first of all. To make sure that the village of Pagford felt like if everyone had been wearing a costume it could have been Cranford or a period piece. So that was realy important, finding the right locations to weave together. But also the DoP, Tony Slater Ling, came up with the idea to use some vintage lenses. Not that they had lenses like that 50 years ago. But just to give it a timeless, slightly distant feel, with the soft focus in the background. And we used different lenses for different characters, So we had a set of particular lenses for the younger characters and a set of lenses for the adult characters. So there’s a very subtle shift in how those stories look when juxtaposed upon one another. So we did little things like that. But otherwise, for me, it was just trying to see it as a story rather than as a piece of contemporary socio-commentary. As a timeless story. And, for example, when I see Howard bumbling past the lingerie shop, for me that could be a character out of Dickens walking past. It’s the eccentricities and some of the heightened qualities of the characters which are in the book, which is what I was sort of drawn to really. You try to, obviously, keep them believable but allowing their eccentricities to flourish and for it to have the kind of humour that pervades those books as well. But other than that it was just not trying too hard to bang a drum or anything. If you watch it again, which hopefully people will, with that in mind, thinking, ‘Well, actually, does it matter which period this is set in.’ I don’t think it does. I think the same issues would have been in it before. That’s one of the things we did.” Q: Do you play Barry in it? No? Barry Fairweather? (sic) Jonny Campbell: “Me?” Q: Yeah… Jonny Campbell: “Do I look like him? I wish I was as…I’m glad you think I look like him. A very handsome and wonderfully talented actor. I wish I was in a double life. It’s Rory Kinnear…Rory Kinnear is the main man behind that…have you not come across Rory before? He’s in all the Bond movies. He’s great.” Q: Sarah – there are so many characters in this, brilliantly portrayed…but some of them are so upsetting, disturbing…when you are writing your wonderful script, do you get emotional about these people? Or can you cut off your emotions from it and it just becomes a hardened exercise? Sarah Phelps: “No. I always get involved in what I’m doing. If I could just sit there just going, ‘And then this happens…’ then really it’s time to go home. You can’t write from the wrist like that. Well I can’t, anyway. You’ve got to be really invested. Or I have to be really invested. And I can quite easily be sitting there and sometimes writing something which I think its…I don’t know…there’s a scene in episode two with Howard and Shirley in their bedroom and I wrote it and I would be shaking with laugher. Ridiculous. And equally, bits where I write, you have to stop and go like that (emotion). You can’t write cold like that. You might as well not bother. Whenever I’m doing that, I’m thinking if I’m laughing or crying or my heart’s going a bit faster or it’s difficult to write and it takes time because it’s painful, then hopefully that’ll come across when people speak it. But if I’m just sitting there just going, ‘And then the…’ Stop, turn off the computer and go to bed. Because it’s just not happening. So, yeah. I do get invested. Very invested.” Q: Question for Keeley, Rufus and Julia? Does village life appeal to you at all? Julia McKenzie: “Well, I lived in the Cotswolds for about 14 years. In fact, I lived in Burford, which is one of the areas that we filmed. They were pulling down Warwick Hall there and that became the drug place. I can tell you that there’s a lot of politics in village life. Tiny, tiny, tiny episodes. In my particular village, for instance, there were some very, very nice, very wealthy people who wanted to provide a new noticeboard for the village. And the arguments about whether it should have a front of glass, should it be this side of the road or that side? They gave up. After about two-and-a-half years, they said, ‘We don’t want to buy it anymore.’ But villages…they don’t have anything else to do except talk about other people. But this is quite extraordinary. And it is a very political piece. As you said originally to me, it’s like a modern Dickens and I think that’s a very true statement.” Q: I wondered how you found balancing those more deeper issues about what’s going on with Krystal, against all the comedy values? Sarah Phelps: “I think that if you’re always doing something which could be seen as heavy or issues-laden, and when you’ve got Kay, for example, in the book…Kay is a writer in Pagford chasing somebody who doesn’t want her. She’s up ended her life and dragged her daughter out from London to go and live in Pagford for a bloke who just can’t bear her. You’ll see how it works out as we go through the story. But in order to get people to be in the right place for something to happen, I wanted Kay to have arrived from something else. And I like the idea that she’s come from something which might have a knock-on effect on what she’s doing in Pagford which can then lead to something else. So the story involves everybody and all of their pasts in some small way. Nothing is just one person’s fault. They’re just a really big web. And when it comes to the issues thing, even with Terri…that should be funny. There should be a comedy to it even if it’s a very black comedy…because if everything is just heavy all the time and it’s all brow-beaten, everybody stops listening. You stop hearing and seeing a story. And in my view, in my experience and what I see and I’m quite old and what I’ve learned over my quite old time is that people in shit situations, they tend to be pretty tough about their shit situations. They tend to…‘Yeah. And?’ Smart comebacks. Because if you stopped and collapsed and crumpled, you’d never get up again. So you’re tough, so you get a smart mouth. Because that’s your armour and that’s how you get up and do it every day. And I like the fact that everybody has got a bit of pizazz and there are little bits of…just the way they talk to each other. The way ‘Fats’ talks, going on about his pornography and his obsession with sex and his worrying about the muscles in his forearms. And ‘sex and death but mainly sex. Because when death comes your last thought is never going to be, I wish I’d done less shagging.’ No, he’s right. It really isn’t. But just to give that sense that this is just everyday chat. They don’t know that something profound is happening. No-one ever does know that something profound is happening in their life. If we did we’d probably speak differently and work out some really philosophical way to talk about ourselves. But we don’t. It’s just a moment. So you’ve got to try and capture that. Because if you knew that something profound was about to happen, it wouldn’t happen.” Jonny Campbell: “But tonally, both in terms of the way it’s written and also trying to capture the spirit of the book which is full of wit as well as darkness, is about how you navigate those straits. It’s a really poignant question. Because how do you juxtapose a scene with a very brutal father terrorising his family next to something much more comedic? But what happens is, it’s not like various characters are comedic and various characters are dark. There’s moments of comedy in the Simon Price story because he’s just so baffling, for some of it he’s a buffoon. But likewise, while some of the scenes with Howard and Shirley initially are more dainty and comedic, that story also turns darker. So it’s almost like a wind that blows through the various characters and taints them with the mood. And that’s what I love about it as well.” Sarah Phelps: “The river that we found where it was filmed is perfect for it. The river runs through the whole thing with rapids and oxbows and shallow beds and deep pools and current and clogged up…so that’s a really good way of describing the tone of it. Keeping it all bouncing and moving forward and dynamic.” Jonny Campbell: “I think as a storyteller you never know quite what’s going to come next, if you mix up the tones. As long as the story is consistent and your believe the characters and what’s going on, something that’s comedic can happen right next to something that’s horrific and tragic. Hopefully that’s what we serve up as a story.” *************************************************************** Keeley Hawes Press BBC Pack Interview: Can you tell us about your character? Samantha is married to Miles, and they’ve been bringing up their twin girls under the shadow of Howard and Shirley, Miles’ parents. Shirley absolutely despises Samantha, she hates her. Samantha feels pretty much the same way about her, which was such good fun to play as I couldn’t feel more differently myself towards Julia McKenzie, who I am totally in love with. It’s awful really to play those scenes with pure hatred, and there is this little bit of you that is actually appreciating the brilliant work that Julia is doing. Miles and Samantha are not in a great place when we meet them, their marriage is in a very bad way. That’s really down to his relationship with his mother and his father. He is a mummy’s boy, but he’s gone too far and now they are using him and pushing him forward in this election. It’s probably a good thing because it does bring everything to a head, between them. It’s a fantastic scripts, what did you think when you first read it? Sarah Phelps has done such an amazing job, it’s such a wonderful script to read. I really feel there’s nothing I don’t know about these people. It’s so brilliant, because we’ve got this tapestry of thoughts and memories that have been created by these wonderful scenes that are in the series but aren’t in the book. It’s so beautifully written that all the tiny details of their lives are all in there. It’s a bit like curtain-twitching, on the telly. The situations these characters find themselves in are very real. There’s humour at moments where there really shouldn’t be, at funerals and events and places where people should be seen to be behaving a certain way. Underneath that there are all these other emotions and other relationships going on, and that is how life is. How do you approach the look and feel of Sam’s character? When I read the books I was very keen that she should be very large-breasted. I think that’s a major part of Sam’s personality. She’s probably gone to these lengths at some point, when keeping things alive, when she started her underwear boutique. It’s all part of this look. They’re not in keeping with the rest of her, in the same way that she’s not in keeping really with the rest of Pagford. I was very keen on keeping that from the book. The outfit Samantha wears is all very top-end but it looks very cheap. In the book she’s perma-tanned. She’s got stained hands where she’s just constantly rubbing fake tan all over her at every available opportunity. That was quite difficult to maintain and I was also finishing off another job where I couldn’t be perma-tanned, so the logistics of that were too difficult. Did you find yourself having sympathy with Samantha? I’ve got so much sympathy for her. She’s really stuck. She loves her husband and it is something still worth saving. It’s not a total loss. She’s just being railroaded at every turn by these very strong characters. They live in a house which has been owned by Miles’ parents. Even the house they live in is down to them. They live in a house that’s beyond their means, but only because of Howard and Shirley. We have a scene where Miles and Samantha are having a conversation in the kitchen. There’s a ring on the doorbell and they know it’s going to be Howard and Shirley. This is what happens every day, Shirley just lets herself in all day long. It would drive you mad. Miles has been brainwashed to the extent that he can’t see any bad in his mother. He is like a giant baby, he couldn’t fend for himself on that council estate, he wouldn’t last two minutes. I like to think Sam’s a bit more savvy than that.
i don't know
We have motorways, the Germans have autobahns, what does Italy have?
Germany: The Autobahn, Do you need to pay a toll?, Although Germany began charging an autobahn toll for Articles Although Germany began charging an autobahn toll for trucks in 2005, passenger car drivers can still drive the Autobahn without any extra charges (so far). But neighboring Austria and Switzerland (and other European countries) charge a Maut, or toll, for using their high-speed, limited access highways. Rather than a kilometer-based turnpike toll, such as that exacted on France's autoroutes or Italy’s autostradas, Switzerland was the first to charge motorists an annual flat fee for the use of its autobahn network. Austria later copied the idea, but also offered toll stickers for shorter periods of time, a nice benefit for the many tourists who visit Austria for only a few days, a week, or a month. An Austrian or Swiss “Vignette” must be displayed on a car’s windshield. (Motorcycles are also subject to the autobahn sticker requirement. Trucks pay a kilometer-based toll.) Motorists entering Austria or Switzerland without a vignette must purchase one or be subject to heavy fines (see below). You’re okay if you stay off the autobahn or Schnellstraßen (limited-access roads), but that’s not easy to do. If you’re lucky, your rental car may already have one. If not, you will have to contribute 40 Swiss francs (US$35) to the Swiss treasury upon entering that country. Unlike Switzerland, Austria permits drivers to purchase an Autobahnvignette for various periods of time, from ten days to a full year. The so-called Mautvignette (toll sticker) must be affixed to the inside of the front windshield. The stickers come in varying colors in different years, making it easier for the police to spot an invalid Autobahnpickerl, Austrian slang for “autobahn sticker.” To prevent misuse, the stickers are also designed to tear apart if removed from the window glass. Prices for an Austrian passenger-car vignette range from 7.60 euros ($10) for a 10-day sticker to 72.60 euros ($93) for a year (14 months). You can buy an Austrian or Swiss vignette at gas stations, at border crossings, or at post offices. It is also possible to purchase a Swiss autobahn sticker in advance, online from the German postal service (Deutsche Post), from automobile clubs, and the Swiss Tourism office in London. Tip: Sometimes people sell extra vignettes at eBay or other online auction sites. Special passes In addition to the normal autobahn sticker, there are tolls for several stretches on the Austrian highway network. Examples include the Brenner Pass autobahn (€8.00), the Tauern autobahn (€10.00), and the Arlberg tunnel (€8.50). Driving through the Felbertauern tunnel costs €10.00, while the scenic Großglockner Alpine road will set you back €26.00. NOTE: The fine in Austria for driving on the autobahn without a valid sticker: 400-4000 euros (ca. $520-$5200). That does not include the toll surcharge penalty (€120/$156) that must be paid at the same time. That means the minimum fine could cost you more than six times as much as the cost of an annual Austrian autobahn sticker! In Switzerland, drivers caught driving on the autobahn without a sticker have to pay a fine of 100 Swiss francs plus 40 francs for the vignette. ------------------------ This article in an extract from " When in Germany   " by Hyde Flippo, a practical guide to German life, language, and culture. Click here   to get a copy of the book. Rather than a kilometer-based turnpike toll, such as that exacted on France's autoroutes or Italy’s autostradas, Switzerland was the first to charge motorists an annual flat fee for the use of its autobahn network. Austria later copied the idea, but also offered toll stickers for shorter periods of time, a nice benefit for the many tourists who visit Austria for only a few days, a week, or a month. An Austrian or Swiss “Vignette” must be displayed on a car’s windshield. (Motorcycles are also subject to the autobahn sticker requirement. Trucks pay a kilometer-based toll.) Motorists entering Austria or Switzerland without a vignette must purchase one or be subject to heavy fines (see below). You’re okay if you stay off the autobahn or Schnellstraßen (limited-access roads), but that’s not easy to do. If you’re lucky, your rental car may already have one. If not, you will have to contribute 40 Swiss francs (US$35) to the Swiss treasury upon entering that country. Unlike Switzerland, Austria permits drivers to purchase an Autobahnvignette for various periods of time, from ten days to a full year. The so-called Mautvignette (toll sticker) must be affixed to the inside of the front windshield. The stickers come in varying colors in different years, making it easier for the police to spot an invalid Autobahnpickerl, Austrian slang for “autobahn sticker.” To prevent misuse, the stickers are also designed to tear apart if removed from the window glass. Prices for an Austrian passenger-car vignette range from 7.60 euros ($10) for a 10-day sticker to 72.60 euros ($93) for a year (14 months). You can buy an Austrian or Swiss vignette at gas stations, at border crossings, or at post offices. It is also possible to purchase a Swiss autobahn sticker in advance, online from the German postal service (Deutsche Post), from automobile clubs, and the Swiss Tourism office in London. Tip: Sometimes people sell extra vignettes at eBay or other online auction sites. Special passes In addition to the normal autobahn sticker, there are tolls for several stretches on the Austrian highway network. Examples include the Brenner Pass autobahn (€8.00), the Tauern autobahn (€10.00), and the Arlberg tunnel (€8.50). Driving through the Felbertauern tunnel costs €10.00, while the scenic Großglockner Alpine road will set you back €26.00. NOTE: The fine in Austria for driving on the autobahn without a valid sticker: 400-4000 euros (ca. $520-$5200). That does not include the toll surcharge penalty (€120/$156) that must be paid at the same time. That means the minimum fine could cost you more than six times as much as the cost of an annual Austrian autobahn sticker! In Switzerland, drivers caught driving on the autobahn without a sticker have to pay a fine of 100 Swiss francs plus 40 francs for the vignette. ------------------------ This article in an extract from " When in Germany   " by Hyde Flippo, a practical guide to German life, language, and culture. Click here   to get a copy of the book.
Autostrade of Italy
Which city is the eastern terminus of the Trans-Siberian railway?
Fastest European Highways | MNIP NET Home » Cars » Fastest European Highways Fastest European Highways Speed lovers will love to hear that the German autobahns have no speed limit, which means that theoretically you can drive the car the as fast as you want. However, the German highways have some speed recommendations, limiting the speed at 80 miles / 130 kilometers per hour. In Germany the autobahns are 8,000 miles / 12,845 Km long, which represent the fourth world place, after the Chinese highways system, the American highway system and the Spain highways. The Transfagarasan Road is definitely not the fastest in Europe, but according to the Top Gear Team, it is the most beautiful road in the entire world. If you decide to rent a car in Romania, there are several car rental companies that will offer you the possibility to enjoy a nice road trip while driving a modern car. Here are the European winners at the fastest highway category: 1. The German autobahns have multiple lanes in each direction which are separated by a barrier in the middle. The Germans began to build the highways during the Nazi regime. In 1936, a number of about 130,000 workers were involved in their construction. Speed limits are imposed at junctions and in several dangerous points, which are either repaired or under construction. Some limits have been imposed to reduce noise and pollution, of course. But statistics say that one eight of the entire autobahn system has no speed limit at all. One third of all highways have a permanent speed limit, while the rest have temporary speed limits. If you are going to drive your car on the autobahn, keep in mind that the left-hand lane is for very fast cars. The speed difference that exists between the lanes on such a highway is the main risk factor, as it is very difficult to approximate the necessary time for a usual overtake. 2. Italy boasts also with The Autostrade, a fast highway where the speed limit is 80 miles / 130 kilometers per hour. What is indeed interesting with the Italian highway system is that under certain circumstances, when there are three lanes in each direction, the speed limit can get up to 95 miles / 150 kilometers per hour. The Autostrade totals no less than 4,000 miles / 6,400 kilometers and the biggest part is a toll way. Italy was the first country is the world to start building motorways; the first was ready in 1926. At the end of the 1920’s, about 2,500 miles / 4,000 kilometers of highway were ready. 3. The Autoroute system in France offers drivers the possibility of driving with a speed limit of 80 miles / 130 kilometers per hour under normal conditions. Due to the high safety level associated to all highways in the country, this speed limit is a usual one for France. The lanes are larger and there is longer space for acceleration and slowing; in addition to this, the lanes are separated by crash barriers, which are created to resist an impact of a car up to 110 miles / 180 kilometers per hour. There are no intersections, but only tunnels and bridges. There are emergency call centers every mile / 2 kilometers and resting areas every 6 miles / 10 kilometers. 4. The Autobahn in Austria had a speed limit of 100 miles / 160 kilometers per hour, but this was allowed only for a short period of time. At the beginning of the 1920s the Austrians began to consider the idea to build high speed roads across their country, but the first autobahn that has been constructed in Austria was ready only in 1938, linking Salzburg to Vienna. Austria has 18 autobahns currently. 5. The Netherlands boasts also with one of the most modern highway systems in the world. Safety is a major concern for those managing the highways, so the speed limit is 80 miles / 130 kilometers per hour on most of them.
i don't know
Which Prime Minister lost the North American colonies for Britain?
Lord North : the prime minister who lost America (Book, 1996) [WorldCat.org]     schema:datePublished "1996" ;     schema:description "Illustrations -- Preface -- Introduction -- 1: Background and upbringing -- 2: Coming of age -- 3: Political apprenticeship -- 4: Man with a future -- 5: Arrival -- 6: King's first minister -- 7: Confident start -- 8: East India company -- 9: Good years -- 10: Thirteen colonies -- 11: Gathering storm -- 12: Wartime prime minister -- 13: After Saratoga -- 14: Road to Yorktown -- 15: End of an era -- 16: Coalition and the last decade -- 17: Conclusion -- Appendix -- Notes -- Bibliography -- Index."@ en ;     schema:description "From the Publisher: Lord North was in many ways a most successful politician. Prime Minister for an unbroken twelve years, his management of both parliament and of the business of government was adept. He enjoyed the confidence of King George III, not always an easy political ally, avoided factional strife (having no political following of his own), was notably uncorrupt and made virtually no enemies. In many ways he epitomised the political outlook and aristocratic assumptions of the eighteenth century. He is, however, principally remembered for presiding over Britain's loss of her American colonies. Lord North: The Prime Minister Who Lost America is a scholarly but highly readable account of his life. It includes a full study of the American War of Independence, examining it from the perspective of the British government as well as from the colonial standpoint. No senior politician had visited America and few had a proper knowledge or understanding of Americans. Too often the colonists were regarded as unruly and ungrateful children, with whom compromise was either a sign of weakness or the betrayal of the principle of parliamentary sovereignty. High mindedness contributed to the final humiliation, as did ignorant overconfidence. Military defeat, to a country that had become preeminent in Europe by the end of the Seven Years War, was not entertained as a possibility."@ en ;
Frederick North, Lord North
Brazil has one of the world’s largest soccer stadia – what is it called?
Could Cameron go the way of Lord North? - CNN Video Could Cameron go the way of Lord North? MUST WATCH Could Cameron go the way of Lord North? Back 1782, British Prime Minister Lord North was forced from office after he lost the American Colonies.
i don't know
In which capital city were the 1928 Summer Olympic Games held?
Amsterdam 1928 Olympic Games | Britannica.com Amsterdam 1928 Olympic Games Alternative Title: Games of the IX Olympiad Related Topics Netherlands Amsterdam 1928 Olympic Games, athletic festival held in Amsterdam , that took place May 17–Aug. 12, 1928. The Amsterdam Games were the eighth occurrence of the modern Olympic Games . Track-and-field and gymnastics events were added to the women’s slate at the 1928 Olympics. There was much criticism of the decision, led by the baron de Coubertin and the Vatican. Women athletes, however, had formed their own track organizations and had held an Olympic-style women’s competition in 1922 and 1926. Their performances at these events convinced the International Amateur Athletic Federation (IAAF; later International Association of Athletics Federations ) that women were capable of a high level of athletic competition and deserved a place at the Olympics. Germany returned to Olympic competition at the 1928 Games, which featured the debut of the Olympic flame. Approximately 3,000 athletes (including nearly 300 women), representing 46 countries, participated in the Olympics. The men’s athletics competition was noteworthy for two reasons. It was the last Olympic Games for the great Paavo Nurmi and Ville Ritola of Finland . It was also the poorest performance to date for the U.S. team, which won only three of a possible 12 gold medals in running events. Percy Williams of Canada won both the 100- and 200-metre runs. Controversy arose in the women’s 800-metre run when several women collapsed from exhaustion at the end of the race; Olympic officials concluded that the distance was too long for women, and it was not until the 1960 Games in Rome that women were allowed to compete in a race of more than 200 metres. Percy Williams being carried after winning gold medals in the 100- and 200-metre dashes during the … Central Press/Hulton Archive/Getty Images Olympic Games: Amsterdam, Netherlands, 1928 The Japanese team won the most medals in the swimming competition. Johnny Weissmuller of the United States concluded his Olympic career with gold medals in the 100-metre freestyle swim and the 800-metre freestyle relay. The Hungarian sabre team won the first of seven consecutive gold medals. American swimmer Johnny Weissmuller, who won three gold medals at the 1924 Olympics in Paris and … Bettmann/Corbis
Amsterdam
The song Don’t Rain On My Parade features in which musical?
Melbourne / Stockholm 1956 Summer Olympics - results & video highlights Official Reports arrow Co-hosts Melbourne won the right to host the 1956 Olympic Games by one vote over Buenos Aires. Australian quarantine laws were too severe to allow the entry of foreign horses, so the equestrian events were held separately in Stockholm in June. Great rivalry French long-distance runner Alain Mimoun had tasted Olympic defeat on the track three times at the hands of Czech Emil Zátopek. However, in the marathon it was Mimoun who pulled away to record a comfortable victory. He waited at the finish line for  Zátopek, his old friend and great rival, who trotted home in sixth place Dominant team The US basketball team, led by Bill Russell and K.C. Jones, put on the most dominant performance in Olympic history. They scored more than twice as many points as their opponents and won each of their games by at least 30 points. Symbol of unity Prior to 1956, the athletes in the Opening and Closing Ceremonies marched in alphabetical order by National Olympic Committees. However, in Melbourne, following a suggestion by a young Australian named John Ian Wing, the athletes entered the stadium together during the Closing Ceremony as a symbol of global unity. NOCs: 72 Athletes: 3,314 (376 women, 2,938 men) Events: 145 This was the first time that the Games had been held in Oceania. Equestrian sports in Stockholm To allow for the equestrian sports to be held and to avoid the problem of quarantine for horses entering Australia, the Games took place in two different cities (Stockholm and Melbourne), in two different countries (Sweden and Australia), on two different continents (Europe and Oceania) and in two different seasons (June and November). This is the only time in the Games' hundred-year existence that the unity of time and place, as stipulated in the Charter, has not been observed. The two Germanys under one flag The International Olympic Committee had great political success in managing to bring together the two Germanys (East and West) within a combined team (EUA) competing under a black, red and yellow flag with the Olympic rings, and with "Ode to Joy" from Beethoven's IX Symphony as their anthem. This practice would take place for the following two editions of the Games. The first Games boycott The Soviet invasion of Hungary provoked protests from numerous western countries, and some of them, such as Spain, Switzerland and the Netherlands, withdrew from the Games. On another matter, Egypt, Lebanon and Iraq refused to participate in protest of the Franco-British Suez intervention. And the People's Republic of China refused to participate because of the presence of the Republic of China (Taiwan). This conflict would take 28 years to be resolved. All the athletes parading together The 1956 Games were also marked by an innovation in the Closing Ceremony. Upon the suggestion of John Ian Wing, a Chinese apprentice carpenter living in Australia, it was decided to let all the athletes parade together, rather than by country, as a symbol of world unity. New technology In fencing, the electric foil was introduced, and in swimming, the semi-automatic, digital-display timing device appeared. Ceremonies Melbourne 22 November 1956. Opening Ceremony. The Olympic flame is lit. Official opening of the Games by: HRH the Duke of Edinburgh Lighting the Olympic Flame by: br /> Ron Clarke (athletics) Olympic Oath by: Official Oath by: The officials' oath at an Olympic Summer Games was first sworn in 1972 in Munich. It is composed of a drawing of Australia, with a torch and Olympic rings superimposed. In the bottom half, the inscription "MELBOURNE 1956", extended on each side by laurel branches. Melbourne On the obverse, the traditional goddess of victory, holding a palm in her left hand and a winner’s crown in her right. A design used since the 1928 Games in Amsterdam, created by Florentine artist Giuseppe Cassioli (ITA -1865-1942) and chosen after a competition organised by the International Olympic Committee. For these Games, the picture of victory is accompanied by the specific inscription: "XVIth OLYMPIAD MELBOURNE 1956". On the reverse, an Olympic champion carried in triumph by the crowd, with the Olympic stadium in the background. N.B: From 1928 to 1968, the medals for the Summer Games were identical. The Organising Committee for the Games in Munich in 1972 broke new ground by having a different reverse which was designed by a Bauhaus representative, Gerhard Marcks. More info Stockholm On the obverse, the ancient horse and rider emblem of the Equestrian Games in Stockholm accompanied by the specific inscription “XVI OLYMPIADENS RYTTARTAVLINGAR 1956 STOCKHOLM” . The obverse was designed by John Sjösvard. On the reverse, the Olympic rings with a superimposed torch, a composition based on the design by the Greek artist Vasos Falireas (1905-1979) and approved by the International Olympic Committee. In the background "OLYMΓIA". Around the design, the motto "CITIUS ALTIUS FORTIUS" and the inscription "JEUX OLYMPIQUES". Number of torchbearers: 330 runners in Greece and approx. 160 horse riders in Denmark and Sweden Total distance: around 325 km in Greece Countries crossed: Greece, Denmark, and Sweden More info It is in the form of an invitation card folded three times. On the first flap, the Olympic rings, in the background of the third flap, the arms of the city of Melbourne. 35,000 copies were made in two different formats (100 x 63.5cm and 50 x 32cm). Having the equestrian events in Stockholm rather than Melbourne naturally had an impact on the official report. Indeed, the organisers of the equestrian Games in Stockholm decided to publish their own official report. There are thus two official reports, “The official report of the Organizing Committee for the Games of the XVI Olympiad Melbourne 1956”, published in 1958, and “The Official Report of the Organizing Committee for the Equestrian Games of the XVIth Olympiad”, published in 1959. The first is only in English; the second is in both English and Swedish.
i don't know
The Ivy League university Princeton is in which US state?
The History of Ivy League Universities - Education America The History of Ivy League Universities November 29, 2015 Posted by admin Comments Off on The History of Ivy League Universities The Ivy League is a term used to refer to 8 exclusive New England schools of higher learning with some of the richest and longest histories of any college or university in the United States. A degree from one of these prestigious universities is synonymous with excellence in academics as well as material wealth. Harvard is the oldest institution of higher learning in the Ivy League as well as the country as a whole. It was brought into existence by an act of the Massachusetts legislature in 1636 and named after John Harvard, the university`s first benefactor. Although initially a training ground for Unitarian and Congregationalist clergy, the university became increasingly secular through the 18th Century and today is known as one of the foremost cultural centers in America and the center of the elite of its Boston area location. It is known as one of the most picturesque campuses in the world and it has the largest endowment of any college in the world. Harvard`s most bitter Ivy League rival and its equal in academic excellence and elitism is Yale University. Founded in 1702 in what was then the colony of Connecticut, it is the 3rd oldest institute of higher learning in America. The university got its name from early benefactor Elihu Yale, a governor of the British East India Company. It was originally established to train the political leaders and clergy of the colony. Today, Yale`s considerable assets include the 2nd largest academic library in the Unites States and one of it`s largest endowments with over 16.3 billion. Princeton University in the town in Princeton, New Jersey, was founded in 1746 as the College of New Jersey, it received its present day name in 1896. Princeton was one the first institutes of higher learning established in what is now the United States and is one of the richest universities in the world with a multi-billion dollar endowment and its graduates could fill a book of Who`s Who in America. The University of Pennsylvania is a private Ivy League school located in Philadelphia, PA. It is the 4th oldest institute of higher learning in America. Founded by Benjamin Franklin in 1740, its initial focus was education for public service on the classics and theology as well as practical education for commerce. Today the university offers an extensive range of graduate and undergraduate programs from a dental school to a nursing and veterinary school. Brown University is located in Providence, Rhode Island; it is one of the oldest institutes of higher learning in the United States. It was founded in 1746 as the College in the English Colony of Rhode Island and Providence Plantations, the campus is one of the finest examples of Georgian style American colonial era architecture. Dartmouth College is a liberal arts college that also houses a prestigious medical school. Established in 1769, the college is the smallest of the 8 Ivy League schools but still one of the richest with a multi-billion dollar endowment. Colombia University is a private research institute of higher learning located in New York City. It was founded in 1754 as King`s College by royal charter of King George II of England. It is the administrator of the American literary award, the Pulitzer Prize and is in the first tier of American research universities. Cornell University is a private land-grant university located in Ithaca, New York. It is the most recently founded of all the Ivy League schools dating to its founding in 1865. Founded by benefactors Ezra Cornell and Andrew Dickson White, the university today offers renown programs in liberal arts, engineering, law, and medicine.
New Jersey
The song How To Handle A Woman features in which musical?
Ivy League Universities and Other Universities - Studying in US - a Guide about Studying Abroad in US Ivy League Universities and other Universities USA remains the world's leading destination for international students. The land of opportunities where dreams become reality. Ivy League Universities and Other Universities The most prestigious and well-known universities in the United States are known as the Ivy League schools. The technical reason for the group of colleges is due to the collegiate athletic conference that holds these eight private schools, but over the years, they have also become known for their academic prestige. Ivy League Schools Brown University , Providence, Rhode Island. Founded in 1764 as the College in the English Colony of Rhode Island and Providence Plantation, this is the 7th oldest institution in the United States. They currently have approximately 6,500 students in their undergraduate programs and approximately 2,500 graduate students. Columbia University , New York City, New York. Founded in 1754 as the King’s College and renamed in 1784, this university administers the Pulitzer Prize. There are currently over 28,000 students at Columbia, with approximately 18,000 of those students pursuing postgraduate degrees. Cornell University , Ithaca, New York. Founded in 1865 as a co-education, non-sectarian institution, there are currently 14,000 undergraduate and 7,000 graduate students from all 50 American states and 122 countries. Dartmouth College , Hanover, New Hampshire. Dartmouth was founded in 1769 as a research institution, and did not become well-known until the 20th century. There are currently over 4,000 undergraduate students and 2,000 graduate students at Dartmouth, making it the smallest Ivy League school. Harvard University , Cambridge, Massachusetts. Harvard is possibly the most prestigious university in the United States, established in 1636 and known as the oldest institution of higher learning in the United States. There are currently over 7,000 undergraduate students and 14,000 graduate students studying at Harvard. Princeton University , Princeton, New Jersey. Princeton is a research university which was originally established in 1746 as the College of New Jersey. In 1756, it was renamed to the College of Princeton, and finally became Princeton University in 1896. There are currently over 7,000 students studying at Princeton, with about 2,000 of those students in graduate programs. University of Pennsylvania , Philadelphia, Pennsylvania. Founded by Benjamin Franklin in 1740, this university was the first in the colonies to focus on practical education for those in commerce and public service as well as the more liberal arts fields (theology, classics). Currently, there are approximately 21,000 students at UPenn, with an even split between graduate and undergraduate studies. Yale University , New Haven, Connecticut. Yale was established in 1701 to train clergy and political leaders for the colony of Connecticut. Currently, there are approximately 11,000 students, evenly split between graduate and undergraduate studies. If you would like more information about the Ivy League schools, take a look at their websites. International students from around the world attend these universities because of their prestige and the quality information that they know they will receive by attending one of these schools. And if you want to know about Ivy League athletics, take a look at the Ivy League Sports website . Other Well-Known Universities There are a number of well-known and respected universities throughout the United States other than the Ivy League Schools. The following is a brief list of some of the most well-known and respected universities in the United States Williams College . Williams College is a private institution that was founded in 1793 in Williamstown, Massachusetts. It has a total undergraduate enrollment of 2,052; it was ranked the number one National Liberal Arts College by U.S. News and World Report for 2014. Villanova University . Villanova is a Catholic University located in Villanova, PA, and is considered one of the best undergraduate universities in the country. Elon University . Elon is considered one of the best universities on the East Coast of the United States, with a high focus on student success and engagement. It is located in Elon, North Carolina. Pennsylvania State University . The Pennsylvania State University, known as “Penn State,” is located in University Park, Pennsylvania. It was founded in 1855 and has a total undergraduate enrollment of 39,192 students. They also have a number of smaller campuses in locations around the state of Pennsylvania. Stanford University . Stanford University is a private institution located in Stanford, California (San Francisco Bay Region) that was founded in 1885. It currently has a total undergraduate enrollment of 7,063 students. University of Chicago . University of Chicago is a private institution located in Chicago, Illinois. The university was founded in 1890. It has a total undergraduate enrollment of 5,590 students per year. Duke University . Duke University is a private institution, located in Durham, North Carolina, that was founded in 1838. It has a total undergraduate enrollment of 6,655 students per year, and a number of graduate students. Massachusetts Institute of Technology . Located in Cambridge, Massachusetts, MIT is a private institution that has over 5,000 students attending the institution yearly. It was founded in 1861. These are only a taste of the great universities that you can find throughout the United States. With almost 5,000 universities to choose from, it can seem daunting, but most universities that you look at in the United States will give you a high-quality education that you will never regret obtaining. If you are looking for more information about the best colleges and universities across the United States, or just want more information about the United States Education system, U.S. News and World Report provides an annual list of the Best Colleges in the United States that you can check out. You can also take a look at the College Board website for more information about the universities you can apply to across the United States.
i don't know
The Ivy League university Yale is in which US state?
The 10 Best Universities in the United States Top Picks: Universities | Public Universities | Liberal Arts Colleges | Engineering | Business | Art |  Women's | Most Selective | More Top Picks These comprehensive universities offer graduate degrees in fields such as liberal arts, engineering, medicine, business and law. For smaller colleges with more of an undergraduate focus, check out the list of top liberal arts colleges . I won't make the arbitrary distinctions needed to decide whether Harvard or Princeton or Stanford is the better school. Listed alphabetically, these ten universities have the reputations and resources to rank them among the best in the country. Compare Top Universities (non Ivy): SAT Scores | ACT Scores Will You Get In? See if you have the grades and test scores you need to get into any of these top universities with this free tool from Cappex: Calculate Your Chances for These Top Universities Brown University Campus. Barry Winiker / Photolibrary / Getty Images Brown University Located in Providence Rhode Island, Brown University has easy access to both Boston and New York City. The university is frequently considered the most liberal of the Ivies, and it is well known for its flexible curriculum in which students construct their own plan of study. Brown, like Dartmouth College , places more emphasis on undergraduate study than you'll find at research powerhouses like Columbia and Harvard. Costs, aid, and other information: Brown profile continue reading below our video 10 Best Universities in the United States Low Library at Columbia. Photo Credit: Allen Grove Columbia University Strong students who love an urban environment should definitely consider Columbia University. The school's location in upper Manhattan sits right on a subway line, so students have easy access to all of New York City. Keep in mind that Columbia is a research institution, and only about a third of its 26,000 students are undergraduates. Duke University. cb2vi3 / flickr Duke University Duke's stunning campus in Durham, North Carolina , features impressive Gothic revival architecture in the campus center, and extensive modern research facilities spreading out from the main campus. With an acceptance rate in the teens, it is also the most selective university in the South. Duke, along with nearby UNC Chapel Hill and NC State , make up the "research triangle," an area purported to have the highest concentration of PhDs and MDs in the world. Costs, aid, and other information: Duke profile Harvard University. David Paul Ohmer / flickr Harvard University For better or worse, Harvard University almost always tops the rankings of national universities, and its endowment is by far the largest of any educational institution in the world. All of those resources bring some perks: students from families with modest incomes can attend for free, loan debt is rare, facilities are state of the art, and faculty are often world-renowned scholars and scientists. The university's location in Cambridge, Massachusetts, places it within an easy walk to other excellent schools such as MIT and Boston University . University of Pennsylvania. rubberpaw / Flickr University of Pennsylvania Benjamin Franklin's university, Penn, is frequently confused with Penn State , but the similarities are few. The campus sits along the Schuylkill River in Philadelphia, and Center City is just a short walk away. The University of Pennsylvania's Wharton School is arguably the strongest school of business in the country, and numerous other undergraduate and graduate programs place high in national rankings. With close to 12,000 undergraduates and graduate students, Penn is one of the larger Ivy League schools. Costs, aid, and other information: Penn profile Yale University. o2ma / flickr Yale University Like Harvard and Princeton, Yale University frequently finds itself near the top of rankings of national universities. The school's location in in New Haven, Connecticut, allows Yale students to get to New York City or Boston easily by road or rail. The school has an impressive 5 to 1 student / faculty ratio , and research and teaching are supported by an endowment of nearly $20 billion. Costs, aid, and other information: Yale profile Sample Cappex Scattergram. Image Courtesy of Cappex Will You Get In? See if you have the grades and test scores you need to get into one of these top universities with this free tool from Cappex: Calculate Your Chances of Getting In More Great Universities The universities listed here don't do justice to the wealth of great schools in the U.S. Also, this list has a clear focus on the Ivy League . For more top picks, check out this list of ten more great universities .
Connecticut
What was the surname of Mamas and Papas singer Mama Cass?
The History of Ivy League Universities - Education America The History of Ivy League Universities November 29, 2015 Posted by admin Comments Off on The History of Ivy League Universities The Ivy League is a term used to refer to 8 exclusive New England schools of higher learning with some of the richest and longest histories of any college or university in the United States. A degree from one of these prestigious universities is synonymous with excellence in academics as well as material wealth. Harvard is the oldest institution of higher learning in the Ivy League as well as the country as a whole. It was brought into existence by an act of the Massachusetts legislature in 1636 and named after John Harvard, the university`s first benefactor. Although initially a training ground for Unitarian and Congregationalist clergy, the university became increasingly secular through the 18th Century and today is known as one of the foremost cultural centers in America and the center of the elite of its Boston area location. It is known as one of the most picturesque campuses in the world and it has the largest endowment of any college in the world. Harvard`s most bitter Ivy League rival and its equal in academic excellence and elitism is Yale University. Founded in 1702 in what was then the colony of Connecticut, it is the 3rd oldest institute of higher learning in America. The university got its name from early benefactor Elihu Yale, a governor of the British East India Company. It was originally established to train the political leaders and clergy of the colony. Today, Yale`s considerable assets include the 2nd largest academic library in the Unites States and one of it`s largest endowments with over 16.3 billion. Princeton University in the town in Princeton, New Jersey, was founded in 1746 as the College of New Jersey, it received its present day name in 1896. Princeton was one the first institutes of higher learning established in what is now the United States and is one of the richest universities in the world with a multi-billion dollar endowment and its graduates could fill a book of Who`s Who in America. The University of Pennsylvania is a private Ivy League school located in Philadelphia, PA. It is the 4th oldest institute of higher learning in America. Founded by Benjamin Franklin in 1740, its initial focus was education for public service on the classics and theology as well as practical education for commerce. Today the university offers an extensive range of graduate and undergraduate programs from a dental school to a nursing and veterinary school. Brown University is located in Providence, Rhode Island; it is one of the oldest institutes of higher learning in the United States. It was founded in 1746 as the College in the English Colony of Rhode Island and Providence Plantations, the campus is one of the finest examples of Georgian style American colonial era architecture. Dartmouth College is a liberal arts college that also houses a prestigious medical school. Established in 1769, the college is the smallest of the 8 Ivy League schools but still one of the richest with a multi-billion dollar endowment. Colombia University is a private research institute of higher learning located in New York City. It was founded in 1754 as King`s College by royal charter of King George II of England. It is the administrator of the American literary award, the Pulitzer Prize and is in the first tier of American research universities. Cornell University is a private land-grant university located in Ithaca, New York. It is the most recently founded of all the Ivy League schools dating to its founding in 1865. Founded by benefactors Ezra Cornell and Andrew Dickson White, the university today offers renown programs in liberal arts, engineering, law, and medicine.
i don't know
Lauren Bacall was married at different times to Humphrey Bogart and which other actor?
Lauren Bacall - Biography - IMDb Lauren Bacall Biography Showing all 115 items Jump to: Overview  (5) | Mini Bio  (1) | Spouse  (2) | Trade Mark  (3) | Trivia  (73) | Personal Quotes  (28) | Salary  (3) Overview (5) 5' 8½" (1.74 m) Mini Bio (1) Lauren Bacall was born Betty Joan Perske on September 16, 1924, in New York City. She is the daughter of Natalie Weinstein-Bacal, a Romanian Jewish immigrant, and William Perske, who was born in New Jersey, to Polish Jewish parents. Her family was middle-class, with her father working as a salesman and her mother as a secretary. They divorced when she was five. When she was a school girl, Lauren originally wanted to be a dancer, but later, she became enthralled with acting, so she switched gears to head into that field. She had studied at the American Academy of Dramatic Arts in New York after high school, which enabled her to get her feet wet in some off-Broadway productions. Once out of school, Lauren entered modeling and, because of her beauty, appeared on the cover of Harper's Bazaar, one of the most popular magazines in the US. The wife of famed director Howard Hawks spotted the picture in the publication and arranged with her husband to have Lauren take a screen test. As a result, which was entirely positive, she was given the part of Marie Browning in To Have and Have Not (1944), a thriller opposite the great Humphrey Bogart , when she was just 19 years old. This not only set the tone for a fabulous career but also one of Hollywood's greatest love stories (she married Bogart in 1945). It was also the first of several Bogie-Bacall films. After 1945's Confidential Agent (1945), Lauren received second billing in The Big Sleep (1946) with Bogart. The mystery, in the role of Vivian Sternwood Rutledge, was a resounding success. Although she was making one film a year, each production would be eagerly awaited by the public. In 1947, again with her husband, Lauren starred in the thriller Dark Passage (1947). The film kept movie patrons on the edge of their seats. The following year, she starred with Bogart, Edward G. Robinson , and Lionel Barrymore in Key Largo (1948). The crime drama was even more of a nail biter than her previous film. In 1950, Lauren starred in Bright Leaf (1950), a drama set in 1894. It was a film of note because she appeared without her husband - her co-star was Gary Cooper . In 1953, Lauren appeared in her first comedy as Schatze Page in How to Marry a Millionaire (1953). The film, with co-stars Marilyn Monroe and Betty Grable , was a smash hit all across the theaters of America. After filming Designing Woman (1957), which was released in 1957, Humphrey Bogart died on January 14 from throat cancer. Devastated at being a widow, Lauren returned to the silver screen with The Gift of Love (1958) in 1958 opposite Robert Stack . The production turned out to be a big disappointment. Undaunted, Lauren moved back to New York City and appeared in several Broadway plays to huge critical acclaim. She was enjoying acting before live audiences and the audiences in turn enjoyed her fine performances. Lauren was away from the big screen for five years, but she returned in 1964 to appear in Shock Treatment (1964) and Sex and the Single Girl (1964). The latter film was a comedy starring Henry Fonda and Tony Curtis . In 1966, Lauren starred in Harper (1966) with Paul Newman and Julie Harris , which was one of former's signature films. Alternating her time between films and the stage, Lauren returned in 1974's Murder on the Orient Express (1974). The film, based on Agatha Christie 's best-selling book was a huge hit. It also garnered Ingrid Bergman her third Oscar. Actually, the huge star-studded cast helped to ensure its success. Two years later, in 1976, Lauren co-starred with John Wayne in The Shootist (1976). The film was Wayne's last - he died from cancer in 1979. In 1981, Lauren played an actress being stalked by a crazed admirer in The Fan (1981). The thriller was absolutely fascinating with Lauren in the lead role. After that production, Lauren was away from films again, this time for seven years. In the interim, she again appeared on the stages of Broadway. When she returned, it was for the filming of 1988's Mr. North (1988). After Misery (1990), in 1990, and several made for television films, Lauren appeared in 1996's My Fellow Americans (1996). It was a wonderful comedy romp with Jack Lemmon and James Garner as two ex-presidents and their escapades. Despite her advanced age and deteriorating health, she made a small-scale comeback in the English-language dub of Hayao Miyazaki 's Howl's Moving Castle (2004) ("Howl's Moving Castle," based on the young-adult novel by Diana Wynne Jones ) as the Witch of the Waste, but future endeavors for the beloved actress became increasingly rare. Lauren Bacall died on 12 August 2014, five weeks short of her 90th birthday. - IMDb Mini Biography By: Denny Jackson Spouse (2) Her thick New York City accent Trivia (73) Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#6) (1995). Ranked #20 in the AFI's top 25 Actress Legends. Ranked #11 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list. [October 1997] Mother of actor Sam Robards , Stephen H. Bogart and Leslie Bogart . Chosen by People magazine as one of the 50 Most Beautiful People in the World (1997). Bacall lived in the same New York apartment building (The Dakota) as Beatle John Lennon when he was shot and later died on December 8, 1980. When interviewed on the subject in a recent British television program hosted by former model Twiggy , Bacall said she had heard the gunshot but assumed that it was a car tire bursting or a vehicle backfiring. Was crowned "Miss Greenwich Village" in 1942. Used her mother's maiden name of Bacal, but added an extra "L" when she entered the cinema. Shortly after Humphrey Bogart 's death, she announced her engagement to Frank Sinatra to the press. Sinatra promptly backed out. Her screen persona was totally based and modeled after Howard Hawks 's wife, Slim. She even uses her name in To Have and Have Not (1944). She and former Israeli Prime Minister and President Shimon Peres were relatives. Both had the same original last name - Perske. However, the two were not first cousins as has been commonly reported, and in a 2014 interview shortly after Bacall's death, Peres stated that he was unsure of their exact connection. Those close to her called her by her real first name, "Betty". Still undiscovered, Bacall volunteered as a hostess at the New York chapter of the Stage Door Canteen, working Monday nights when theaters were closed. Having lost her job as a showroom model and quit acting school for lack of funds, the teenage Bacall found work as a Broadway theater usher. George Jean Nathan voted her the prettiest usher of the 1942 season in the pages of "Esquire". She was an only child of William Perske and Natalie Weinstein-Bacal. Is one of the initial "Rat Pack" with Humphrey Bogart , Frank Sinatra , Irving Paul Lazar (aka "Swifty" Lazar) and their close friends. Won a Tony Award for her role as Margo Channing in the Broadway production of "Applause", a musical based on the movie, All About Eve (1950). It was presented by Walter Matthau . With late husband Humphrey Bogart , had a kind of vocal disorder named after her. "Bogart-Bacall syndrome"' (or BBS) is a form of muscle tension dysphonia most common in professional voice users (actors, singers, television/radio presenters, etc.) who habitually use a very low speaking pitch. BBS is more common among women than men and has been blamed on "social pressure on professional women to compete with men in the business arena". Had starred, with her husband Humphrey Bogart , on the syndicated radio program "Bold Venture" (1951-52). Her character's name was Sailor Duval. Her autobiography, "By Myself", won a National Book Award in 1980. Actress Kathleen Turner had often been compared to Bacall. When Turner and Bacall met, Turner reportedly introduced herself to Bacall by saying "Hi, I'm the young you.". Her marriage to Humphrey Bogart occurred at the Pleasant Valley area of Richland County, Ohio home of Pulitzer Prize-winning author, Louis Bromfield , Malabar Farm (4 miles southeast of Lucas within Monroe Township). The home is now an Ohio State Park. Was good friends with: Angela Lansbury , Bea Arthur , Julie London , Eve Arden , Virginia Mayo , John Wayne , Humphrey Bogart , Charles Boyer , Dorothy Malone , Mickey Rooney , Gregory Peck , Dirk Bogarde , Marilyn Monroe , Maureen O'Hara , Joan Rivers , Kirk Douglas , Edward Platt , Robert Stack , Bob Hope , Frank Sinatra , Sammy Davis Jr. , Dean Martin , Katharine Hepburn , Maggie Smith , James Garner , Elizabeth Taylor , Anjelica Huston , Carol Channing , Carol Burnett , Dick Cavett , Doris Day , Jason Robards , June Allyson , Tammy Grimes , Dan Seymour , Ingrid Bergman and Spencer Tracy . Had won two Tony Awards as Best Actress (Musical): in 1970, for her role as Margo Channing in "Applause", a musical based on the movie, All About Eve (1950); and in 1981, for "Woman of the Year", also based on a movie of the same name, Woman of the Year (1942). Her Tony for "Applause" was presented by Walter Matthau . Was portrayed by Kathryn Harrold in Bogie (1980). Her appearance on a cover of Harper's Bazaar magazine at 18 years of age led to her first film role; she was spotted by the wife of director Howard Hawks , who gave her a screen test and cast her in To Have and Have Not (1944). The role was actually based on and named for Hawks' wife at that time, Nancy Gross "Slim" Hawks. She repeated this "tribute" in Ready to Wear (1994), produced just a short time after "Slim" Hawks (name at the time of death: Nancy "Slim" Keith, Lady Keith) died, playing a character named Slim Chrysler, and released to theaters fifty years after the premier of To Have and Have Not (1944). Was mentioned along with late husband Humphrey Bogart in the 1981 song "Key Largo" ("We had it all, just like Bogie and Bacall"). A well respected actress for the past sixty years, she had only been nominated once for an Academy Award. She was 73 when she was nominated for The Mirror Has Two Faces (1996). Lauren's father, William Perske, was born in New Jersey, to Jewish immigrants from the Russian Empire. Lauren's mother, Natalie Weinstein-Bacal, was a Romanian Jewish immigrant. Son Stephen H. Bogart was born on January 6, 1949. He was named after father Humphrey Bogart 's character from To Have and Have Not (1944). Daughter Leslie Bogart was born on August 23, 1952. She was named after actor Leslie Howard , who helped Humphrey Bogart get his breakthrough role in the play, The Petrified Forest (1936). Son Sam Robards was born December 16, 1961 with second husband Jason Robards . Bacall's longtime friend Katharine Hepburn , was his godmother. Daughter Leslie Bogart is childhood friends with Lorna Luft . She made two movies with John Wayne , Blood Alley (1955) and The Shootist (1976). In the earlier film, during production, Bacall's husband at the time, Humphrey Bogart , was dying of throat cancer. When she made the latter film with Wayne, he had lost a lung to cancer twelve years earlier, which mirrored the fate of his character in the story. In Italy, she was dubbed by Clelia Bernacchi at the beginning of her career, then in most cases by Lidia Simoneschi . Franca Dominici , Renata Marini and Anna Miserocchi also lent their voice to Bacall at some point. She was 17 when she met and became close friends with Gregory Peck . She was an usherette at the time. They remained close until his death. She was dismissed by Howard Hawks because she had a high nasal voice, but she spent two weeks developing her voice and, when she came back to visit Hawks two weeks later, she had a deep husky voice. According to her autobiography, "By Myself and Then Some", she was always very self-conscious about the size of her feet, which she describes as big even for a woman of her exceptional height. When Howard Hawks discovered her, he gave her the choice to work with either Cary Grant or Humphrey Bogart . Bacall was very tempted to work with Grant, but Hawks ended up casting her with Bogart in To Have and Have Not (1944), and one of Hollywood's greatest romances was started. She was close friends with Dirk Bogarde . Bacall had visited him at his home in London the day before he died in May 1999. At the funeral for her husband, Humphrey Bogart , she put a whistle in his coffin. It was a reference to the famous line she says to him in their first film together To Have and Have Not (1944): "You know how to whistle, don't you? You just put your lips together and blow.". Campaigned for Harry S. Truman in the 1948 presidential election. She was awarded a Star on the Hollywood Walk of Fame at 1724 Vine Street on February 8, 1960. She was awarded a Golden Palm Star on the Palm Springs Walk of Stars on January 10, 1997. Humphrey Bogart campaigned for her to star alongside him as Laurel Gray in In a Lonely Place (1950), but the role was, instead, given to Gloria Grahame . One of the auditoriums in Tuckwood cineplex in Belgrade, Serbia bears her name. Although she and her husband, Humphrey Bogart , initially protested the House Un-American Activities Committee, they both eventually succumbed to pressure and distanced themselves from the Hollywood Ten in a March 1948 Photoplay Magazine article penned by Bogart titled "I'm no communist.". According to her son Stephen, she was good friends with actress Maureen O'Hara . Was referenced in the stage and movie versions of the musical "Evita" in the song, "Rainbow High": "I'm their Savior! That's what they call me, so Lauren Bacall me. Anything goes!". Was the second name entered on IMDB, just after Fred Astaire (nm0000001) and just before Brigitte Bardot (nm0000003). Returned to work 6 months after giving birth to her daughter Leslie Bogart in order to begin filming How to Marry a Millionaire (1953). Delivered all three of her children ( Stephen H. Bogart , Leslie Bogart and Sam Robards ) naturally. According to her autobiography, "By Myself and Then Some", Bacall lost her virginity to future husband Humphrey Bogart at age 19 when they began an affair in February 1944. Along with Veronica Lake , Julie London and Rita Hayworth , she was one of four inspirations that helped compose the character Jessica Rabbit. She was the only Academy Award winner to have been married to two other winners ( Humphrey Bogart , Jason Robards ). Gave birth to her 1st child at age 24, a son Stephen H. Bogart on January 6, 1949. Child's father was her 1st husband, Humphrey Bogart . Gave birth to her 2nd child at age 27, a daughter Leslie Bogart on August 23, 1952. Child's father was her 1st husband, Humphrey Bogart . Gave birth to her 3rd child at age 37, a son Sam Robards on December 16, 1961. Child's father was her 2nd [now ex] husband, Jason Robards . She originally wanted and intended to be a dancer having attended ballet classes since infancy but in adolescence was drawn to acting. When she was 6, her parents divorced and her mother adopted the surname Bacal. Lauren added an L to it to avoid her name rhyming with crackle. Her father was a medical instrument salesman and her mother was a secretary. She was educated through the expense of wealthy uncles at Highland Manor, a private boarding school in Tarrytown, New York and Julia Richman High School in Manhattan. Lauren Bacall passed away on August 12, 2014, at age 89. A month before her death, her lifelong best friend, James Garner , passed away. Inspired by seeing Bette Davis in films, she enrolled at the American Academy of Dramatic Arts where she went out with Kirk Douglas , who was there on a scholarship. As girls were not accepted for scholarships, she was forced to leave after a year and got a job modeling swim wear then gowns while in the evenings she worked as an usherette. Lauren Bacall passed away on August 12, 2014, a month away from what would have been her 90th birthday on September 16. Lauren Bacall passed away on August 12, 2014, at age 89, and within seven months of four other television legends, either born in 1924 or 1925, aged 89: Martha Hyer , Russell Johnson , Mary Grace Canfield and Elaine Stritch , and just twenty-four days after her close friend James Garner , born 1928. Lauren Bacall passed away on August 12, 2014, at age 89. This was just one month before her longtime friend, Joan Rivers , passed away. Following her death, she was interred at Forest Lawn Memorial Park in Glendale, California. She quit smoking cigarettes in the mid-1980s. Acting mentor and friend of: Alfre Woodard . Was close friends with actress Siobahan Fallon, right up to Lauren's passing. Was physically healthy and physically active until her death at age 89. Personal Quotes (28) I never believed marriage was a lasting institution. I thought that to be married for five years was to be married forever. I was this flat-chested, big-footed, lanky thing. I don't think being the only child of a single parent helped. I was always a little unsteady in my self-belief. Then there was the Jewish thing. I love being Jewish, I have no problem with it at all. But it did become like a scar, with all these people saying you don't look it. I remember my oldest son, Steve, saying to me once, "I don't ever remember seeing you with an apron on." And I thought, "That's right, honey, you did not." That was his concept of what a mother should be. I would hate now [2005] to be married. It does occur to me on occasion that, if I fall and hit my head, there will be no one to make the phone call. But who wants to think about that disaster? I'd prefer not to. I am still working, I've never stopped and, while my health holds out, I won't stop. I put my career in second place throughout both my marriages and it suffered. I don't regret it. You make choices. If you want a good marriage, you must pay attention to that. If you want to be independent, go ahead. You can't have it all. Actors today go into TV, which I don't consider has a lot to do with acting. They only think of stardom. If you photograph well, that's enough. I have a terrible time distinguishing one from another. Girls wear their hair the same, and are much too anorexic-looking. We live in an age of mediocrity. Stars today are not the same stature as Bogie [ Humphrey Bogart ], James Cagney , Spencer Tracy , Henry Fonda and Jimmy Stewart [ James Stewart ]. A legend involves the past. I don't like categories. This one is great and that one is great. The word "great" stands for something. When you talk about a great actor, you're not talking about Tom Cruise . His whole behavior is so shocking. It's inappropriate and vulgar and absolutely unacceptable to use your private life to sell anything commercially, but I think it's kind of a sickness. I'm a total Democrat. I'm anti-Republican. And it's only fair that you know it... I'm liberal. The L word! [on Humphrey Bogart ] Was he tough? In a word, no. Bogey was truly a gentle soul. [on John Huston ] He was about something. I think your whole life shows in your face and you should be proud of that. On imagination: Imagination is the highest kite that can fly. [upon receiving her Honorary Oscar] A man at last! [on the Twilight films] Yes, I saw Twilight - my granddaughter made me watch it, she said it was the greatest vampire film ever. After the "film" was over I wanted to smack her across her head with my shoe, but I do not want a (tell-all) book called Grannie Dearest written on me when I die. So instead I gave her a DVD of Murnau's 1922 masterpiece Nosferatu (1922) and told her, "Now that's a vampire film!". And that goes for all of you! Watch Nosferatu instead! It's been misspelt a lot. He decided on it. It's not "Bogey". He signed it with an "ie". And that's good enough for me. A woman isn't complete without a man. But where do you find a man - a real man - these days? [on receiving an honorary Oscar] The thought when I get home that I'm going to have a two-legged man in my room is so exciting. You learn to cope with whatever you have to cope with. I spent my childhood in New York, riding on subways and buses. And you know what you learn if you're a New Yorker? The world doesn't owe you a damn thing, [on filming her most famous scene, in To Have and Have Not (1944)] My hand was shaking, my head was shaking, the cigarette was shaking, I was mortified. The harder I tried to stop, the more I shook. I realized that one way to hold my trembling head still was to keep it down, chin low, almost to my chest, and eyes up at Bogart. It worked and turned out to be the beginning of The Look. [on Bette Davis ] Well, I must say that I always loved her. And I think that she - for me - was the best actress and the most exciting female star on the screen. I think her work will live forever. I think it's timeless. And as she got older, her talent did not diminish. I mean, "Whatever Happened to Baby Jane?" - she - it was a wonderful job of acting that she did. She looked like a fright, but that was the part. But she could convey almost anything. She was quite an extraordinary talent. And unfortunately, she didn't have an opportunity to do as much a she wanted to, but she was a woman who had to work. And I understand that better than most people do - that you have to work. [on "Shock Treatmenr"] A nightmare!" [on "Confidential Agent"] A very bad experience for Boyer and myself. He was wonderful. But Herman Schumin, who directed, knew nothing about movies. He gave me terrible direction, if any. It was just a nightmare. Schumlin did nothing to help. The press killed me - after building me into this combination of Gabo and Dietrich and Mae West and God-knows-who. Sddenly I became this nothing. I spent the next 20 years building myself back up to where I had any confidence at all in what I could do. [on "A Woman's Wold"] Not a giant hit, but I got terrific reviews. Clifton Webb was Bogie's old friend, and Fred MacMurray was terrific; he was someone else who was never appreciated. [on "The Cobweb"] We used to kid about that while making it; the movie was about the God-damned drapes. Vincente was a marvelous man, but totally visual. He was not so interested in actors. [on Michael Curtiz] His great talent was moving the camera around. "Bright Leaf" was a joke, but I was thrilled to work with Cooper. "Young Man," I thought was pretty good though Mike Curtiz was not the ideal director for the Bix Beiderbecke story. Salary (3)
Jason Robards
A traditional gift for a 20th wedding anniversary should be made of what?
Lauren Bacall's voice resonated with women - LA Times Lauren Bacall's voice resonated with women Lauren Bacall costars with Gregory Peck in "Designing Woman" Hulton Archive / Getty Images Lauren Bacall starred with Gregory Peck in “Designing Woman” in 1957. That was also the year she lost husband and frequent costar Humphrey Bogart. Lauren Bacall starred with Gregory Peck in “Designing Woman” in 1957. That was also the year she lost husband and frequent costar Humphrey Bogart. (Hulton Archive / Getty Images) Betsy Sharkey Lauren Bacall captivated men, inspired women and owned every scene she was in The voice. If you heard it once, you never forgot. So distinctive was its smoky, sexual growl, you could pick it out of a lineup. Its owner, Lauren Bacall, wrapped it around words, controlling them, making them slightly dangerous, making them do her bidding, along with the men, and it was usually men, who were hanging on to each one. But Bacall, who died Tuesday at the grand old age of 89, was so much more than the voice. And more than an actress, she was a symbol of the kind of woman that postwar 1950s-era housewives would dream of becoming — and that the feminist movement would lionize. Intelligent, independent and, yes, a sexual being. But one in charge. She was a spitfire from the start. At 5 feet, 8½ inches, she was taller than the other young women making names in the movie business in the 1940s and '50s. She had an elegant, high-end style that made her a photographer's favorite long before paparazzi became a bad word. But she wasn't a classic beauty — those cheekbones, those come-hither eyes, the sense of entitlement that she radiated on screen made her seem dangerous, too hot to handle long before Hollywood tried, and failed, to handle her. Screen siren Lauren Bacall dies at 89 Sultry Hollywood screen and stage legend Lauren Bacall has died at the age of 89. Sultry Hollywood screen and stage legend Lauren Bacall has died at the age of 89. See more videos On screen, even after all these years, Bacall is still best known for her first film and her first husband. She was just 19 and Humphrey Bogart 44 when they began filming "To Have and Have Not." Soon they were Bogie and Bacall, married not long after, and iconic almost immediately, whether they wanted to be or not. It was a great love, the kind that, well, they made movies about. His death at 57 of cancer did not end the romance or, at least, the public's fascination with it. For all the incredible poise and presence she brought in that first 1944 film, and the others she would do with Bogie before he died, Bacall registered immediately as a fierce woman in a time when that quality wasn't highly valued in Hollywood. Alongside Bogart, she would protest the House Un-American Activities Committee's targeting of actors. In the business, it marked her as difficult. Read more stories That she had a string of hits by the time she was 30, including "The Big Sleep" and "Key Largo," should have ensured her marquee status. But it did not. In the years after Bogart's death, there were a few notable films, including "North West Frontier," but by the '60s she was more often taking guest spots on TV series, such as "Dr. Kildare." For years, Broadway would claim her, as the Great White Way has a habit of embracing difficult women. There Bacall would prove her acting mettle, winning a Tony for "Applause" in 1970, which would turn into an Emmy-nominated TV movie a few years later with its "All About Eve" story line. In 1981, she again won a Tony, for "Woman of the Year," a role Katharine Hepburn, another iconic actress, had put her stamp on. In the post-Bogie era — many, many years of it — she became more of a character actor on screen. As Lauren Bacall, legend, in a walk-on part in the sixth season of "The Sopranos," she is literally punched out by Tony Soprano's favorite bad-boy nephew, Christopher (Michael Imperioli), who steals her pricey celebrity gift bag. It was 2006, she was in her 80s, and she took the punch like a champ. Even though at times she seemed underappreciated by the movie world, she was nearly always working. She was booked to film a crime movie when she died. On film, there were multiple roles each year for many years. She would — fittingly — be one-half of a bickering married couple opposite Henry Fonda in the film adaptation of Helen Gurley Brown's bestselling "Sex and the Single Girl" in 1964. She turned up as a rural woman helping protect Nicole Kidman's troubled woman on the run in Lars von Trier's "Dogville" in 2003. Bacall was rarely vulnerable on screen. But it is there in the overlooked 1991 film "A Star for Two" opposite Anthony Quinn. They play lovers trying to rekindle a romance 40 years later, and the ache in her eyes is exquisite. As a leading actress, Bacall, in a sense, was typecast early on. The sultry woman who was smarter than anyone else in the room — opposite Gregory Peck in 1957's "Designing Woman," as part of the trio of hotties alongside Marilyn Monroe and Betty Grable in 1953's "How to Marry a Millionaire," and the list goes on. Whether she toplined the movie or was just a minor character, Bacall always owned any scene she was in. Not that she wasn't generous to those playing opposite her — she was — but the eye just gravitated back toward her, to whatever that voice was saying. There is a remarkable moment in "The Mirror Has Two Faces," the 1996 film that would earn Bacall an Oscar nomination and a Golden Globe. As mother to Barbra Streisand's newly-in-love professor, they are talking over morning coffee. It's a quiet scene but filled with pathos as Bacall, as the mother, looks at her daughter and says, "Awful thing to look back on your life and realize you've settled." Much of the moment's power is that sense you have that Bacall never settled. She lived an exceptional life and, for all of its ups and downs — the marriage with actor Jason Robards that came later and ultimately came apart, the way Hollywood didn't always make the most of her talent — none of it matters. Bacall was Bacall through it all, and it doesn't get any better than that.
i don't know
In what county are both Woburn Abbey and Leighton Buzzard Light Railway?
Leighton-Linslade Past Times - Trade Directories Stedall Maj. Leigh Pemberton D.S.O. Wallace William Edmund The Chairman of the Leighton Buzzard Urban District Council is an ex officio magistrate Clerk to the Magistrates, Robert Hobourn, Woburn Petty sessions are held at the Assembly Room, Corn Exchange, every alternate Wednesday at 10.30 a.m. The division comprises the following places:- Billington, Eaton Bray, Eggington, Heath & Reach, Leighton Buzzard & Stanbridge PUBLIC ESTABLISHMENTS Bletchley & Leighton Buzzard County Court. His Honour N.N. Drucquer, judge; Frederick William Bull, registrar & high bailiff. A court is held at Bletchley Council offices, once a month on monday at 10 a.m. & at the Corn Exchange, Leighton Buzzard, each month on thursday at 10 a.m. The following places are within its jurisdiction: Aspley Guise, Aspley Heath, Battlesden, Billington, Bletchley, Bow Brickhill, Bradwell, Bradwell Abbey, Broughton, Castle Thorpe, Cheddington, Chicheley, Drayton Parslow, Eaton Bray, Edlesborough, Eggington, Fenny Stratford, Gayhurst, Great Brickhill, Great Linford, Great Woolstone, Grove, Haversham, Heath & Reach, Hockliffe, Holcut, Husborne-Crawley, Ivinghoe, Lathbury, Leighton Buzzard, Linslade, Little Brickhill, Little Linford, Little Woolstone, Loughton, Mentmore, Middleton or Milton Keynes, Milton Bryant, Moulsoe, Mursley, New Bradwell, Newport Pagnell, Newton Longville, North Crawley, Potsgrove, Salford, Shenley Brook End, Shenley Church End, Sherington, Simpson, Slapton, Soulbury, Stanbridge, Stantonbury, Stewkley, Stoke Hammond, Stony Stratford, Tattenhoe, Tyringham-with-Filgrave, Walton, Water Eaton, Wavendon, Whaddon, Willen, Wing, Woburn, Woburn Sands, Wolverton & Woughton-on-the-Green For Bankruptcy purposes this court is included in that of Northampton; T. Bengough, The Parade, Northampton, official receive Certified Bailiff appointed under the Law of Distress Amendment Act, Arthur W. Merry, High Street Cemetery, Miletree road, Reginald Frank Austin Tutt, Council offices, North street, clerk to the Council acting as the Burial board; William Freeman, caretkr Corn Exchange, Lake street, Henry Hawley, hall keeper County Police Station, 21 Hockliffe road Fire Station, Market hall Market Hall, Market square, William Edwin Goddard, toll collector & hall keeper Ministry of Labour (R. Roe, branch manager), Employment exchange, King street Provident Dispensary, North street, Claude Marriott Lovell Cowper M.R.C.S.Eng., L.R.C.P.Lond., & C.J. Sharp, medical officers; William G.W. Willis, esq. hon. sec.; Reginald Roe, collector LUTON AREA GUARDIANS COMMITTEE (Comprising the former Union area of Luton and the Bedfordshire parishes in the former Union area of Leighton Buzzard) (for particulars see under Luton) LEIGHTON BUZZARD REGISTRATION DISTRICT Superintendent Registrar, Maurice Curtice Clifford, Council Offices, Linslade; deputy, S. Morris, Council Offices, Linslade Registrars of Birth & Deaths, Leighton Buzzard district, F.A. Clement, Council offices, Linslade; deputy, E.A.Watling, 13 Lake street; Leighton Buzzard & Wing sub-district, F.A. Clement, Council offices, Linslade; deputy E.A. Watling, 13, Lake street Registrar of marriages, Albert G. Ruthven, Linslade; deputy, Henry C. Furlong, High st. Leighton Buzzard PUBLIC OFFICERS Certifying Factory Surgeon, William Holberton Square L.R.C.P. & S.Edin. 13, Bridge street Clerk to the Commissioners of Taxes of the Cottesloe Division & Clerk to the Magistrates for the Linslade Division of the Three Hundreds of Cottesloe, Lancelot Newton, 30 High street Collector of Taxes, Ernest Alfred Watling, 13 Lake st Collector of Market Tolls, Wm. E. Goddard Market hall Customs & Excise Officer, E.O. Hyde, 33 Hockliffe st Rating Officer Ernest Alfred Watling, 13 Lake street PLACES OF WORSHIP All Saints' Church, Rev. Sidney E. Swann M.A. vicar, & surrogate St. Andrew's Church, Church street, serve by the clergy of the parish church Sacred Heart (Roman Catholic), Beaudesert, Rev. C.J.W. Henslow, M.A. Friends' Meeting House, North street Baptist, Hockliffe street, Rev. W.G. Legarsick B.A. Methodist, Hockliffe street, Rev. R.F. Wearmouth M.A., B.Sc. hon. C.F. (supt) & Rev W.E. Lee Baptist, Lake street, Rev. R.T. Anderson Methodist, North street, Rev. H. Preston Methodist Mission Hall, Vandyke road Christian Science Society, Victoria house, 12 Hockliffe street Salvation Army Head Quarters (various), Lammas close EDUCATIONAL Cedars School (Beds County Secondary), Church square, Fred Fairbrother M.Sc. head master --------- Omnibuses from Market square every half hour to all parts of Area 10 CARRIERS with the places they go to, inns they call at & days of departure Agent to London, Midland & Scottish Railway, Henry John King, 27 Market square Agent to Sutton & Co. Ltd. Jas. Willson, 39 High street Brickhill (Great) - Bates, 'Roebuck,' tues. & fri Dagnall - Mead 'Red Lion,' tues. & fri Dunstable - Ellingham, 'Roebuck,' wed Eaton Bray - Mead, 'Red Lion,' tues & fri; Tearle, Market sq. tues Edlesborough - Mead 'Red Lion,' tues & fri Hockliffe - Ellingham, 'Roebuck,' wed Hollandon - Randall, 'Black Horse,' tues Luton - Ellingham, 'Roebuck,' wed Stewkley - Chappell 'Red Lion,' tues & fri; Heley, North street, tues & fri PRIVATE RESIDENTS (For T N's see general list of Private Residents at end of Book.) Abbott Mrs. The Mount, Heath rd Arnold Albert, Sandy mount, Plantation road Aveline Charles Henry, Fairfield, Grove road Bailey Edward Thomas, Waverley, Plantation road Barnett Idwal Fredk. 4 Hartwell cres. Barnett John Glynne, Norwood, South street Bassett Miss, Stonhill, Billington rd Bendy Fredk. Wm. Wargrave, Grove road Blewitt Miss, Heath Manor house, Heath road Boddington William F. 12 Church sq Bolton Alfd. Octavious, 4 Church sq Brantom Sidney, The Plantations Brantom Thomas Reginald, Shirwood, Hockliffe street Briggs Mrs. Brenthurst, Grove road Broadley Mrs. Huntingdon villa, South street Brooke Misses, 9 Hartwell cres Brown Mrs. A.G. 2 Hartwell cres Brown Ernest William, Victoria ho. Lake street Brown Henry George, King's farm, Stanbridge road Brown Harry George, jun. 28 Stanbridge road Brown Miss Ethel Mary, 20 Albany rd Buckingham Miss, 22 Lake street Bush William, 15 Albany road Carlow Thomas James, 34 Hartwell Grove crescent Carpenter Miss, 7 Beaudesert Chamberlain Archibald, Southwold, South street Chamberlain Arthur Charles, 32 Albany road Chamberlain Arthur Norman, Estcourt, South street Chapman George J.P. 28 Hockliffe st Charles Francis, Heathwood, Heath rd Chew Mrs. 6 North street Clare Arthur, 17 Grove road Clough Henry William F.A.I., J.P. Greenhurst, Grove road Clues Joseph, Cedens, Plantation rd Cooke Stanley Garner, 39 Grove road Cook Mrs. 32 Hockliffe street Cook William David, 56 Church street Cowper Claude Marriott Lovell, 14, Lake street Croxford Frank, 26 Hartwell cres Croxford Leonard, Grovehurst, Grovebury road Currie William Sinclair, 34 Hockliffe st Davidson Mrs. Paul, Woodlands, Plantation road Davies Albert, 16 Albany road Dawson Samuel Henry, Stonycroft, Hockliffe road Delafield Hugh Frank, White house, Hockliffe street Digby Ernest Edward, Toynton, Hartwell crescent Dollimore Robert John, Holly bank, Heath road Dollimore William Frederick, 41 Ashworth street Evans Edward, The Laurels, Grovebury road Evans William, 16 Hartwell crescent Farmbrough Mrs. 31 Albany road Faulkner William James, 30 Albany road Fergusson John, Shenley house, Heath road Folks William, 9 Beaudesert Folmer John Henry, 24 Albany road Foster Alan Sidney, 3 Albany road Freeman Mrs. Grace, 6 Hartwell cres Furlong Henry Albert, 3 Church ave Gibberd Harry Preston, 25 High st Gibbs George William, Steppingstone, South street Gooch, Frederick Vivian, Homeleigh, Heath Park road Gosling Francis, Rushmere Gosling Mrs. Five Oaks, Heath road Green George Faulkner, 11 Albany road Green John Henry, Eversholt house, Grove place Green Mrs. 16 Grove road Griffin Ronald James, Athelstan, Hartwell crescent Grogono Jonathan, 23 North street Grotrian Sir Herbert Brent bart. B.C.L., K.C., M.A., J.P. The Knolls Groundsell Ernest John, 5 Albany rd Groves Mrs. North court, Heath road Harris Johnstone, Doiran, Plantation road Haybittle John, The Retreat, Heath Park road Hedges Mrs. S.W.D. 16 Lake street Heley Herbt. The Glen, Plantation rd Hett Regnld. Wayside, Heath Park rd Hicks William John, 50 Dudley street Hines Alfred John, Mount Pleasant, Heath road Hoar Edgar Walter, Norfolk house, Grove road Hopkins Mrs. 30 Lake street Hopwood Miss, Holly lodge, North st Hunt Harry Frederick, Silver Birch, Plantation road Inns Lawrence, 26 Hockliffe street Isaacs Ernest George, 51 Grove road Jackson Miss, The Rockeries, Heath road Jennings Frank, The Firs, Plantation road Jones Frank, 7 Church avenue Jones Herbert Walter, Bembridge, Grovebury road King Henry John, 18 Lake street Kitely Frank Leslie, Crosslands, Hockliffe road Labrum Gustavus Gadsden, The Chase, Heath road Lailey-Rowlands William A. The Heath, Plantation road Lancaster Arthur Richard, Hillcrest, Hartwell Grove crescent Leach George, 28 Hartwell crescent Leadbeater Thomas, 18 Albany road Lee Rev. William Edward (Methodist), 22 Hockliffe street Lenton Joseph Henry, 48 Hockliffe st Lewis Mrs. 23 Grove road Lucking Alfred, Gensing villa, Hockliffe road Mallett Mrs. Grove House, Grove pl Mallett Ronald Aubrey, Silver Birch, Grove place Marsden Hubert Harold, Rossall cottage, Heath road Meyer Frederick Albert, 8 Church sq Miles Richard, Rothesay, Grove road Milner Rev. George Ernest John M.A. 30 Hockliffe street Moore James, Leighton villa, Grove rd Morris Miss, Holly lodge, North st Neal Thomas Fossey, 26 Heath road Palmer Harold, Hollybank, Stanbridge road Parrott Frederick Scott, Hilbury, Hartwell crescent Pawsey Thomas Edwin, 25 Grove rd Pease Miss J.P. St. Michael's cottage, Heath road Phillips John, 29 Lake street Pillar Samuel H. J.P. Craddocks, Heath road Powell Chas. Biddlestones, Heath rd Pratt Richard, 30 Hartwell crescent Pratt Walter, 36 Hockliffe street Preston Rev. Henry (Methodist), The Manse, North street Price Hugh Bunker, Morningside, Heath road Puddephat George Alfred, Reach ho. Heath road Ray Edward Tucker, Denecroft, Heath road Redfern Thomas Howard, West dene, Plantation road Rennie, Douglas Yorke, Cotefield, Heath road Richmond Aubrey Frank, Kerri, Hartwell crescent Ridgeway Mrs. 9 Grove road Roberts Henry, Roseneath, South st Robinson Arthur Wm. The Hollies, Heath road Roe Ernest, 77 Hockliffe street Ruggles Harry George, Gas Works house, Grovebury road Rush David, 10 Grove road Sanderson Elliott Albert, Heath Park lodge Sheerman Mrs. 42 Dudley street Smith Thomas, 16 Beaudesert Smith-Baker James, 27 Grove road Spencer Alfred Ernest, 22 Grove road Spencer-Smith Philip, Rushmere manor, Heath road Square William Holberton J.P. 13 Bridge street Staniforth Harry, 29 Grove road Steels Harry, Firbank, Ashwell street Stott Ethelbert, Heath lodge, Heath rd Stuart James, M.A. Carlton lodge, Heath road Swann Rev. Sidney Ernest M.A. (vicar), Vicarage, Church square Thornley Ernest James, Church Bank, Church square Till John Thomas, Negunda villa, Hartwell crescent Tooley Hrbt. Cyril, Heathcote, Heath rd Turner Alfred, The Laurels, Heath rd Tutt Reginald Frank Austin, 9 Albany road Viccars Walter, 11 Dudley street Vick Leslie Francis, M.C. Bank ho. Market square Wagstaffe Miss, Grove place Wallis Capt. Owen Clark J.P. Oxendon, Plantation road Watling Ernest Alfred, Southlands, South street Watson, William Scott, Oakbank, Heath road Wearmouth Rev. Robert Featherstone M.A. B.Sc., P.Hc., hon.C.F. (Methodist supt.), 24 Hockliffe st Webb Percy, The Paddock, Church avenue White Edward, 14 Bridge street White Walter George, Silverdale, Hockliffe road Willis Wm. Gravely W. 25 North st Woodman Mrs. 38 Albany road Yirrell Mrs. 31 Albany road Yirrell Mrs. 67 Lake street Yorke Henry Frederick, The Lawns, Heath road COMMERCIAL Marked thus * farm 150 acres or over. Abraham William, farmer, Broom Hills farm, Heath rd Albion Temperance Hotel (Mrs, Mary Ellen Burroughs, proprietress), 3 High st. T N66 Allen Thomas, shopkeeper, 23 Hockliffe street Anderson Arth. Jsph. photographer, 7 High st. T N14 Anderson Percy Jas. Eagle inn, 57 Billington rd Andrews Edmnd. Hastings, statnr. 81 Hockliffe st Andrews Percvl. Howard, coach painter 71a Hockliffe st Arnold Joseph & Sons, silver, silica & building sand pits proprietors & peat & loam merchants; contractors to His Majesty's Government, Billington road ( T N67); chief office, 124 Tottenham Court road, London W 1 Attwood George F. Currier's Arms P.H. 31 Market sq Aveline & Phillips, house furnshrs. 17 & 19 Lake st. T N2 Bacon Archibald James, photographer, 25 Hockliffe st Bailey Wm. butcher 19 Market sq. T N87 Baker Bros. butchers, 61 North st. T N173 Baker Harry & Co. drapers, 18 High st Ball Ernest T. Bell inn, 10 Market sq. T N148 Bambrook John, coal dealer, 78 Church street Banwell Florence (Mrs.), children's outfitter, 59 Hockliffe st Barclays Bank Ltd. (branch) (Leslie Francis Vick M.C., mngr.), Market square (T N53); head office, 54 Lombard street, London E C 3 Bardell Bros. fishmngrs. 32 High st. T N72 Barnes Henry John, water works engnr. Stanbridge rd Barrie Alex. Middleton, confctnr. 65a Church st Bayliss W. M. Sons & Co. incorporated accntnts. Ravenstone chambers, High st. T N34 Bayliss Wm Mark F.S.A.A. incorporated acctnt. (firm, W. M. Bayliss Sons & Co.), Ravenstone chambers, High st Beavon & Collett, adamant plaster mfrs. Grovebury. T N263 Beck Frederick, draper, 42 & 44 Church street Bedfordshire County Library (Leighton Buzzard branch) (Miss C. Rootham, librarian), Council offices, North st Beds & Bucks Permanent Benefit Building Society (J. H. Folmer sec.), Corn Exchange, Lake st Beds & Herts Regiment (T.A.) (5th Batt.) (Capt. H.C. Miller, commanding officer), Drill hall, West st Beds & Herts Regiment (T.A.) (5th Batt) Social Club (ex-R.S.M. Thos. Turner, hon. sec.), Drill hall, West st Bendy Frederick William, printer, 17a Bridge street Biggs Arth. Christphr. motor haulage contrctr. 1 Grovebury rd. T N216 Birch Wm. brush mfr. 71b, Hockliffe st Bishop & Co. saddlers & harness makers, 13 & 15 Lake street. T N21 Bland Ezra, motor engnr. 5 Hartwell gro Bland Horace, motor engnr. Billington rd. T N190 Bloxham Fredk. Wm. saddler, 9 High st. T N163 Bolton Alfd. Octavius M.R.C.S.Eng., L.R.C.P.Lond. physcn. & surgn. (firm, Square & Bolton), 4 Church sq. T N161 Boots The Chemists, 55 High st. T N103 Boutwood Aubrey, solctr. (firm, Thornley & Boutwood), 13 High st. Boy Scouts, 1st Leighton Buzzard Troop (25th Beds) (Leonard Faulkner, scoutmaster), Grovebury rd Brantom Thomas & Co. Ltd. coal mers. 3 & 5 North st. & corn mers. 36 High st. T N4 Brantom Horace, builder & contractor; repairs; estimates free, Heath road. T N244 British & Argentine Meat Co. Ltd. butchers, 23 Market sq. T N195 British Legion (Leighton Buzzard) Ltd. (Richard Miles, sec.), Market square Brooks Horace Edwin, jeweller, Leighton ho. High st. T N317 Brown Alfd. & Son, fried fish dlrs. 25 Lake st Brown George & Son, agricultural, mechanical & motor engineers & agents & iron & brass founders, Victoria iron works, Lake street, T A "Victoria Works;" T N63 Brown Hy. Geo. & Son, sand mers. King's farm, Stanbridge rd. T N109 Brown B. A. timber merchant, Canal wharf. T N156 Brownsworth Geo. journalist, 26 Albany rd Bruton Jas. boot repr. 28 Heath rd Buckmaster's Garage, motor & electrical engineers; garage; cars for hire; any make of car supplied, 16 North street. T N43 Bull Chas. Hy. Red Lion P.H. 1 North st Burch Geo. Jas. coal mer. 21 Billington rd Burr Fred, shopkpr. 17 Friday st Burr Thos. Fred, hairdrssr. 76 North st Butlin Ernest Jn. Nag's Head P.H. 1 Mill rd Button Harry, draper, 80 North st Capel Francis Charles, provision dealer, 70 North street Capindale & Gladwin, cabnt.. mkrs. 35 Lake st Carpenter Abel Ernest, fried fish dealer, 45 Church st Cash & Co. boot & shoe mkrs. 57 High st Cedars School (The) (Beds County Secondary) (Fred Fairbrother M.Sc. head master), Church sq Cemetery (Reginald Frank Austin Tutt, clerk to the council; Wm. Freeman, caretaker), Miletree rd Chamberlain Bros. tailors, 29 High st T N200 Chandler Thos. cycle repr. 10 & 70a Church st Chandler Wm. Walt. dairyman, 23 Church st Christian Science Society, Victoria hall, 12 Hockliffe st Clark Percy, Peacock inn, 1 Lake st Clarke Geo. florist, Carnation vil. Heath rd. & South st Clarke John Jas. painter & decorator, 7 Church square Collett Walter Ebenezer & Son, plumbers, sanitary, heating & electrical engineers, 51 & 53 Hockliffe street. T N65 Collett Chas. Ernest, adamant plaster mfr. see Beavon & Collett Combley Geo. tailor, 13 North st Cook Chas. Jas. & Son, grocers, 38 & 40 Church st. T N270 Cook David & Sons, bldrs. 1 High st. T N30 Cook Edith & Gertrude (Misses), drapers, 59 High st Cook N. & L. (Misses), confectioners, 3a High st Cook Sarah Ethel (Mrs.), shopkpr. 59 Lake st Cooley Emily (Mrs.), medical botanist, 38 High st Cooper & Co. ironmngrs. 14 Market sq. T N137 Corfield Wm. Hy. baker, 85 Hockliffe st Corn Exchange (Hy. Hawley, hall keeper), Lake st Cornish H. & Co. agricltrl. engnrs. Grovebury rd Cornish Percy, boot repr. 50 Hockliffe st Cornish Regnld. newsagt. 15 North st County Court (His Honor M.N. Drucquer, judge; F.W. Bull, registrar & high bailiff), Corn Exchange, Lake st County Police Station (Wm. Albt. Hudson supt.), 21 Hockliffe rd T N70 Cowper, Grogono & Sharp, physcns. & surgns. 14 Lake st. & 23 North st Cowper Claude Marriott Lovell M.R.C.S.Eng., L.R.C.P.Lond. (firm, Cowper, Grogono & Sharp) physcn. & surgn. & medical officer of health for Linslade Urban District Council & medical officer & public vaccinator No. 10 area, Aylesbury area Guardians Committee, 14 Lake st. T N188 Cox Wm. Hy. cooper, Lake st Crook Oliver Pearson, licensed horse slaughterer, dealer in live & dead horses, cows &c. Leedon, Hockliffe rd. T N210 Cross Keys Hotel (Fred C. Crockerill, propr.), 35 Market sq Croxford Leonard, outfitter, 40, 42 & 44, North st. T N278 Croxford Violet (Mrs.), draper, 8 Hockliffe st Cumberland & Hopkins (H.W. Clough), auctioneers & insurance agents, 40 High street. T N7 Customs & Excise Office ( E.O. Hyde, officer), Hockliffe st Dancer Ada (Mrs.), dairy 56 Hockliffe st Dawson Albert E. (exors. of), builders, 18 Heath road & 3 Ashwell street. T N36 Day Francis T. Black Lion P.H. 20 High street Deeley Fredk. Jas. dairyman, 7 Albany rd Deeley Stanley, furniture dlr. 18 Bridge st Deeley Wm. Geo. 11 Church st Denby Eliz. (Mrs.), confctnr. 44 High st Dew Albt, insur. agt. 2 Albany rd Dixon G, & Son, chimney sweepers, 8 Friday st Dollimore George & Sons, grocers, provision merchants & corn stores, 13 Market square & millers & corn merchants, 9 Plantation road. T N106 Donald Aubrey, confctnr. 9 Market sq Down Wm. Jas. Black Horse inn, 21 North st Downham Duncan, butcher, 14 North st. T N240 Draper Millicent (Miss), teacher of art, 35 Hockliffe st Driene (Miss Purrett, proprietress), gowns, 14 & 16 Bridge st Dudley Street Nurseries, Dudley street. T N169 Durham E.M. (Mrs.), confctnr. 1 Bridge st Durrell's Drug Stores, 3 High street. T N57 Dumpleton Margt. (Miss), milliner, 11 Hockliffe st Dunmall Catherine (Mrs.), Golden Bell P.H. 5 Church sq Ellard Wltr. confctnr. 18 Hockliffe st Ellingham Spencer, Bridge hotel, 1 Bridge st Evans Geo. Hy. milliner, 23 Regent st Evans Winifred (Miss), ladies hairdrssr. 17a Market sq Evered Jn. fruitr. 29 Market sq Exchange Theatre (Shipman & King, lessees), Corn Exchange, Lake st Facer Wm. Thos. butcher, 49 Hockliffe st Farmbrough & Son, wine & spirit mers. Corn Exchange, Lake st. T N31 Farmer & Co. cycle agts. 12 North st Field Agnes Mary (Mrs.), shopkpr, 1 Billington rd Fire Brigade (Leighton Buzzard) (W.J. Pratt, capt.), Fire Station, Market hall, Market sq Fisher Herbt. marine store dlr. 33 Lake st Fleet Albt. R. newsgt. 90a North st Fletcher & Dimmock, oils & colours, 34 High st. T N265 Foster Brothers Clothing Co. Ltd., clothiers, 45 High st Franklin Chas. coal & coke mer. 31 High st Freeman, Hardy & Willis Ltd. boot makers, 51 High st Freeman Wm. caretaker of the cemetery, Miletree rd Frost Jn. & Son, boot reprs. 2 Hockliffe rd Frost William, decorator, 114 Vandyke road Furlong Hy. Albt. plumber, see Purser & Furlong Garside Geo. sand mers. T A "Garside, Leighton Buzzard;" T N9 Garwood Albt. Geo. confctnr, 11 North st Geeves Horace, fruitr. 19a Bridge st Gibbard Harry Preston, mngr. Westminster Bank Ltd. 27 High st Gibbs E.T. Nurseryman, 18a High st. T N39 Gilbert Jas & Son, engnrs. St. Andrew's st. T N76 Gilbert Wm. Fredk. & Son, carriage trimmers, 96 Bassett rd Gilbert Jn. Fredk. millwright, St. Andrew's st Giltrow Arth. R.S.S. blacksmith, 10 Hockliffe st Gladwin Helen (Mrs.), fruitr, 19a & 21 Hockliffe st Gladwin Jn. Wm. cabnt. mkr. see Capindale & Gladwin Gleed Fras. boot repr. 31 Lake st Godbehear Arth. shopkpr. 12 Vandyke rd Goddard Wm. Edwin, market hall keep & toll collector, Market hall, Market sq Goodliffe Chas. Edward, house furnisher, 56, 60 & 62 North st. T N126 Gordon Jn. W. clothier 68 North st Gossard Ltd. corset mfrs. Grovebury rd. T N83 Grace Fredk. Rd. butcher, 26 High st. T N41 Grange Edwd. baker, 40 Lake st T N54 Griffin Bros. wireless dlrs. 11 High st. & 63 North st. T N118 Griffin Frank, wireless dlr. 62 Hockliffe st. T N233 Grogono Jnthn. M.R.C.S.Eng., L.R.C.P.Lond. (Cowper, Grogono & Sharp), physcn. & surgn. & medical officer of health to Leighton Buzzard Urban District Council, 23 North st. T N81 Gunn Jabez, tobccnst. 54 Hockliffe st Gutter Arth. furniture dlr. 4 Hockliffe st Harding Frederick Thomas, tailor, 15 Hockliffe street Harris Gregory & Son, silica, silver & building sand proprietors; sand, gravel & peat merchants, 63 North street. T N122 Harris & Co. leathr. mers. 20 North st Harris Frank, beer retailer, 173 Heath road Hart Frederick, greengrocer, 82 North street Hartridge George S. Falcon inn, 10 Stanbridge road Haskins William John, hair dresser, 46 High street Hawkes Chas. Fredk. taxi propr. 3 Bridge st. T N24 Haynes Ernest Jesse, grocer, 105 Church st Heady Clifford Hy. skin & hide dlr. 42 Vandyke rd. T N246 Heady Lilian (Mrs.), confctnr. 73 Hockliffe st Heley T. & Son, farmers, Grovebury farm Heley Fred, hairdrssr. 26 High st Herington Horace Edwd. chemist, 16 Market sq. T N35 Higgins Chas. butcher, 6 Church st Higgs Walt. Saml. wine & spirit mer. 23 Bridge st. T N113 Hobbs Fredk. & Sons, carters & farmers, 55 Billington rd Holliday Hy. Chas. cycle dlr. 17 North st Holmes Hy. & Son, bakers, 21 High st. (T N248) & 39 Lake st Holton Eliz. (Mrs.), shopkpr. 21 Mill rd Home & Colonial Stores Ltd. grocers, 49 High st. T N254 Hopkins Jas. Jsph. ironmonger, 4 Lake st. T N150 Harrell Edwin, seedsman, 10 North st Impey Edgar, fruitr. 15 Market sq Inland Revenue Office ( J.R. Jinks, inspector), Hockliffe st Inns Florence (Mrs.), ladies' outfitter, 11 Bridge st. T N267 Inns Lawrence, dance bands, theatre tickets, pianos, gramophone records, wireless; agent "His Master's Voice," 22 High street. T N95 International Tea Co.'s Stores Ltd. grocers, 8 Market sq. T N71 Jackman Jn. shopkpr. 41 Friday st Jackson Hy. & Co. printers, 5 High st. T N37 James Charles, local taxation officer, 51 Dudley street Jarrett Albt. Edwd. Dolphin P.H. 87 Hockliffe st Jeffery Annie Margt. (Miss), florist, 5 Pulford rd Johnson Bros. (Dyers) Ltd. dyers & cleaners, 12 High st Jordan Wltr. fruitr. 18 Market sq. T N304 Kearley Helene & Victoria (Misses), dairy, 5 Hockliffe st Keens, Shay, Keens & Co. accntnts. 35 High st. T N178 Kember Wltr. Sydney, confctnr. 4 & 6 High st Kemp Jsph. shopkpr. 44 Lake st Kershaw Maud (Mrs.), gowns, 26 Market sq Kestell Edgar Ernest & Sydney Edwd. dairymen, Church farm, Pulford rd King Henry John, hair dresser, & parcels agrent to the L.M. & S. Railway, 27 Market sq. T N156 King Jsph. tailor, Avondale, Regent st Kiteley Chas. market gardener Bridge ho. Hockliffe rd Kiteley David, market gardener, Chiltern view, Hockliffe rd. Labrum & Sons, coal merchants, 12 Market sq. T N86 Lambert Johanna Mary (Miss) S.R.N. certified midwife, 41 Hockliffe rd Lambert Victor, Crown inn, 72 North st Lambert Wm. Jas. hairdrssr. 11 Market sq Lamport & Son, confectioners, 23 Market square Lantaff Jn. hardware dlr. 31 Hockliffe st Leach Jn. market gardener, South st Leadbeater Thomas (estab. 1895), printer; estimates given, 57 Hockliffe street Lee Wm. confctnr. 3 Church st Leighton Buzzard Bowling Club (H.S. Hubbins, sec.), Grovebury rd Leighton Buzzard Concrete Co.(1933) Ltd.manufacturers of damp-proof walling, breeze blocks, ferro-concrete gate posts, lintels, cills, granolithic paving flags &c. Tower works, Stanbridge rd. T A "Concrete;" T N60 Leighton Buzzard & District Unionist Club ( D.A. Lord, sec.), 18 High st Leighton Buzzard Gas Co (Harry George Ruggles, sec & manager), Grovebury road ( T N17) & 2 High street Leighton Buzzard Golf Club (Jsph. Rd. Labrum, sec.), Plantation rd Leighton Buzzard Industrial Co-operative Society Ltd. 1 & 3 Hockliffe st & 2 North st. T N105 Leighton Buzzard Light Railway Limited, 20 Bridge street. T N42 Leighton Buzzard & Linslade Chamber of Trade (Walton, Ray & Co. solctrs.; G. Brownsworth, sec.), 20 Bridge st Leighton Buzzard Market Hall (Wm. Edwin Goddard, toll collector & hall keeper), Market sq Leighton Buzzard Motors Ltd. motor engnrs. High st. T N100 Leighton Buzzard Nursing Association (Miss H. Graveson, district nurse), 8 Market sq Leighton Buzzard Oberver (Henry Jackson & Co. publishers; published Tuesday), 5 High street Leighton Buzzard Sand Co. Ltd. sand mers. Grovebury Leighton Buzzard Sports Association Ltd. ( A.V. Woodman, sec.), 20 Bridge st Leighton Buzzard Tennis Club (D. Gordon, hon. sec.), Bell close, Lake st Leighton Buzzard Tiles Ltd. Grovebury rd. T N168 Leighton Buzzard Town Cricket Club (J.E. Arnold, sec.), Bell close, Lake st Leighton Buzzard Urban District Council Water & Sewerage Works (Hy. Jn. Barnes, engnr.), Stanbridge rd T N5 Leighton Sanitary Laundry Co. Ltd. (S.H. Pillar, managing director), South st. T N80 Linney & Son, saddlers, 21 Lake st. T N159 London Central Meat Co. Ltd. butchers, 9 North street Lucking Jn. tobccnst. 7 Lake st & 19 Bridge st; furniture dlr. 5 Lake st. & antique dlr. 33 High st. T N112 Macarthur James O.B.E., M.R.C.V.S. veterinary surgeon, 1 Market square. T N89 McNally Stephen, boot repr. 12a Bridge st Major Mary (Mrs.), shopkpr. 3 Mill rd Mallett Rt. Thos. grocer, 21 Bridge st. T N185 Marley Tile Co. (Leighton Buzzard) Ltd. (The), tile manufacturers, Stanbridge road. T N's 115 & 116 Matthews Kate (Mrs.), shopkeeper, 7 Plantation road Meadley Emily J. (Miss) girls' & boys' school, The Gables, Hartwell cres Meeking Frank Cecil, nurseryman, Plantation road Merry H. H. plumber, 31 Billington rd Messenger Arth. Sun inn, 42 Lake st Meyer Frederick Albert L.D.S.Eng. dental surgeon, 8 Church square. T N32 Midland Bank Ltd. (Jn. Bullivant, manager), 48 & 50 High st. (T N172); head office Poultry, London E C 2 Miller F.E. & L.E. (Misses) drapers, 20 Hockliffe st Mills Eliz. (Mrs.), grocer, Stanbridge rd Mills H. W. boot repr. March cott. Regent st Ministry of Labour Branch Employment Office (R. Roe, mngr.), King st. T N164 Morgan E. (Miss), dressma. 25 Hockliffe rd Morgan Jn. coal mer. 51 Hockliffe rd. T N182 Morgan Jsph. Herbt. dairyman, 4 Church st Nash Elizabeth (Mrs.), milliner, 36 Church street Nash Thos. market gardener, Hockliffe rd Nash Thomas William, brush maker, 36 Church street Needlework, 5a High st New (The) Corn Exchange Co. Ltd. (M. G. Gurney, sec.), Lake st Newton & Calcott, solctrs. 30 High st. T N28 Newton Lancelot (firm, Newton & Calcott), solicitor & commissioner, & clerk to the magistrates for the Linslade & Ivinghoe division & clerk to the Commissioners of taxes, 30 High st Noakes Florence (Mrs.), fruir. 67 North st Olney William, grocer, 1 Hockliffe road Oriel Cinema (W. Johnson, manager), Lake st. T N160 Page Ellen Ruth (Miss), grocer, & sub-postmistress, 82 Hockliffe st Parrott & Janes Ltd. haulage contractors, 63 North st. Tel. 122 Parrott Wm. marine store dlr. 35 Stanbridge rd. T N190 Pavey Ella (Miss), antique dlr. 63 Hockliffe st Payne Harry G. & Percy D. grocers, 52 North st. (T N22) & 1 Church st Payne Albt. confctnr. 24 Market sq Peacock Maurice Herbt. statnr. & sub-postmaster, 69 North st Peasegood Annie E (Miss), Stagg inn, 1 Heath road Pepper G. & Sons, bldrs. 38 Bassett rd Phillips Jn. house furnisher &c. see Aveline & Phillips Pike Eileen, (Miss), ladies' hairdrssr. 69 Hockliffe st. Plume of Feathers Hotel (Chas. E. Husson, propr.), 11 Lake st. T N139 Plummer's Stores, grocers, 41 Lake st Plummer Fanny (Mrs.), draper, 8 & 10 High st Pollard F. J. grocer, 23a High st Pool Hy. market gardener, Hillcrest, Billington rd Pratt John, market gardener, 61 Plantation road Pratt Wltr. agricltrl. engnr. 15 High st. T N142 Prothero Walt. Chas. milliner, 24 High st Provident Dispensary (W. G. W. Willis, hon. sec.; Regnld. Roe, clerk & collector) (for list of medical officers see Official Section), North st Purchas Dorothy Boden (Mrs.), shopkpr. 57a Lake st Purrett & Co. musical instrument warehouse, 25 & 27 Bridge street Purser & Furlong, house decorators, 14 High st. T N33 Pyman Edwd. Jn. watch maker, 43 High st Ray Edwd. Tucker, solctr. (firm, Walton, Ray & Co.), 20 Bridge st Reid Fredk. Jn. picture frame mkr, 19 High st Reynolds Wltr. jeweller, 26 Market sq Reynolds Wltr. E. watch mkr. 65 North st Richmond Bros. timber merchants, Ashwell st. T N19 Roberts Cecil Chas. solctr. & commissioner for oaths, 31 High st. T N29 Roberts George William, blacksmith, 4 Bedford street Roberts Hy. shopkpr. 59 Heath rd Roberts Mary (Mrs.) & Geo. confctnrs. 9 Lake st Roberts Walter George, tailor, 7 North street Robinson James (Leighton Buzzard) Ltd. basket mfrs. 43 Lake st. T N85 Robjant Bertram Harold, surveyor, sanitary inspector & market supt. to the Urban District Council, Council offices, North st Roe A.S. & Son, outfitters, 17 Market sq Rollings Horace A. shopkeeper, 60 Vandyke road Rolls Harold A., L.R.I.B.A. architect, 15 Bridge st T N209 Rootham Wm. Fredk. shopkpr. 96, 98 & 100 North st Rowe Bros. cycle reprs. 6 Bridge st Rowe Thos. H. Ram inn, 8 St Andrew's st Rowe Victor, confctnr. 4a Bridge st Rowe William, boot maker, Leedon, Hockliffe road Ruggles Harry George, secretary & manager to the Leighton Buzzard Gas Co. Grovebury road. T N17 Rush & Warwick, statnrs. 25 Market sq. T N205 Russell Barnabas, grocer, 26 Market sq. T N3 Russell Frank Arth. house decrtr. Lynwood, Church st. T N215 Ryland Oliver Bailey Ltd. drapers, 6 Lake st. T N16 St. Christopher Garage (B. J. McMullan, propr.), Motor engnrs. Bridge st. T N287 Samuel Bros. grocers, 6 Market sq. T N124 Samuel Wm. Hy. & Son, china dealers, 13 Hockliffe st Samuel Henry, pharmaceutical chemist, 3 Market sq. T N75 Sanders Henry H. professor of music, 3 Vandyke road Sanders Winifred (Miss), shopkpr. 38 Plantation rd Sanford Florence M. (Miss), costumier, 19 Dudley street Sawtell Wm. butcher, 20 Market sq Sayell Alfd. farmer Corbitt's hill Sear Albt. E. bldr. Hartwell cres Simmons Emily (Mrs.), shopkpr. Leedon, Hockliffe rd Simmons William, miller (electric & water); celebrated flour for bread, pastry &c. The Mill, Mill road. T N18 Sims Arth. E. Ewe & Lamb P.H. 17 Bridge st Sketchley Dye Works (receiving office), 23b High street. T N202 W. H. Smith & Son Ltd. booksllrs. 23 High st. T N61 Smith Albt. who. fruit mer. Grovebury rd Smith Eric, cycle agt. 9 Bridge st Smith Herbt. M. florist, 92 North st Smith J. motor engnr. 26 North st. T N224 Speechly Wm. shopkpr. 44 South st Speight Tile Co. Ltd. Grovebury rd. T N147 Spiers Fredk. T. auctnr, 8 Market sq Square & Bolton, physicians & surgeons, 13 Bridge st. & 4 Church sq. T N58 Square Wm. Holberton L.R.C.P., L.R.C.S. & L.M.Edin., J.P. (firm, Square & Bolton), physcn. & surgn. certifying factory surgn. & medical officer to the Institution, 13 Bridge st. T N58 Stafford, Rogers & A.W. Merry Ltd. auctioneers, surveyors, valuers, insurance & estate agents, 17 High street. T N40 Stapleton Herbt. L.D.S.Leeds, dental surgn. 34 Hockliffe st. T N198 Stevens Jsph. Geo. insur. agt. 27 South st Stratford Arth. motor engnr. 29 Hockliffe st Styles Alfd. Clifford, shopkpr. 11 Billington rd Summerfield Arth. & Sons, bldrs. 30 Billington rd Summerfield Alfd. Jas. boot repr. 74 North st Sun Petroleum Co. Ltd. petroleum mers. Lake st. T N284 Sutton & Co. Ltd. carriers (Jas. Willson, agt.), 39 High st Swan Hotel (A.H. Relf, proprietor), family & commercial; A.A., R.A.C.; motor accomodation, High street. T N's 48 & 223 Talmage Jn. verger (All Saints'), 12 Bridge st Temple Emily (Miss) confctnr. 22 Market sq Thorne David, greengro. 72 Hockliffe st Thornley & Boutwood, solctrs. 13 High st Thornley Ernest Jas. solctr. (firm, Thornley & Boutwood), 13 High st. T N82 Thorpe Ernest George, window cleaner, 25 Plantation rd Tooley H.C. Ltd. corn mers. 4 Market sq. (T N125); Lake st. & Grovebury rd Travell Holmes Fred, baker 58 North street Travis Ernest, fried fish dlr. 90 North st. Tucker Chas Wm. gowns, 33 High st. T N290 Tunbridge Arth. Jsph. greengro. 6 Hockliffe st Turner Ada (Miss), F.B.O.A. optician, 26 Lake st. T N120 Turner Arth. Wm. F.B.O.A. optician, 26 Lake st Turner Christopher Rt. F.B.O.A. optician, 26 Lake st Turner George, grocer, 13 Church street Turner Wm. Wheatsheaf P.H. 57 North st Turney Emily (Miss), shopkpr. 36 Hockliffe rd Turney Herbert, baker, 2 Vandyke road Turney Wm. hardware dlr. 81 North st Tutt Regnld. Frank Austin, clerk to the Urban District Council, Council offices, North st. T N68 Tyler & Son, timber mers. Station saw mills, Linslade. T N145 Tyrell Christophr. Jn. butcher, 38 Lake st. T N13 Underwood Ernest, blacksmith, West st Underwood Fredk. shopkpr. 78 North st Underwood Fredk. Jas. motor car hirer, 104 North st. T N247 Underwood Matthew, beer retlr. 12 Ashwell st Unicorn Hotel ( F.J. Clark propr.), 10 Lake st. T N27 Vandyke Sand-Lime Bricks Ltd. Vandyke rd. T N285 Vick Leslie Francis M.C. manager Barclays Bank Ltd. Market square Walduck Geo. Roebuck P.H. 2 Hockliffe st Walpole Arth Horace, shopkpr. 60 St. Andrew's st Walton, Ray & Co. solctrs. 20 Bridge st. T N42 Walton Robert Graham (firm, Walton Ray & Co.), solicitor & commissioner for oaths & solicitor to Wilkes' Town's Land & Page's charities and to Fenny Stratford, Bletchley & District Permanent Benefit Building Society, 20 Bridge street Ward Jsph. W. hardware dlr, 51 & 53 Church st Watling Ernest Alfd. rating officer & collector of taxes for Leighton Buzzard & Linslade & collector of taxes only for Eggington, Stanbridge, Soulbury & Mentmore & collector to the Leighton Buzzard & Linslade Urban District Councils, 13 Lake st. T N85 Watling Florence (Miss), draper, 66 North st Webb Frank, agt. to Sir Rd. A. Cooper bart. J.P. Estate office, The Paddock. T N101 Wells Fredk. coal dlr. 56 St. Andrew's st West Beds & East Bucks Permanent Benefit Building Society (Jn. Hy. Folmer, sec.), 42 High st Westmancoat Geo. Thos. carpntr. 30 Ashwell st Westminster Bank Ltd. (H.P. Gibberd, mangr.), (branch), 27 High st. (T N183); head office, 41 Lothbury, London EC 2 Wheeler Edwin, White Lion P.H. 87 North st White John & Co. wine & spirit merchants, 8 North street. T N50 White Edwd. M.R.C.S., L.R.C.P. physcn. & surgn. 14 Bridge st. T N253 Whittaker's, children's outfitters, 11a Market sq Willard Chas. Archbld. grocer, 47 High st. T N51 Willard Hy. Stanley, outfitter, 35 High st. T N51 Willis W.G. & V. solicitors, 42 High street. T N62 Willis Wm. Geo. & Son, bldrs. Vandyke rd. T N123 Willis William Gravely W. solicitor & commissioner for oaths (firm, W.G. & V. Willis) 42 High st Willson's, boot & shoe dlrs. 83 Hockliffe st. Willson Jas. boot & shoe whareho. & agt. for Sutton & Co. Ltd. carriers, 39 High st Wilson Herbt. butcher, 106 North st Windle Jn. grocer, 20 St. Andrew's st Woodman Wm. decrtr. 11 South st Yirrell Chas. butcher, 7 Market sq Yirrell Hy. smallholder, 5 Hockliffe rd. Yirrell Thos. monumental mason, Vandyke rd. T N23 Young & Co. turf accntnts. 8 Grove rd. T N88
Bedfordshire
V is the symbol for which chemical element?
Bedfordshire Travel Guide | Area Guide & Travel Information Woburn Abbey, Bedfordshire - © Peter Roberts Introduction and Overview The Bedfordshire Travel Guide examines the local attractions and places of interest for visitors along with outlining useful tourist information. The area guide features travel information on local transport and travel, facts & figures, entertainment, events, maps and accommodation. The county is located in the East of England region, close to London and inevitably gets the 'commuter county' label thrown at it, whilst the close proximity to London allow it to be commuter county to an extent, the county itself has some interesting attractions for visitors to consider. Bedfordshire is seen as the gateway to the Midlands in the north and East Anglia to the East. There is a nice rural landscape here out of the major towns and this makes for some areas to display a scenic rural setting. The attractions for visitors in the county include stately homes, gardens, nature reserves, country parks and animal parks. Essentially Bedfordshire could be thought of in two main areas the mainly agricultural north where you will find the Great River Ouse and the setting for the countryside in the county and the more industrial southern part of which Luton is the centre, this area is altogether more urban and a contrast from its northern cousin. The Bedfordshire countryside not only provides a great location for those wanting to relax, unwind and get away from it all, but it is also the scene for making Bedfordshire very well suited and situated for outdoor activities. The Chiltern Hills here are a great place to enjoy going walking or cycling. The Icknield Way long distance path runs through Luton in the south of Bedfordshire on its way from Warden & Gallery Hills to Dunstable. Luton is the largest town in Bedfordshire, located 30 miles north of London. Luton is known for the Luton International Airport and industry that is well established there. During the 19th century the town was well known for the hat industry whilst in the 20th century the town established itself in the engineering and car manufacturing industries. Labelled by some as a commuter town to London, there are other aspects to the town worth mentioning. To the southern part of the town is Luton Hoo; which is located in 1,500-acres of landscaped parkland famously designed by Capability Brown, the famous country estate includes gardens, lakes, whilst the main house is now a luxury hotel & spa. Cultural events include the Luton Carnival usually held in May annually; visitors can be street processions with dancing, street performers, samba troupes and a mix of music, arts and culture. Local attractions include the historic St. Mary's Parish Church with over 850 years of history, the Hat Factory, a leading arts and entertainment venue, Wardown Park Museum, Stockwood Discovery Centre, Whipsnade Zoo and Woodside Animal Farm. Bedford is the county town of Bedfordshire, located 20 miles north from Luton located on the River Great Ouse. Historically a market town, Bedford became a centre for engineering during the 19th century and is the second largest settlement in Bedfordshire after Luton. Local attractions include the Bedford Corn Exchange, an entertainment venue with comedy, music, dance and theatre, The Higgins Art Gallery & Museum, St Paul's Church, Bedford dating back to the 13th century and the remains of Bedford Castle with the Castle Mound and Castle Gardens. Visitors can explore the areas outside of the town and discover a number of scenic villages that include traditional countryside pubs, farms, gardens, fetes and churches. The town of Leighton Buzzard is located 20 miles from Bedford close to the Chiltern Hills. The market town still hosts regular weekly and monthly markets including traditional general and farmers markets. The town is famous for being the place where the Grand Union Canal first opened, the town includes a number of historic buildings including on the High Street whilst in the town centre, the 15th century Market Cross is located. The Church of All Saints is a parish church that dates back to the 13th century and is noted for its fine architecture and a 190 foot spire, making it an impressive sight. At the Grand Union Canal visitors can enjoy a cruise on a narrow boat, enjoy a scenic walk along the towpath, go fishing or cycling or simply relax beside the canal side and watch the world go by. The Leighton Buzzard light railway is a heritage railway, offering trips for visitors through the Bedfordshire countryside. The market town of Dunstable is located in southern Bedfordshire 25 miles from Bedford, once a Roman town, the town includes a number of fine historic buildings. One of the best known is the Priory Church of St Peter (Dunstable Priory) founded back in the 12th century, it is a Grade I listed building and forms an impressive sight, it is regarded as one of the finest examples of Norman architecture in England. Ashton Square is the traditional venue for the town markets where visitors can still find a choice of market stalls on several days each week. The town centre includes a number of pubs, inns and restaurants offering visitors a choice of food and drinks. Shopping facilities include the Quadrant Shopping Centre with a choice of high street stores. Whilst Bedfordshire is not as well known for its tourist attractions as some of the other counties in England it nonetheless offers visitors with some historic attractions, cultural ones and attractions for the whole family to see and enjoy it offers many fun days out. With its road, rail links and airport links at Luton it is well connected transport wise for visitors from the UK and abroad. Disclaimer: The information given in on this website is given in good faith and to the best of our knowledge. If there are any discrepancies in no way do we intend to mislead. Important travel details and arrangements should be confirmed and verified with the relevant authorities. Related Articles
i don't know
In poker, what hand is next above two pairs?
Rules of Card Games: Poker Hand Ranking Hand probabilities and multiple decks - probability tables Standard Poker Hand Ranking There are 52 cards in the pack, and the ranking of the individual cards, from high to low, is ace, king, queen, jack, 10, 9, 8, 7, 6, 5, 4, 3, 2. In standard poker - that is to say in the formal casino and tournament game played internationally and the home game as normally played in North America - there is no ranking between the suits for the purpose of comparing hands - so for example the king of hearts and the king of spades are equal. (Note however that suit ranking is sometimes used for other purposes such as allocating seats, deciding who bets first, and allocating the odd chip when splitting a pot that can't be equally divided. See ranking of suits for details.) A poker hand consists of five cards. The categories of hand, from highest to lowest, are listed below. Any hand in a higher category beats any hand in a lower category (so for example any three of a kind beats any two pairs). Between hands in the same category the rank of the individual cards decides which is better, as described in more detail below. In games where a player has more than five cards and selects five to form a poker hand, the remaining cards do not play any part in the ranking. Poker ranks are always based on five cards only, and if these cards are equal the hands are equal, irrespective of the ranks of any unused cards. Some readers may wonder why one would ever need to compare (say) two threes of a kind of equal rank. This obviously cannot arise in basic draw poker, but such comparisons are needed in poker games using shared (community) cards, such as Texas Hold'em, in poker games with wild cards, and in other card games using poker combinations. 1. Straight Flush If there are no wild cards, this is the highest type of poker hand: five cards of the same suit in sequence - such as J- 9- 8- 7. Between two straight flushes, the one containing the higher top card is higher. An ace can be counted as low, so 5- 3- 2- A is a straight flush, but its top card is the five, not the ace, so it is the lowest type of straight flush. The highest type of straight flush, A-K-Q-J-10 of a suit, is known as a Royal Flush. The cards in a straight flush cannot "turn the corner": 4- K is not valid. 2. Four of a kind Four cards of the same rank - such as four queens. The fifth card, known as the kicker, can be anything. This combination is sometimes known as "quads", and in some parts of Europe it is called a "poker", though this term for it is unknown in English. Between two fours of a kind, the one with the higher set of four cards is higher - so 3-3-3-3-A is beaten by 4-4-4-4-2. If two or more players have four of a kind of the same rank, the rank of the kicker decides. For example in Texas Hold'em with J- J- J- 9 on the table (available to all players), a player holding K-7 beats a player holding Q-10 since the king beats the queen. If one player holds 8-2 and another holds 6-5 they split the pot, since the 9 kicker makes the best hand for both of them. If one player holds A- K they also split the pot because both have an ace kicker. 3. Full House This combination, sometimes known as a boat, consists of three cards of one rank and two cards of another rank - for example three sevens and two tens (colloquially known as "sevens full of tens" or "sevens on tens"). When comparing full houses, the rank of the three cards determines which is higher. For example 9-9-9-4-4 beats 8-8-8-A-A. If the threes of a kind are equal, the rank of the pairs decides. 4. Flush Five cards of the same suit. When comparing two flushes, the highest card determines which is higher. If the highest cards are equal then the second highest card is compared; if those are equal too, then the third highest card, and so on. For example K- 7- 6- 5 because the nine beats the seven. If all five cards are equal, the flushes are equal. 5. Straight Five cards of mixed suits in sequence - for example Q- 10- 9- 8. When comparing two sequences, the one with the higher ranking top card is better. Ace can count high or low in a straight, but not both at once, so A-K-Q-J-10 and 5-4-3-2-A are valid straights, but 2-A-K-Q-J is not. 5-4-3-2-A, known as a wheel, is the lowest kind of straight, the top card being the five. 6. Three of a Kind Three cards of the same rank plus two unequal cards. This combination is also known as Triplets or Trips. When comparing two threes of a kind the rank of the three equal cards determines which is higher. If the sets of three are of equal rank, then the higher of the two remaining cards in each hand are compared, and if those are equal, the lower odd card is compared. So for example 5-5-5-3-2 beats 4-4-4-K-5, which beats 4-4-4-Q-9, which beats 4-4-4-Q-8. 7. Two Pairs A pair consists of two cards of equal rank. In a hand with two pairs, the two pairs are of different ranks (otherwise you would have four of a kind), and there is an odd card to make the hand up to five cards. When comparing hands with two pairs, the hand with the highest pair wins, irrespective of the rank of the other cards - so J-J-2-2-4 beats 10-10-9-9-8 because the jacks beat the tens. If the higher pairs are equal, the lower pairs are compared, so that for example 8-8-6-6-3 beats 8-8-5-5-K. Finally, if both pairs are the same, the odd cards are compared, so Q-Q-5-5-8 beats Q-Q-5-5-4. 8. Pair A hand with two cards of equal rank and three cards which are different from these and from each other. When comparing two such hands, the hand with the higher pair is better - so for example 6-6-4-3-2 beats 5-5-A-K-Q. If the pairs are equal, compare the highest ranking odd cards from each hand; if these are equal compare the second highest odd card, and if these are equal too compare the lowest odd cards. So J-J-A-9-3 beats J-J-A-8-7 because the 9 beats the 8. 9. Nothing Five cards which do not form any of the combinations listed above. This combination is often called High Card and sometimes No Pair. T cards must all be of different ranks, not consecutive, and contain at least two different suits. When comparing two such hands, the one with the better highest card wins. If the highest cards are equal the second cards are compared; if they are equal too the third cards are compared, and so on. So A-J-9-5-3 beats A-10-9-6-4 because the jack beats the ten. Hand Ranking in Low Poker There are several poker variations in which the lowest hand wins: these are sometimes known as Lowball. There are also "high-low" variants in which the pot is split between the highest and the lowest hand. A low hand with no combination is normally described by naming its highest card - for example 8-6-5-4-2 would be described as "8-down" or "8-low". It first sight it might be assumed that in low poker the hands rank in the reverse order to their ranking in normal (high) poker, but this is not quite the case. There are several different ways to rank low hands, depending on how aces are treated and whether straights and flushes are counted. Ace to Five This seems to be the most popular system. Straights and flushes do not count, and Aces are always low. The best hand is therefore 5-4-3-2-A, even if the cards are all in one suit. Then comes 6-4-3-2-A, 6-5-3-2-A, 6-5-4-2-A, 6-5-4-3-A, 6-5-4-3-2, 7-4-3-2-A and so on. Note that when comparing hands, the highest card is compared first, just as in standard poker. So for example 6-5-4-3-2 is better than 7-4-3-2-A because the 6 is lower than the 7. The best hand containing a pair is A-A-4-3-2. This version is sometimes called "California Lowball". When this form of low poker is played as part of a high-low split variant, there is sometimes a condition that a hand must be "eight or better" to qualify to win the low part of the pot. In this case a hand must consist of five unequal cards, all 8 or lower, to qualify for low. The worst such hand is 8-7-6-5-4. Deuce to Seven The hands rank in almost the same order as in standard poker, with straights and flushes counting and the lowest hand wins. The difference from normal poker is that Aces are always high , so that A-2-3-4-5 is not a straight, but ranks between K-Q-J-10-8 and A-6-4-3-2. The best hand in this form is 7-5-4-3-2 in mixed suits, hence the name "deuce to seven". The next best is 7-6-4-3-2, then 7-6-5-3-2, 7-6-5-4-2, 8-5-4-3-2, 8-6-4-3-2, 8-6-5-3-2, 8-6-5-4-2, 8-6-5-4-3, 8-7-4-3-2, etc. The highest card is always compared first, so for example 8-6-5-4-3 is better than 8-7-4-3-2 even though the latter contains a 2, because the 6 is lower than the 7. The best hand containing a pair is 2-2-5-4-3, but this would be beaten by A-K-Q-J-9 - the worst "high card" hand. This version is sometimes called "Kansas City Lowball". Ace to Six Many home poker players play that straights and flushes count, but that aces can be counted as low. In this version 5-4-3-2-A is a bad hand because it is a straight, so the best low hand is 6-4-3-2-A. There are a couple of issues around the treatment of aces in this variant. First, what about A-K-Q-J-10? Since aces are low, this should not count as a straight. It is a king-down, and is lower and therefore better than K-Q-J-10-2. Second, a pair of aces is the lowest and therefore the best pair, beating a pair of twos. It is likely that some players would disagree with both the above rulings, preferring to count A-K-Q-J-10 as a straight and in some cases considering A-A to be the highest pair rather than the lowest. It would be wise to check that you agree on these details before playing ace-to-six low poker with unfamiliar opponents. Selecting from more than five cards Note that in games where more than five cards are available, the player is free to select whichever cards make the lowest hand. For example a player in Seven Card Stud Hi-Lo 8 or Better whose cards are 10-8-6-6-3-2-A can omit the 10 and one of the 6's to create a qualifying hand for low. Poker Hand Ranking with Wild Cards A wild card card that can be used to substitute for a card that the holder needs to make up a hand. In some variants one or more jokers are added to the pack to act as wild cards. In others, one or more cards of the 52-card pack may be designated as wild - for example all the twos ("deuces wild") or the jacks of hearts and spades ("one-eyed jacks wild", since these are the only two jacks shown in profile in Anglo-American decks). The most usual rule is that a wild card can be used either to represent any card not already present in the hand, or to make the special combination of "five of a kind". This approach is not entirely consistent, since five of a kind - five cards of equal rank - must necessarily include one duplicate card, since there are only four suits. The only practical effect of the rule against duplicates is to prevent the formation of a "double ace flush". So for example in the hand A- 3, the 10 beating the 9. Five of a Kind When playing with wild cards, five of a kind becomes the highest type of hand, beating a royal flush. Between fives of a kind, the higher beats the lower, five aces being highest of all. The Bug Some games, especially five card draw , are often played with a bug. This is a joker added to the pack which acts as a limited wild card. It can either be used as an ace, or to complete a straight or a flush. Thus the highest hand is five aces ( A- A- A- A-joker), but other fives of a kind are impossible - for example 6-6-6-6-joker would count as four sixes with an ace kicker and a straight flush would beat this hand. Also a hand like 8-8-5-5-joker counts as two pairs with the joker representing an ace, not as a full house. Wild Cards in Low Poker In Low Poker, a wild card can be used to represent a card of a rank not already present in the player's hand. It is then sometimes known as a "fitter". For example 6-5-4-2-joker would count as a pair of sixes in normal poker with the joker wild, but in ace-to-five low poker the joker could be used as an ace, and in deuce-to-seven low poker it could be used as a seven to complete a low hand. Lowest Card Wild Some home poker variants are played with the player's lowest card (or lowest concealed card) wild. In this case the rule applies to the lowest ranked card held at the time of the showdown, using the normal order ace (high) to two (low). Aces cannot be counted as low to make them wild. Double Ace Flush Some people play with the house rule that a wild card can represent any card, including a duplicate of a card already held. It then becomes possible to have a flush containing two or more aces. Flushes with more than one ace are not allowed unless specifically agreed as a house rule. Natural versus Wild Some play with the house rule that a natural hand beats an equal hand in which one or more of the cards are represented by wild cards. This can be extended to specify that a hand with more wild cards beats an otherwise equal hand with fewer wild cards. This must be agreed in advance: in the absence of any agreement, wild cards are as good as the natural cards they represent. Incomplete Hands In some poker variants, such as No Peek , it is necessary to compare hands that have fewer than five cards. With fewer than five cards, you cannot have a straight, flush or full house. You can make a four of a kind or two pairs with only four cards, triplets with three cards, a pair with two cards and a "high card" hand with just one card. The process of comparing first the combination and then the kickers in descending order is the same as when comparing five-card hands. In hands with unequal numbers of cards any kicker that is present in the hand beats a missing kicker. So for example 8-8-K beats 8-8-6-2 because the king beats the 6, but 8-8-6-2 beats 8-8-6 because a 2 is better than a missing fourth card. Similarly a 10 by itself beats 9-5, which beats 9-3-2, which beats 9-3, which beats a 9 by itself. Ranking of suits In standard poker there is no ranking of suits for the purpose of comparing hands. If two hands are identical apart from the suits of the cards then they count as equal. In standard poker, if there are two highest equal hands in a showdown, the pot is split between them. Standard poker rules do, however, specify a hierarchy of suits: spades (highest), hearts, diamonds, clubs (lowest) (as in Contract Bridge ), which is used to break ties for special purposes such as: drawing cards to allocate players to seats or tables; deciding who bets first in stud poker according to the highest or lowest upcard; allocating a chip that is left over when a pot cannot be shared exactly between two or more players. I have, however, heard from several home poker players who play by house rules that use this same ranking of suits to break ties between otherwise equal hands. For some reason, players most often think of this as a way to break ties between royal flushes, which would be most relevant in a game with many wild cards, where such hands might become commonplace. However, if you want to introduce a suit ranking it is important also to agree how it will apply to other, lower types of hand. If one player A has 8- 7- 6- 2 ? So far as I know there is no universally accepted answer to these questions: this is non-standard poker, and your house rules are whatever you agree that they are. Three different rules that I have come across, when hands are equal apart from suit are: Compare the suit of the highest card in the hand. Compare the suit of the highest paired card - for example if two people have J-J-7-7-K the highest jack wins. Compare the suit of the highest unpaired card - for example if two people have K-K-7-5-4 compare the 7's. Although the order spades, hearts, diamonds, clubs may seem natural to Bridge players and English speakers, other suit orders are common, especially in some European countries. Up to now, I have come across: spades (high), hearts, clubs, diamonds (low) spades (high), diamonds, clubs, hearts (low) hearts (high), spades, diamonds, clubs (low) (in Greece and in Turkey) hearts (high), diamonds, spades, clubs (low) (in Austria and in Sweden) hearts (high), diamonds, clubs, spades (low) (in Italy) diamonds (high), spades, hearts, clubs (low) (in Brazil) diamonds (high), hearts, spades, clubs (low) (in Brazil) clubs (high), spades, hearts, diamonds (low) (in Germany) As with all house rules, it would be wise to make sure you have a common understanding before starting to play, especially when the group contains people with whom you have not played before. Stripped Decks In some places, especially in continental Europe, poker is sometimes played with a deck of less than 52 cards, the low cards being omitted. Italian Poker is an example. As the pack is reduced, a Flush becomes more difficult to make, and for this reason a Flush is sometimes ranked above a Full House in such games. In a stripped deck game, the ace is considered to be adjacent to the lowest card present in the deck, so for example when using a 36-card deck with 6's low, A-6-7-8-9 is a low straight. Playing poker with fewer than 52 cards is not a new idea. In the first half of the 19th century, the earliest form of poker was played with just 20 cards - the ace, king, queen, jack and ten of each suit - with five cards dealt to each of four players. The only hand types recognised were, in descending order, four of a kind, full house, three of a kind, two pairs, one pair, no pair. No Unbeatable Hand In standard poker a Royal Flush (A-K-Q-J-10 of one suit) cannot be beaten. Even if you introduce suit ranking, the Royal Flush in the highest suit is unbeatable. In some regions, it is considered unsatisfactory to have any hand that is guaranteed to be unbeaten - there should always be a risk. There are several solutions to this. In Italy this is achieved by the rule "La minima batte la massima, la massima batte la media e la media batte la minima" ("the minimum beats the maximum, the maximum beats the medium and the medium beats the minimum"). A minimum straight flush is the lowest that can be made with the deck in use. Normally they play with a stripped deck so for example with 40 cards the minimum straight flush would be A-5-6-7-8 of a suit. A maximum straight flush is 10-J-Q-K-A of a suit. All other straight flushes are medium. If two players have medium straight flushes then the one with higher ranked cards wins as usual. Also as usual a maximum straight flush beats a medium one, and a medium straight flush beats a minimum one. But if a minimum straight flush comes up against a maximum straight flush, the minimum beats the maximum. In the very rare case where three players hold a straight flush, one minimum, one medium and one maximum, the pot is split between them. See for example Italian Poker . In Greece, where hearts is the highest suit, A- Q- J- 10 is called an Imperial Flush, and it is beaten only by four of a kind of the lowest rank in the deck - for example 6-6-6-6 if playing with 36 cards. Again, in very rare cases there could also be a hand in the showdown that beats the four of a kind but is lower than the Imperial Flush, in which case the pot would be split. Hand probabilities and multiple decks The ranking order of poker hands corresponds to their probability of occurring in straight poker, where five cards are dealt from a 52-card deck, with no wild cards and no opportunity to use extra cards to improve a hand. The rarer a hand the higher it ranks. This is neither an essential nor an original feature of poker, and it ceases to be true when wild cards are introduced. In fact, with a large number of wild cards, it is almost inevitable that the higher hand types will be the commoner, not rarer, since wild cards will be used to help make the most valuable type of hand from the available cards. Mark Brader has provided probability tables showing the frequency of each poker hand type when five cards are dealt from a 52-card deck, and also showing how these probabilities would change if multiple decks were used.
List of poker hands
In an 1883 novel, what was the first name of Mr. Hands, a sailor on The Hispaniola?
Rules of Poker - Texas Hold'em Rules of Poker - Texas Hold'em Texas Hold'em (or just "hold'em" for short) is currently the most popular variation of poker, thanks mainly to televised coverage of the World Series of Poker, the World Poker Tour, and various celebrity-based events. The no-limit version is often described as the "Cadillac of poker, taking only a minute to learn but a lifetime to master." ♣ Play of the Hand Each player is dealt two down (or hole) cards that only they can see. A round of betting occurs. Three community cards (known as the "flop") are dealt face up in the middle of the table. Another round of betting occurs. A fourth community card (known as the "turn") is dealt face up on the table. Another round of betting occurs. A fifth and final community card (known as the "river") is dealt face up on the table. A final round of better occurs. The player's hole cards are revealed and the player with the best five-card poker hand wins the pot. Your five card hand can consist of none, one, or both of your hole cards along with five, four, or three of the community cards. If two or more players share the same best hand, the pot is divided equally among the winners. ♣ Rank of Hands Poker hands are ranked in the order specified below, lowest to highest. Note that only card rank (deuce through ace) matter in poker when comparing individual cards. The suits of clubs, diamonds, hearts, and spades are all considered equal. High Card: Cards are ranked deuce (2) as the lowest to ace as the highest. If two or more players have the same high card, then the second highest card (and so on, to the fifth card if necessary) determine the winner. Pair: A pair (two cards of the same rank) beats high card. The highest pair is a pair of aces. If two or more players have the same pair, then the highest of the three remaining cards (known as kickers) determine the winner. Two Pair: Two pair beats a pair. If two or more players have two pair, then the highest pair determines the winner. For example, a pair of aces and sevens beats a pair of kings and queens. If two or more players have the same two pair then the fifth card kicker determines the winner. Three of a Kind: Three of a kind (three cards of the same rank) beats two pair. Three aces is the best of these. If two or more players share the same three of a kind hand, the two remaining kickers determine the winner. Straight: A straight beats three of a kind. A straight is five consecutive card ranks. Aces can be high or low so the lowest straight is ace through five while the highest is ten through ace. There are no kickers with straights since all five cards are needed to make the hand. Flush: A flush beats a straight. A flush is any five cards all of the same suit (i.e., all diamonds or all spades, etc.). If two of more players share a flush then the player with the highest card (all the way to the fifth card if necessary) in the flush wins. Full House: A full house beats a flush. A full house is the combination of three of a kind and a pair. If two or more players have a full house then the player with the best three of a kind wins. If those are the same then the player with the best pair wins. Four of a Kind: Four of a kind (four cards of the same rank) beats a full house. If two or more players share the same four of a kind, then the fifth card kicker determines the winner. Straight Flush: A straight flush (five consecutive cards all of the same suit) beats four of a kind. Aces can be high or low. An ace-high straight flush is called a royal flush, the best possible hand in poker. ♣ Betting Variations Texas Hold'em can be played in three basic variations: Limit Hold'em: In Limit Hold'em, the amount you can bet or raise is fixed, according to the posted stakes. A bet placed before the turn card (4th community card) is dealt is known as a "small bet" and is fixed at the size of the big blind. A bet placed after the turn card is dealt is known as a "big bet" and is equal to twice the size of the big blind. In tournament play, these stakes are raised at set intervals, referred to as "levels". For example, in a 100/200 level, the "small bet" is 100 and the "big bet" is 200. This means that in the first two betting rounds (before and after the flop) you can bet or raise exactly 100 chips and in the last two betting rounds (before and after the river) you can bet or raise exactly 200 chips. In limit play, the betting is capped at three raises per round, unless two players are "heads-up" in the round. Pot Limit Hold'em: In Pot Limit Hold'em, there are no fixed stakes. Instead, you can bet or raise up to the amount currently in the pot. This includes bets in front of you plus your call. For example, if there are 100 chips in the pot and you are the first to act in the betting round, the maximum you can bet is 100 chips. But the next player could then call that 100 and raise an additional 300 chips. No Limit Hold'em: In No Limit Hold'em, you can bet all of your chips at any time (referred to as going "all-in"). In Pot Limit and No Limit games, the minimum bet or raise is equal to the big blind (see below). Once a player raises, the minimum reraise is equal to the last raise. The minimum resets to the big blind on the next round of betting. ♣ Blinds and the Button In a home game, the players take turn dealing the cards, rotating clockwise. In casino and on-line play that use a dedicated dealer, a dealer button (or just the "button") is a white disk that is rotated clockwise among the players. The player that is "on the button" is the last to act in each betting round, after the flop. In Texas Hold'em, there are forced bets called "blinds" made prior to the dealing of the hole cards. These blinds are similar to antes except they only involve two players and the bets do not immediately go into the pot. The player to the left of the button posts the "small blind" and the next player posts the "big blind". The small blind is typically half of the big blind and the big blind is the minimum bet or raise that can be made in this and all subsequent rounds. In Limit Hold'em the big blind is equal to the "small bet". In tournament play, the blinds are raised at set intervals, or levels. This keeps the action going and puts a definite end point on the game. Otherwise, players could just keep folding their hands and the game would go on for hours or days. Once the two blinds are posted, the player to the left of the big blind is the "first to act" and has the option of folding, calling the big blind bet, or raising. Play continues around to the button. Then the player who posted the small blind has the option to call or raise the bets so far. And the same goes for the player who posted the big blind. If no one raised the big blind then that player has the option to "check" and the flop will be dealt. There are no more forced bets after the flop and first person to the left of the button (who hasn't yet folded) will be the first to act in subsequent betting rounds. ♣ Side Pots A side pot is created when a player calls a bet but doesn't have enough chips to cover the bet or if a player raises when another player is already all-in. The main pot will only hold the chips that every player contributed equally to. The overflow bets go into the side pot, which the all-in player did not contribute to and therefore cannot win. There can be multiple side pots if there are multiple all-in players. The last side pot created is the first side pot awarded after the showdown. The main pot is awarded last. Players who fold before the showdown forfeit their right to all pots, including the main pot. ♣♣♣
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What was the surname of the Chris who topped the charts with ‘Out of Time’ in 1966?
Chris Farlowe — Out Of Time — Listen, watch, download and discover music for free at Last.fm oldies "Out of Time" was written by Mick Jagger and Keith Richards (of The Rolling Stones ). It appears on The Rolling Stones 1966 album Aftermath (UK version); an edited version was released in the US in 1967 on the album Flowers. It was covered by English solo singer Chris Farlowe . The single, produced by Mick Jagger, peaked at number one in the UK singles chart on July 28, 1966 and stayed at the top for one week.
Farlow
Chris Andrews got to no.3 in ’65 with a title whose initials were YM. What was it?
Out Of Time - Chris Farlowe - YouTube Out Of Time - Chris Farlowe Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Oct 7, 2011 Chris Farlowe (born John Henry Deighton, 13 October 1940, Islington, North London, England) is an English rock, blues and soul singer. He is best known for his hit single "Out of Time", which rose to #1 in the UK Singles Chart in 1966,[1] and his association with Colosseum and the Thunderbirds. Outside his music career, Farlowe collects war memorabilia Category
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‘Let’s Dance’ and ‘The More I See You’ were top five hits for which Chris?
let's dance ~Chris Montez - YouTube let's dance ~Chris Montez Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jan 26, 2013 Category
Montez
Sometimes called golden chain, which genus of small tree is poisonous in all its parts?
let's dance ~Chris Montez - YouTube let's dance ~Chris Montez Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jan 26, 2013 Category
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According to Ophelia in ‘Hamlet’, what can also be called ‘herb of grace’?
Ophelia | Shakespeare II Shakespeare II 3 Replies In class we had begun to talk about Ophelia as the virginal character within the tragedy of Hamlet who takes most of the blows from Hamlet’s preconceived method of madness. The ambiguity surrounding Ophelia’s virginal attributes end up being revealed within her maddened state brought about by Hamlet’s own unadulterated pseudo-madness. Once entering into Act IV, Scene V, the switch within Ophelia’s speech from lyric to prose indicates her downfall not only in grace but in the madness that has encompassed her after Hamlet’s “Get thee to a nunnery (3.1.139) speech. As we had spoken about in class, the duality of the “nunnery” where it would have meant going into a convent for the rest of her life or to the English audience in Shakespeare’s England, it would have meant a brothel, evoking a provocative facade to what had been the virginal, pure Ophelia that Hamlet constructed only to deconstruct as the play itself falls to pieces. During her last scene alive, Ophelia’s maddened state as exhibited though the stage direction “Enter Ophelia, mad” (4.5.21) and as I had pointed out before, the change in the presentation of her dialogue into prose. During the scene with Gertrude, Uncle-Daddy Claudius, and Leartes  the scene with Ophelia giving out her bouquet of flowers: “There’s rosemary, that’s for remembrance. Pray, / love, remember. And there is pansies; that’s for / thoughts [ . . . ] There’s fennel for you and, and columbines. There’s / rue for you, and here’s some for me. We may call it / herb-grace o’ Sundays. O, you must wear your rue / with a difference. There’s a daisy. I would give you / some violets, but they withered all when my father / died” (4.5.175-177; 179-184). The act of her distributing the flowers could be a possible indication of Ophelia deflowering herself, just as one would be deflowered through the loss of virginity. As well, Ophelia’s title as a women had been slandered by Hamlet through the desecration of her name, by calling her a slut. In the process of her giving away the different flowers that could stand as a representation of herself, she does hold onto rue which symbolizes sorrow and repentance, whether it be for the loss of her innocence (or her impending suicide). But the repentance towards what either could be her permanent loss of innocence through death, her loss of innocence through her madness, her loss of innocence from the slandering of her name, or her loss of innocence though losing her virginity are all potential candidates to the corruption of her mind and her body through death. 2 Replies Why did Ophelia go mad? She was always listening to her father and brother and she tried to be what a woman should be at the time (which is chaste). So what went wrong? In the song that she sings, she says: “Then up her rose, and donned his clothes, And dupped the chamber door; Let in the maid, that out a maid Never departed more” (4.5.51-4). This part of the song could be interpreted as her revealing a part of her past with Hamlet, but not saying it explicitly. After learning of her father’s death, it would make sense that she would feel guilty. The societal pressures of having to be a perfect chaste woman are part of the reason she is going mad. She realizes that in society, you are either a perfect and chaste woman, or a whore. There is no in-between for women. She goes on to sing the song: “Quoth she ‘Before you tumbled me, You promised me to wed.’ So would I ‘a’ done, by yonder sun, An thou hadst not come to my bed” (4.5.61-4). This part of the song shows that Ophelia had to keep telling the tale. The song is saying that before she (any woman) slept with this man (any man), he had promised to marry her but after she slept with him, he did not find her worthy enough to marry because she had shown that she was not chaste. And this is a very screwed up double-standard that I think Ophelia is touching on. Without explicitly saying it, she is saying that men claim to love a woman until she believes it and sleeps with him – after this, she is not valuable anymore because she is no longer a virgin. She is telling the truth but everyone sees her as mad at this point, so no one is really listening to her. But the audience is, and the audience can see what she means and assume that it is because of this reason that she is going mad in the first place. There are so many expectations for women that when they are not perfect, it can affect them mentally. Ophelia is going mad because of her guilt – if what she is singing is relevant to her and Hamlet, she is admitting that she did not listen to her father and her brother when they told her she needs to stay pure. One could argue that this is what led to her madness. 1 Reply Hamlet is a scholar. Hamlet is a prince. Hamlet is supposed to be king. Hamlet is a bitter young man with a superiority complex and therefore switches over to speaking in free verse when addressing those he believes to be inferior to him.  I notice he tends to adopt this type of speech when talking to Ophelia or addressing the players.  I find this habit condescending of him, as though these characters aren’t worth the eloquent speech directed towards other characters, or the elaborate soliloquies only the audience has the privilege of experiencing. Ophelia is addressed as such because she is a woman of a slightly lower class, and the players are also of lower standing. Although they are addressed in a similar style of speech, Hamlet still speaks in a more respectful tone to the players than he does to Ophelia. Hamlet’s rudeness to Ophelia stems partially from his bitterness towards his mother.  He mistrusts women because of how quickly his mother accepted the love of his uncle.  When discussing the prologue of the Mousetrap play, Ophelia comments, “‘Tis brief, my lord,” to which Hamlet replies, “As woman’s love,” (3.2.137-138). He reserves this language for giving the players commands and making obscene remarks at Ophelia; “Do you think I meant country matters?” (3.2.105). (Though I appreciate a good pun, I still think Hamlet deserves a slap in the face.)  I feel that this manner of speaking is Hamlet’s way of exerting the power he does have, compensating for the fact that he doesn’t have all the power that is rightfully his.  However, I also recognize that he is pretending to be slightly mad and that he must appear a certain way in front of different people.  Only the audience is privy to his true feelings and intentions.  1 Reply One of the most interesting occurrences in this play to me is Ophelia’s decent into madness and her sudden death afterward.   In her madness Ophelia seems to gain great wisdom and insight to the characters within the play and the sins that sit upon many of them. A particularly interesting moment that points to Ophelia’s new found wisdom and her lack of restraint in sharing these revelations, albeit subtly, is when she is granted audience with Gertrude and is later joined by the King as well. When Claudius asks how she is doing Ophelia replies, “They say the owl was a baker’s daughter. Lord we know what we are, but not what we may be…” (4.5.40-42). In this Ophelia seems to be alluding to the fact that while everyone can see outwardly appearances many cannot see the true character within a person. Ophelia seems to be referencing Claudius’ truly despicable nature on the inside which he hides quite well with appearances and manipulating language. It’s when Laertes returns, however, that we truly see Ophelia’s wisdom. She appears shortly after Laertes gains audience with Gertrude and Claudius. She hands each character different flowers, “There’s fennel for you, and columbines. There’s rue for you, and here’s some for me. We may call it her-grace o’ Sundays. O, you must wear your rue with a difference. There’s a daisy. I would give you some violets, but they withered all when my father died” (4.5.177-180). Flowers are known for carrying significant symbolism and these symbols are decoded for us within the footnotes of the text. According to the Norton Shakespeare Columbine was associated with ingratitude and marital infidelity and these flowers are given to Gertrude. Rue represents repentance and daisies while are commonly associated with faithfulness are also noted to represent dissembling seduction (Greenblatt 1734). In that short moment Ophelia has successfully called out both Gertrude and Claudius on their greatest sins, but does so in such a clever and subtle way that neither seem to notice, but the audience is let in on the secret. Some of her final lines seem to be a prophecy of her own, as well. While the song is quite obviously about her father they could also foreshadow Ophelia’s upcoming death, “And will a not come again, and will a not come again? No, no he is dead, Go to thy death-bed, He never will come again” (4.5.185-190). Seeing as Ophelia drowns she will never come again and makes her death-bed in the water in which she drowns.  1 Reply When writing my blogs, I usually stay away from the topic of gender roles, either because it doesn’t interest me, or because I find it more interesting to merely sit back and listen to others’ discussions of the subject. However, the first act of Hamlet particularly intrigued my interest in the topic because it seems such a departure from the norm for Shakespeare. Within even the first act of the other plays we’ve read, we’ve seen examples of typical Elizabethan era female stereotypes, and the subtle twists Shakespeare includes to contradict them. For instance, in A Midsummer Night’s Dream, Othello, and The Tempest, Shakespeare presents us with women who are bold and courageous enough to defy their fathers in regards to finding their own happiness. In Twelfth Night and Richard III, this undermining of stereotypes is even more apparent as we are presented with strong-willed characters such as Olivia, Maria, and Viola, or Lady Anne and Queen Margaret, who use sharp language and engage in practices that would be considered shocking for women of the period. However, within the first act of Hamlet, I was surprised to find two female characters we have been introduced to thus far—indeed, I believe the only female characters in the play—to be sadly lacking in the wit and wisdom displayed by their predecessors of this semester. Queen Gertrude receives the most allegations in Act I, and it is difficult to tell if any of them are true or not, or the extent to which they might be true. However, a good part of the reason for this is that Gertrude hardly gets to speak! Upon her first entrance into the play, Claudius gives his version of their marriage story in his lengthy speech: “…our sometime sister, now our queen,/Th’imperial jointress of  this warlike state,/Have we…With one auspicious and one dropping eye,/With mirth in funeral and with dirge in marriage,/In equal scale weighing delight and dole,/Taken to wife” (1.2.8—14). Claudius describes his own feelings upon the marriage, but we are given no hint of Gertrude’s. Likewise, Claudius is the first to address Hamlet—who is actually a closer relative to Gertrude than he is to Claudius—and he even cuts off Gertrude from replying to her son. Hamlet clearly addresses Gertrude in two speeches (“Seems, madam?” (1.2.76) and “I shall in all my best obey you, madam” (1.2.120)), but each time, Claudius jumps in and pronounces “’Tis sweet and commendable in your nature, Hamlet, /To give these mourning duties to your father” (1.2.87) and “Why, ‘tis a loving and fair reply” (1.2.121) despite the fact that he was not the party addressed. The comments that Gertrude does manage to insert are both brief (she speaks only 10 lines) and merely echoes of Claudius’s position. Ophelia, though she gets more lines than Gertrude, is subjected to a similar treatment. It is from her brother, Laertes, instead of Ophelia herself, that we first learn of her budding possible romance with Hamlet, and both Laertes and Polonius lecture her lengthily on the dangers of it, as well as her inability to handle the situation: “The chariest maid is prodigal enough/If she unmask her beauty to the moon” (1.3.36—37) and “You do not understand yourself so clearly/As it behoves my daughter and your honour” (1.3.96—97). I think there is slightly more spirit shown in Ophelia, made apparent by the fact that she gets exactly twice as many lines as Gertrude, as well as what she says in those lines (i.e. her witty comeback to Laertes that he should practice what he preaches (1.3.46—51) and her beginning of a protest her father’s invectives (1.3.110—111 and 113—114)),  but the thing that struck me most about these depictions of Gertrude and Ophelia is that they are spoken to, spoken about, and spoken for, more than they ever speak themselves. How do we know how Gertrude really feels about Claudius and what he’s done? How do we know she didn’t marry him and back him up because she was afraid, and wanted to protect her life? How do we know that Ophelia won’t be able to navigate the world of romance, if she isn’t given the chance to try? Since, in Shakespeare’s time, all the women’s roles were played by men, I can’t help but wonder if seeing men in these roles helped the audience to view things in a new light. Perhaps men appearing weak and powerless in these roles helped them to see that women appeared just as weak and powerless when given those roles in real life.
Rue (disambiguation)
What genus of flowering plants in the carnation family is also known as ‘baby’s breath’?
Shakespeare's Hamlet - Symbolism of Plants The pretty, pale yellow spring flowering primrose symbolises inconstancy in young love. “the primrose path of dalliance treads” refers to leading a life of pleasure. But this meaning, generally assumed to be the one meant within the context of the play, is not the only one. Primroses are sacred to Freya, the Norse goddess, and as such also symbolise youthfulness. The botanical Latin name for primrose, Primula vulgaris, reminds us that the flower is one of the first to bloom in spring. And for interest, the flowers are edible and the young leaves taste a bit like lettuce.   Ophelia’s Speech The most famous plant orientated speech in the play comes from Ophelia, when she has turned mad from being spurned by her lover Hamlet, who has also killed her father. Once you start to consider the symbolism of the flowers and herbs that Ophelia gives to the other characters, you may begin to question how mad she really is. There’s rosemary, that’s for remembrance; pray, love, remember. And there is pansies; that’s for thoughts. There’s fennel for you, and columbines. There’s rue for you; and here’s some for me: we may call it herb of grace a’ Sundays. You may wear your rue with a difference. There’s a daisy. I would give you some violets, but they withered all when my father died. They say he made a good end— Act 4, scene 5 Shakespeare’s plays don’t really have full stage directions, and this speech doesn’t tell us to whom Ophelia is speaking and giving her posies to. I have used the currently accepted theatre directions.   Rosemary Rosemary has long been associated with memories and is a traditional herb to use at weddings, christenings and funerals. An evergreen herb with strongly aromatic foliage, useful in the kitchen, and for a decorative hedge alongside a path. Ophelia is surely encouraging her brother Laertes to remember their father and to discover who killed him. Pansies From the French ‘pensee’ for thoughts. The pansies in Hamlet were not the large, cultivated pansies we use in our winter bedding schemes today. These were only developed during the nineteenth century. they do appear in Millais’ famous painting of Ophelia Shakespeare probably meant Viola tricolour, one of the ancestors of our modern pansy. Fennel Foeniculum vulgare is a tall herbaceous perennial herb and represents marital infidelity and flattery. Ophelia hands this herb to the king. Fennel seeds were frequently used during the Mediaeval period to suppress appetite during the many fast days. With foliage feathery enough to see through, why not be bold and plant fennel at the front of the border rather than the rear? Easier to reach for some when you want to add it to a fish dish. Columbine – Aquilegia Another symbol of male infidelity and faithlessness; a symbol of foolishness. The symbolism of the columbine and fennel together would not have been missed by the audience in Shakespeare’s Globe theatre. If Ophelia was not mad, then she was bold! Rue Ruta graveolens, the herb for repentance, particularly for women. As it is also an abortifacient, Ophelia could be suggesting that she may have need of this herb, or she could be accusing the queen of adultery. Daisy Daisies, Bellis perennis. A symbol of innocence. Which is perhaps why Ophelia picks up the flower and puts it down again, as if acknowledging a lack of innocence amongst the company. Violets Sweet violets, Viola oderata, are a symbol of fidelity and faithfulness. Ophelia, it seems, finds little faithfulness in the Danish court since her father died. Other Plants mentioned in Shakepeare’s Hamlet There are other plants featured in Hamlet, weeds; willow; poisonous plants to kill Hamlet’s father, the queen, Laertes (Ophelia’s brother) and Hamlet himself. Poison was a not uncommon form of murder in the sixteenth century. Henbane The Ghost of Hamlet’s father tells the prince that he was killed by his own brother, whilst sleeping in the orchard “With juice of cursed hebenon in a vial, And in the porches of my ears did pour The leperous distilment” Hebenon or Henbane, Hyoscyamus niger, is probably not native to the British Isles but was common in the sixteenth century. It is mentioned in Gerard’s Herbal as bringing on ‘an unquiet sleepe’ which is ultimately ‘deadly’. All parts of the plant are poisonous. Wolfs bane Aconitum, monkshood. Laertes is to use a sword tipped with wolfs bane to be sure of killing Hamlet in a so-called friendly duel. It is one of the most poisonous plants to be found in Britain. Willow Willow, or Salix symbolises grief, healing and everlasting life. So it is perhaps fitting if it was the cause of Ophelia’s death.   A brief sojourn with Shakespere and plant symbolism – food for thought and a blog to help you discover the mysteries of your garden.  
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What motorway links the M1 at Rotherham to the M62 near Goole?
M18 Thurcroft (M1) to M62 M18 Thurcroft (M1) to M62 M18 Thurcroft (M1) to M62   The construction of the M18 motorway provided a link between the M1 near Rotherham and the M62 at Rawcliffe near Goole, and closed the motorway box around Doncaster. Importantly, it is links to the A1(M) at Doncaster and the M180 south of Thorne. Two sections of motorway, M1 Barlborough (J30) to Thurcroft (J32) and M18 Thurcroft to Wadworth (J35, A1(M)) are at the southern extremity of the North Eastern Region.  They have been included together as they formed part of the consultancy commission awarded to Sir Owen Williams and Partners by the Ministry of Transport in 1957  and are described in the M1 pages. The remaining sections, between Wadworth and Rawcliffe (M62, J35) were designed and constructed by the North Eastern Road Construction Unit. Main Menu
M18
Which Monarch was his great, great grandfather?
Stayinapub.com - Pub Accommodation near Motorway Exits of M18 Facilities Include; Most Rooms En-suite at reasonable prices. Parking Available. Bar Meals. Main Meals. Outside Area. Wifi. Brief Description; Large Traditional 3 star Public House/Guest House with a nice restaurant. Well placed for Robin Hood Airport and Doncaster Races. About 2 miles north of Doncaster town centre. 3.5 miles to M18/J4 Awards and Ratings; "ETB 3 Star Accommodation" Last update jun15 ...............  CLICK HERE  - for the Map, Directions and Reviews TOWNS .
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Lewis Hamilton was born in which home counties town?
Little Known Black History Fact: Lewis Hamilton | Black America Web Little Known Black History Fact: Lewis Hamilton Posted 12 months ago. https://ioneblackamericaweb.files.wordpress.com/2016/01/012216lkbhf.mp3   Lewis Hamilton has achieved worldwide fame as the first and only Black Formula One race car driver. The British driver has more wins on the F1 circuit than anyone else from his country, and is poised to dominate for years to come. Born Lewis Carl Davidson Hamilton on January 7, 1985, the future speedster was born in the town of Stevenage located in the county of Hertfordshire, England. Hamilton, who is of mixed parentage, was named after American track star Carl Lewis by his Black Grenadian father. Hamilton’s interest in racing was piqued when he was a boy after his father introduced him to competitive remote control car racing. With a natural knack for speed and winning, Hamilton began racing in a youth go-kart league. When he was just 10-years-old, he approached McLaren F1 chief Ron Harris after winning a karting championship and told him that he’d like to race for him one day. Harris was impressed by the bold young driver, and made good on the promise of signing him. Hamilton was the youngest driver to sign to F1. Despite the fanfare around Hamilton and his obvious talent on the track, racism impacted him the very year he exploded onto the national scene. In 2008 while racing in Spain, Hamilton was faced with racist taunting and spectators in blackface uttering slurs. Part of this was due to a heated rivalry with Spanish driver Fernando Alonso, who blasted the racist fans. The first of Hamilton’s three Formula One World Championship wins was in 2008, and he followed up with back-to-back wins in 2014 and 2015. At the time of his first World title, Hamilton was the youngest racer ever to win the top prize and the first driver from England to win since 1996. With inevitable comparisons to other pioneering athletes like Tiger Woods, Hamilton has willingly accepted the mantle of being the prominent Black representative in a white-dominated sport. He has a high profile in the U.K., appearing at events of all kinds, including this week at Paris Fashion Week. Although he’s unmarried with no children, he’s been linked to celebrities such as Rihanna and dated American singer Nicole Scherzinger for seven years. (Photo: PR Photos) Like BlackAmericaWeb.com on  Facebook . Follow us on  Twitter .  
Stevenage
What is the only word uttered by the unusual visitor, in Edgar Allen Poe’s 1845 poem?
Lewis Hamilton - 2008, 2014, 2015 Lewis Hamilton Share The 30th Formula One World Champion was the youngest ever, taking the title in the most dramatic fashion - on the last corner of the last lap of the last race of one of the most scintillating seasons. The sensational triumph of the sport's first black driver, in only his second year at the pinnacle of motorsport, was a welcome human interest story that focused unprecedented international attention on Formula One racing. His prodigious talent and pleasing personality made Lewis Hamilton an inspirational role model and ideal ambassador for his profession... 1 / 6 Lewis Hamilton (GBR) Karting Feature 1996. © Sutton Lewis Hamilton won Saturday's final but suffered a fuel feed problem on Sunday ELF Karting Masters Paris Bercy, France 9th - 10th December 2000. World © Sutton Lewis Hamilton (GBR) TeamMBM.com. CIK-FIA World Karting Championship, Formula Super A, Rd5, Kerpen, Germany, 26-28 October 2001. World © Bearne/Sutton Lewis Hamilton (GBR) took his first ever car race victory. British Formula Renault Championship, Rd5, Thruxton, England. 16 June 2002. © Ebrey/Sutton Lewis Hamilton (GBR) Manor Motorsport celebrates winning the 2003 British Formula Renault Championship. British Formula Renault Championship, Donington Park, England, 5-7 September 2003. World © Capilitan/Sutton Lewis Hamilton (GBR), Manor Motorsport, Dallara F3-02 Mercedes. F3 Euro Series 2004, Rd 19&20, Hockenheimring. 02 October 2004. © Sutton Info Close Lewis Carl Davidson Hamilton was born into a mixed race family on 7 January 1985, in Stevenage, a quiet English town north of London. His father Anthony, whose parents immigrated from Grenada in the West Indies in the 1950's, and his mother Carmen divorced when Lewis was about two years old. He lived with Carmen until he was 10 then moved in with Anthony, his wife Linda and their three-year-old son Nicolas. Remaining close to his mother, Lewis also formed a strong bond with his stepmother and credits them both with contributing to the caring, considerate side of his nature. He finds the cheerful bravery of his stepbrother, who suffers from cerebral palsy, inspirational. "I only have to think of Nic to feel motivated and put a smile on my face." His steely ambition and iron resolve come from the head of the family. "Even though he always told me to be courteous and polite, my focus and determination comes from, and has always been driven by, my dad." Anthony Hamilton, his mentor and manager, worked day and night for years (at one time he held three different jobs) to further his son's racing career, which effectively began when eight-year-old Lewis was given a well-used go-kart that cost nearly as much as the family's modest monthly income. Soon the Hamiltons - Anthony, Linda, Nic and Lewis - were a fixture at karting events and the boy racer, wearing the familiar yellow helmet chosen by an anxious Anthony to better keep track of his speedy progress in crowded kart fields, began winning races and championships.  In 1995, a 10-year-old kart champion, wearing a borrowed suit and shoes, picked up two trophies at a motorsport awards ceremony in London. Brandishing an autograph book prepared by his father, he approached Ron Dennis, boss of the McLaren Mercedes Formula One team. "I said 'Hello Mr. Dennis, I'm Lewis Hamilton and one day I'd like to race for your team.' I asked him for his autograph and his phone number. He put them in my book and also wrote 'Call me in nine years.'" The call was made just three years later and it was the Hamilton household's telephone that rang. It was Ron Dennis who presented Anthony with an offer to financially support his son's career for the forseeable future, with the proviso that Lewis should keep working hard at school. Lewis: "I just went upstairs to my room and got on with my homework. It was so unbelievable. I struggled to take it in." While the family's financial struggle was over it put extra pressure on McLaren's teenage protege to meet ever higher expectations. As well as having to respond to envious critics who claimed he should be winning all the time, given his funding, it was imperative that Lewis continually prove himself worthy of his benefactor's investment. The need to achieve undoubtedly accelerated his progress through motorsport's ranks. After winning eight championships in six years of kart racing, he went on to win three major single seater titles, the most prestigious of which was the GP2 championship, where in 2006 he took five victories from 21 starts. But it was the young British charger's several spirited comeback performances, from the back of the pack to the podium, that particularly prompted McLaren to promote him to the Formula One team. Certainly he was well prepared, though no one was prepared for the astonishing ease with which the precocious youngster stormed through the 2007 season. Consistently out-performing his celebrated team mate Fernando Alonso (who had won the first of his two driving titles, with Renault, when he was just 24), Lewis Hamilton barged onto the podium a dozen times, won four races, led the championship for five months and lost it by merely a single point in the final race to Ferrari's Kimi Raikkonen.  Their new recruit's dazzling debut was the only bright spot in a turbulent year for McLaren, whose two drivers became bitter adversaries. Their feud, exacerbated by Alonso's resentment of the British-based team's apparent focus an English upstart he had presumed would be his understudy, culminated in the slighted Spaniard's angry departure from a team already troubled by a notorious 'spy scandal.' Found guilty of possessing Ferrari technical secrets, McLaren was fined $100 million and stripped of all its points in a Constructors' Championship it would otherwise have won. Info Close On assuming the role of team leader in 2008 (when Alonso returned to Renault) the boy wonder became even more of a marked man. En route to carving out five victories and scything his way to the podium on six other occasions, he incurred the wrath of several overtaken rivals who accused him of arrogance and dangerous driving. Hamilton insisted his hard-earned self-belief was wrongly interpreted and that his driving was firm but fair. But it wasn't without flaw and a combination of miscues and mishaps meant the championship was far from a foregone conclusion prior to the final Grand Prix, in Brazil. There, if Hamilton failed to finish at least fifth, Ferrari's Felipe Massa could take the title by winning his home race. The grand finale, on a serpentine Interlagos circuit made more treacherous by rain, produced arguably the most thrilling climax in the annals of any sport. Local hero Massa mastered the chaotic conditions perfectly, crossing the finish line first and scoring the points necessary to become champion - which he was for the 38.907 seconds that passed before his title rival took the chequered flag in the fifth place he needed to finish on top of the world. With this final flourish, having overtaken another car with about 300 meters to go, Lewis Hamilton, aged 23 years and 300 days, became the youngest World Champion.  "Shoot!", he exclaimed while celebrating tearfully with his nearest and dearest, among them his glamorous pop singer girlfriend Nicole Scherzinger. "I'm ecstatic, very emotional, very thankful for my family, my team and everyone who has supported me in this fairy-tale story." In the following seasons, though he continued to be one of the most aggressive drivers and a race winner, Hamilton failed to regain his championship form. His McLaren was not always a world-beater but in 2011 Hamilton blamed distractions in his private life (mainly a breakup with his girlfriend) for a loss of focus that he vowed to regain. In 2012, with his private life running smoothly, he drove hard and well and finished fourth in the standings with four wins. Before that campaign was over he announced he was leaving McLaren, the team that had been so much a part of his racing life for so long, and would in 2013 replace the retiring Michael Schumacher at Mercedes. In his new environment he was a regular frontrunner, securing several poles and podiums (including a race win) and finished a respectable fourth in the 2013 championship. Info Close In 2014, when major regulation changes featured new hybrid power units in chassis with reduced downforce, Mercedes dominated the season, winning 16 of the 19 races and easily securing the Constructors’ Championship. Mercedes’ policy of letting its drivers race each other enabled team mates Lewis Hamilton and Nico Rosberg to engage in an enthralling season-long duel for the driving title. Adding extra human interest to the drama was the fact that Hamilton (champion in 2008) and Rosberg (whose father Keke was champion in 1982) had been friends and rivals since their karting days as teenagers. Now, as 29-year-old protagonists competing for honours at the pinnacle of motorsport, the intensity of their rivalry strained their friendship and tested their strength of character. The championship, with Hamilton leading in points and Rosberg still in contention, was finally settled in the last race of the season, at Abu Dhabi, where double points were awarded, though the race winner and new champion didn’t need them. Rosberg, who started from pole (and won the inaugural Pole Position trophy) but finished out of the points with a car problem, was gracious in defeat, acknowledging that his team mate’s tally of 11 wins to Rosberg’s five meant Hamilton deserved to be the 2014 champion.  Clinching his second driving title (as well as becoming the most successful British Formula One driver, with 33 victories) was an emotional occasion for Lewis Hamilton, whose family and girlfriend shared his tearful triumph at Abu Dhabi. Struggling to put his feelings into words, he summed it up succinctly: “This is the greatest day of my life.” Days of greatness were far from over for a driver yet to reach the peak of his powers. Off the track he relished his celebrity status, embraced pop culture, dabbled in music, became a style icon, hob-nobbed with the rich and famous. His fame transcended his sport but the high-flying, tattooed hero with diamond ear studs never lost his driving ambition, his hunger to win. He worked hard at self-improvement, added a thinking dimension to his hard-charging instincts, made fewer mistakes and became an unstoppable force in 2015. He dominated the season, making full use of his Mercedes F1 Team's car advantage and capping it off with a triple crown triumph secured via a storming victory in the 16th of the 19 races - an action-packed, drama-filled United States Grand Prix at Austin, Texas. On a wet to drying track wheel-to-wheel battles raged throughout the field, beginning with Hamilton pushing aside his polesitting Mercedes team mate Nico Rosberg on the opening lap. Many driving errors were made but Hamilton never put a wheel wrong in winning his 10th race of the year - an historic 43rd career victory that vaulted him into third place in the all-time winners list behind Michael Schumacher and Alain Prost. His third world championship - matching the tally of his boyhood hero Ayrton Senna - confirmed that Lewis Hamilton had joined the ranks of the sport's greatest drivers. The three-time champion lost none of his natural speed (he had the most poles and wins) yet lost the 2016 championship (by five points) to his hard-trying Mercedes team mate Nico Rosberg. Their huge car advantage and the team’s policy of letting them fight freely led to a sometimes acrimonious title battle. Hamilton had more mechanical problems and made some driving errors that suggested a wavering focus caused by his continuing pursuit of a celebrity lifestyle. He denied this, saying “I probably drove with more heart his year. It took a lot more heart and courage to face the challenges”. Text - Gerald Donaldson
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In the world of equestrian sport, what does 3DE mean?
Home - Alltech FEI World Equestrian Games 2014 in Normandy Normandy Official website of the Alltech FEI World Equestrian Games™ 2014 in Normandy , the greatest equestrian event in the world which will take place in Normandy from 23 August to 7 September 2014. 8 World championships will take place during these 2 weeks of competition : Jumping , Eventing , Dressage , Reining , Driving , Endurance , Vaulting and Para-Dressage .
Eventing
Who was the Roman goddess of the hearth and the household?
Equestrian Glossary: Horse Terms & Meanings | Local Riding Search Equestrian Glossary: Horse Terms & Meanings A glossary of equestrian terms and the terminology used in horse riding, dressage, showjumping, eventing and other ridden disciplines. English Riding, Western Riding, Rodeo, Dressage, Showjumping, Showing or just good old pleasure riding, there is a wealth of discipline specific terminology and jargon used. As a rider and particularly as a competitive rider, learning the correct terms helps you understand what other riders are referring to. A better understanding leads to increased knowledge and a better ability to learn from the things you read and what trainers, farriers, veterinarians and other equestrian competitors and horse owners are saying. Common Equestrian Abbreviations. Table 1.EQ. Common Equestrian Abbreviations AHS Arab Horse Society BHTA British Horse Trials Association BSJA British Show Jumping Association BSPS British Show Pony Society CB Cleveland Bay CHAPS Coloured Horse & Pony Society C/S Cob Size HOYS Horse Of The Year Show HT Hunter Trials KWPN Royal Warmblood Stud Book Of The Netherlands LDR Long-Distance Riding SHB(GB) Sports Horse Breeding Of GB SHP Show Hunter Pony 3DE Three Day Event Alpahbetical Equestrian Glossary Action : The manner in which a horse travels and moves. Aids artificial – Spurs, whips, martingales and so forth. natural – Legs, hands, seat, weight and voice, as used to control a horse. Airs/Airs above the ground : Classical dressage. Includes pasade/levade and school jumps, courbette and capriole, which are only performed with specially suitable and trained horses Appointments : Equipment and clothing used in showing horses. Artificial gaits : Taught rather than natural gaits. Including the running walk, slow gait, rack and, in some instances, the pace. All are modifications of the walk. Balance : The horse is carrying the riders and its own weight in the most efficient way. The weight is on the hind legs (the quarters) not on the front legs (the forehand). Bend of neck – Neck bend : The horse’s neck is bent but the body is straight. A common fault when first attempting to shoulder-in. Box : Stall or stable. A stable is a building in which livestock, especially horses, are kept. It most commonly means a building that is divided into separate stalls for individual animals. There are many different types of stables in use today such as the American barn which is a large barn with a door each end and individual stalls inside or free standing stables with the classic top and bottom opening (stable) doors. Balance : Refers to the overall appearance of the horse. All parts of the body are in correct proportion to each other and result in a pleasing, balanced appearance. Bearing Rein : Rein pushed against the neck in direction of the turn, neck rein. Bits : The bit is the most important part of the bridle; the chief use of the other parts of the bridle is to hold the bit in place in the horses mouth. The bit provides communication between the rider or driver and the horse. more on the horse bit Bloom : A condition of the hair and coat. They appear clean, healthy and finetextured with a distinct, clear shine. Healthy appearance. Bosal (boh-zal) : Noseband of the hackamore, usually made of braided rawhide. Bowed tendon : An inflammation and enlargement of the flexor tendon at the back of the cannon (most often found on the front legs). Brace bandages : Resilient bandages on the leg of horses worn in some cases to support lame legs, and worn in other cases to protect a horse from cutting and skinning its legs while racing. Brand : A mark of identification. A private registered mark burned, frozen or tattooed on the horse. Freeze marking is a common anti-theft deterrent used by horse owners. Buck-kneed : Knees bent forward. C - Canter to Cross Breed & Cryptorchid Canter :The canter consists of a series of bounds. In the correct canter three hoof beats should be heard. It is known as the right or left canter according to which foreleg is leading. In the right canter the left hind leg is placed on the ground (first hoof beat), then the right hind leg and left foreleg together at the same time (second hoof beat), followed by the right foreleg (third hoof beat). The left hind leg should leave the ground before the right foreleg is put down, then comes the left diagonal; finally the right foreleg, followed by its suspension. In correct canter the entire weight is carried in the following sequence: one hind leg, two hind legs and one foreleg, one hind leg and the diagonal foreleg, one hind leg and two forelegs, one foreleg, all four legs in the air (the moment of suspension). This sequence of steps must be maintained at all tempos. The canter is incorrect if four hoof beats can be heard, which happens when the hind leg is put down before the corresponding diagonal foreleg. Calf-kneed : Opposite of buck-kneed. Knees angled backward. Cast : When a horse lies down or rolls to close to a wall, so it is impossible or difficult for it to get up without assistance. Catch rope : Working rope or lariat. Cavesson :A noseband on a bridle. A lunging cavesson; for which there is no substitute, can be made from strong nylon web with three rings on the noseband. It is normally fully adjustable. The lunge line, which is a necessity, should be approximately 30 feet long and is snapped to the center ring of the cavesson. It gives you control of the horse’s head. A word of caution in using the cavesson. It must fit tightly and two jaw straps are preferred in order to keep it on and in order not to cut the eye on the off side. Have someone observe this on your first use of it, especially on a horse that pulls Coarse : Used to express a lack of quality or a rough, harsh appearance. Coggins test : An agar gel-immunal diffusion test to determine equine infectious anemia (known as swamp fever). Colic : Various conditions of the digestive tract in which abdominal pain is the chief symptom… see symtoms and treating horse colic Collected : Controlled gait, a correct, coordinated action. Collection : There is no short definition of collection. It is however the goal that all dressage riders aim for. Colt : A young, male horse under four years of age. Conformation : The build of a horse — the structure, form and symmetrical arrangements of physical parts … see horse conformation Contracted heels : Occurs most often in the fore feet, characterized by a drawing or contracting of the heels … see the horse hoof & foot Cribbing : Biting or setting teeth against the manger or some other object, arching the neck and gulping or swallowing air into the stomach, not the lungs. Crossbreed : The result of breeding two different breeds of horse to produce an individual that possesses the characteristics of both breeds. As in warmblood x thoroughbred or part bred arab. Cryptorchid : A male horse whose testicles have not descended into the scrotum. D to F - Dental Star to Founder Dental Star : A star-shaped or circle-like structure near the center of the wearing surface of the permanent incisors. Direct Rein : Using one hand on each rein with a snaffle bit or bosal, teaching the horse to turn and give to the pressure caused by the pull of the rein. Disunited : When a horse is on the right front lead and left hind lead at the same time or vice versa. Dressage : Exercise and training that develops the physique and ability of the horse. The object of Dressage is the harmonious development of the physique and ability of the horse. As a result it makes the horse calm, supple, loose and flexible but also confident, attentive and keen thus achieving perfect understanding with his rider…… see Dressage Dressage Rider : Someone who likes to dress-up, be the center of attention and ride his/her horse in front of a posh country house, preferably owned by royalty. Or; a rider that devotes time and attention to perfecting the aids and to giving the aids with almost invisible movements of the hands, seat, legs and body. Viewed by some as a perfectionist. See. Dressage Riding Equine : Everything of or pertaining to the horse. Equitation : The art of horseback riding. Flying change : Changing the lead leg in canter in the air (during an unbroken canter stride) at the rider’s instructions. Full-pass : The horse in half-pass is bent into the direction of movement but does not move forwards at all, it moves sideways only. Farrier :A fully qualified and professional horse shoe fitter. Although qualified farriers do much more… see Farrier . Filly : A young female horse under four years old. Float teeth : Filing off the sharp edges of a horse’s teeth. see Floating Horse Teeth Foal : A young or new born horse, either male or female, up to yearling age. G to K ... from Gait to Junior Horse Gait : Describes a specific foot fall pattern or beat, i.e., walk, trot, canter. Gallop : The gallop is very much like the canter, except that it is faster, more ground-covering, and the three-beat canter changes to a four-beat gait. It is the fastest gait of the horse, averaging about 25 to 30 miles per hour, and in the wild is used when the horse needs to flee from predators or simply cover short distances quickly. Horses seldom gallop for more than a mile or two before they need to rest, though at a moderately-paced gallop a horse can sustain it for longer distances before it becomes winded and has to slow down. Like a canter, the horse will strike off with its non-leading hind foot; but the second stage becomes, in the gallop, the second and third stages because the inside hind foot hits the ground a split second before the outside front foot. Then both gaits end with the striking off of the leading leg, followed by a moment of suspension when all four feet are off the ground. A careful listener or observer can tell an extended canter from a gallop by the presence of the fourth beat. Gelding : A physically altered or castrated male horse. Grooming : Removal of dirt and other irritants from the horse. Grooming massages your horses muscles and helps build up a personal relationship, akin to pairing up between two horses in a field. Gymkhana : A horse show or event with a program of competitive games on horseback. Half halt : A method of bringing the horse to a greater degree of balance and higher mental attention. Aids too numerous for short definition. Half-pass : The horse is moveing equally forwards and sideways. The horses’ length is bent in the direction of movement. The movement can be ridden in walk, trot or canter. Hackamore : A type of western headstall or bridle without a bit, commonly used in breaking horses and teaching them to neck rein. Simply used as a bitless bridle in the UK. Hand : The unit by which the height of a horse is measured. A hand equals 4 inches. see How to Measure a Horse Hand gallop : Three beat gait, similar to a lope or canter but the stride is lengthened. Handy : Describes a horse that moves quickly and willingly. Always in conrol of its movements in a balanced, rhythmic, alert manner. Headstall : Part of a bridle or hackamore that fits over the horse’s head. Heaves : Pulmonary emphysema. A condition in which the lungs do not work efficiently. Reduced elastic recoil reduces the amount of air that can be forced out of the lungs. A “heave line” may develop due to this condition. Hinny : Cross between a jenny and a stallion. Hobbles : Straps fastened to the front legs of a horse to prevent him from straying. Hogged : Removal of the mane usually carried out on cob types. Honda : Eye on the working end of a lariat or riata through which the rope passes to form a loop or noose. Jack : A Male donkey. L to O ... from Laminitis to Open Class Laminitis : Founder. Noninfectious inflammation of the sensitive laminae of one or more of the hooves. see symptoms & treating laminitis Lateral movements : The horse is going sideways to some degree and only at the instructions of the rider. Lead (leg) : In canter or lope, the horse is on the right or left lead as indicated by the inside or leading foreleg; also the third beat in the stride. Length Bend : The horse is bent uniformly round your inside leg. The inside surface area of the horse is the same shape as the circumference of the corner or circle. Livery : Board / Boarding. (see livery yard facilities ) Lunge line : A long line, about 20 to 30 feet, used to train and exercise a horse Manege : An area for training horses. A dressage arena. Normally a rectangle or oblong area usually measuring either twenty metres by forty metres or twenty metres by sixty metres. see Dressage Arena Mare : A mature female horse four years of age and older. Martingales : Two types: standing and running. The martingale prevents the elevation of the horse’s head beyond a certain level without cramping the horse. The standing martingale consists of a strap which extends from around the girth, between the forelegs, to the noseband. The running martingale is not attached to the horse’s head, but terminates in two rings through which the reins pass. It permits more freedom of movement than the standing martingale. Mecate : A hackamore rein and lead rope. Also called a McCarty rein. Monkey mouth : Opposite of parrot mouth, the lower jaw protrudes in front of the upper jaw. Mule : A cross between a mare and a jack. Natural gaits : Walk, trot, canter and gallop and, in some horses, pace and running walk. Near side : The horse’s left side. Neck rein : A signal to the horse with the weight of the rein against the neck. Off side or far side : The horse’s right side. On the bit : When the horse has rounded his back, has accepted your weight, has engaged his hindquarters, has accepted the contact in the mouth and has arched his neck. He has given himself up to the riders aids. A nearly vertical line can be drawn down the front of the horses face. On the forehand : The horse is carrying itself and the rider with its balance and weight over the two front legs. Open class : A show class in which any horse of a specified breed may compete. Out of or dam of : Refers to the female parent of a horse. Parasite : A small organism that lives on or in and at the expense of a larger organism called the host. see Equine Parasites, Worms & Worming Parrot mouth : Opposite of monkey mouth, the upper jaw overhangs the lower jaw, the incisors do not properly meet and cause uneven wear and growth. Parturition : The act of giving birth : Passage : A movement in trot with an extended moment of suspension. The horse’s quarters carry more weight and propel him forward. Piaffe : A movement in trot (alternate diagonals). A proud and rhythmic movement performed nearly on the spot. Piebald : The black and white coat color of the Pinto and cob type horse. Posting : The rising and lowering of a rider with the rhythm of the trot. Purebred : Bred from members of a recognized breed without mixture of blood from other breeds. Quality : Fineness of feature, fine hair and lack of coarseness. Rein chains : Light weight chains attached from the bit to the rein. Used to counter balance the weight of the spade bit. Reins : The reins afford direct contact between the hands and horse’s mouth. They regulate impulsion: slowing, stopping or backing the horse. The reins, acting through the mouth and the neck, are also used to change direction of travel or to turn the horse right or left. Rein Action : Feel the rein : To take a contact that is soft and giving. Giving the rein : Pushing your hand towards the horses mouth or the bit, to allow the rein to drop, dangle or loop. Pull the rein : To take the rein backwards towards the rider’s body. Must never be used in classical dressage. Soft rein : To take a contact that is soft and with feel. Take the rein : To momentarily close the figures on the rein to ‘block’ or to ‘not give’ or ‘not to be light’. To Ask with the rein : Give and take the rein to create bend or flexion. Never a pull, always an invitation. If you horse is being disobedient or hard in the mouth, a persistent invitation. Rein back : The horse moving backwards on the riders command. Relative Straightness : In dressage terms this means a horse is going straight when the inside hind leg follows the track of the inside foreleg. Renvers : Work on three tracks. The horse’s quarters are to the track with the forehand away from the track. The outside hind leg creates one track. The outside foreleg and inside hind leg (diagonal pair) create the second track and the inside foreleg creates the third track. The horse must have length bend in the direction of movement. Restraint : Usually tying, to prevent escape or injury. Riata : Braided rawhide rope. Rosette / Ribbon colors : USA – Blue = first; Red = second; Yellow = third; White = fourth; Pink = fifth; Green = sixth; Purple = seventh; Brown =eighth. Britain – Red = first; Blue = second; Yellow = third; Green = fourth; Pink = fifth; Purple = sixth. Roached : A mane that has been cut short. Roached back : A convex back, one that forms an outward arc. Roller : A surcingle, or form of girth, used to hold a blanket in place. Romal : A braided rawhide terminating in a single or double tapered strap, usually between 3 and 4 feet long, and attached to the end of closed, braided rawhide reins. Saddlebred : Breed originated in the United States. Developed as an easy-riding, general purpose horse historically for plantation use. Used today as a show horse. Can be three- or five-gaited. School movements : A series of known and predefined exercises in the menage. Seat and hands : A term that refers to the ability of a rider to sit in the saddle with grace and control the mount. Self carriage : When the horse is able to carry itself in balance through the various school movements without any support from the rein. Senior horse : Any horse five years old or older. Short-coupled : Describes a horse having a short distance (not more than four-fingers width) between the last rib and the point of the hip. Shoulder-in : Work on three tracks. The horse’s forehand is brought in off the track so that the outside hind leg creates one track, the outside foreleg and inside hind leg (diagonal pair) create the second track and the inside foreleg creates the third track. Skewbald : Coat color other than black, such as bay, brown or chestnut, combined with white of the Pinto horse. Slicker : A raincoat made of oiled canvas or plastic. Slobber chains : Light weight chains attached between the shanks of a curb bit. or straps Sometimes it is a solid metal bar called a slobber bar. Smooth mouth : Refers to the smooth, biting surface of the upper and lower teeth after the cups have disappeared at 12 years of age. Sound : A term that means the horse is physically fit and shows no signs of weakness or illness which interfere with its usefulness. Split-ear headstall : A western headstall with a slot for only one ear to go through. Spoon : The port mouthpiece for exerting pressure on the mouth which rises from the center of the mouthpiece of a curb bit, much like the port of the Weymouth curb bit. The spoon may vary from less than an inch to 2 or more inches in length. Stallion : A mature, uncastrated male horse. Stud : Usually refers to a horse-breeding farm or ranch; has been corrupted in common usage to mean stallion. Stylish : To have a pleasing, graceful, alert general appearance. Suppleness : The ability of the horse to bend and flex its entire body. Sway-back : A concave or sagging back that forms an inward arc. Stable / Stall : A stable is a building in which livestock, especially horses, are kept. It most commonly means a building that is divided into separate stalls for individual animals. There are many different types of stables in use today such as the American barn which is a large barn with a door each end and individual stalls inside or free standing stables with the classic top and bottom opening (stable) doors. Straightness : This is when the spine is parallel to the straight line or long side of the menage. Tack : Riding equipment or gear for the horse such as saddle, bridle, halter, and so forth. Tapaderos or taps : Leather covering or shield over the front of the stirrups. Tempi changes : More than one flying change put together to form a movement (e.g. four time tempi changes is a change of leg every fourth canter stride). Thrush : A disease of the frog in which a black discharge and foul smell are emitted. Travers : Work on three tracks. The horse’s quarters are brought into the school so that the outside foreleg creates one track. The inside foreleg and the outside hind leg create the second track (a diagonal pair) and the inside hind leg creates the third track. Trot : In the trot the diagonal legs must be raised from the ground simultaneously and be replaced on the ground together, making two hoof beats. A jump from one diagonal pair of legs to the other. A two beat tempo. For instance, after the left diagonal (right fore and left hind) leaves the ground, the right diagonal (right fore and left hind) is raised before the left diagonal has touched the ground again, so that the horse is suspended with all four legs in the air for a moment. This moment is called suspension. Type : The arrangement of body parts into distinct recognizable patterns. All horses have the same basic conformation, but each breed has distinct conformation types that make it differ from other breeds. Vice : A bad habit that may affect a horses usefulness, dependability or health. Volte : A small circle – six metres in diameter. Walk : In the walk the horse moves his legs one after the other so that four hoof beats may be heard. For example: (1st) left forefoot, (2nd) right hind foot, (3rd) right forefoot and (4th) left hind foot. Two or three feet are always on the ground at the same time; the horse steps from one leg to the other and there is no moment of suspension. War bridle : An emergency bridle made of rope for use in leading unruly horses. Warmblood : Result of crossing heavy horses with fine thoroughbreds, mainly used for pulling carriages. Today used in dressage, show jumping and eventing; see The Danish Warmblood . Weanling : A foal, colt or filly under one year old, that has been taken away from its mother that is no longer nursing. Wolf teeth : Small pointed teeth that sometimes appear at the base of the first premolar tooth. see Horse Teeth Terms Work in hand : The horse is trained or exercised from the ground. The rider is not in the saddle. The trainer is normally close enough to reach with ease any part of the horse with the long/dressage whip Xenophon : Author of the first book on horsemanship… see Xenophon Yearling : A foal that is between one and two years of age. A foal is considered one year of age on January 1, regardless of what month in the year it was born.
i don't know
In the Harry Potter books and films, what is the first name of Harry’s uncle?
Dursley family | Harry Potter Wiki | Fandom powered by Wikia "They're the worst kind of Muggles, oh really Albus, must we?" —Minerva McGonagall discussing Harry's relatives [src] Privet Drive Harry Potter's aunt and uncle met at work. Petunia Evans, forever embittered by the fact that her parents seemed to value her witch sister more than they valued her, left Cokeworth forever to pursue a typing course in London. This led to an office job, where she met the extremely unmagical, opinionated, and materialistic Vernon Dursley. Large and neckless, this junior executive seemed a model of manliness to young Petunia. He not only returned her romantic interest, but was deliciously normal. He had a perfectly correct car, and wanted to do completely ordinary things, and by the time he had taken her on a series of dull dates, during which he talked mainly about himself and his predictable ideas on the world. During one particular date when they were sitting in his car in front of a chip shop she tearfully confessed about her strange sister. As she had expected, Vernon was quite shocked, though he comforted her and told her it wasn't her fault for having a "freak" for a sister and that he would not hold it against her. He finally proposed to her in his mother's (very ordinary) living room, it was all very emotional. Hagrid delivering Harry Potter to the Dursleys Due to Petunia's maternal connection to Harry Potter, Harry was sent to live with the Dursleys after his parents were murdered by Lord Voldemort . The belief was that Lily's maternal sacrifice for Harry would be transmitted through Petunia, even though she held Harry in contempt. Due to his wizarding background, Harry was treated with fear and negligence by the Dursleys; originally being kept oblivious to his wizarding heritage, and being told that his parents had died in a car accident. The Dursleys lived at 4 Privet Drive in Little Whinging , Surrey, [1] and often went out of their way to keep their neighbours oblivious to anything odd about their family, usually explaining away anything odd by telling people that Harry was a delinquent who went to a detention school far away. Harry did occasionally update them about Voldemort and the Death Eaters. Because of their family connection to Harry and the danger of Voldemort using them to get to Harry, they were forced to go in hiding for their own safety for a period of time during the height of the Second Wizarding War . [2] Despite his mistreatment of Harry, Harry's cousin Dudley Dursley eventually came to regret his cruelty towards Harry, and the two reconciled later in life; this was mostly due to an incident in the summer before Harry's fifth year of schooling that involved him saving Dudley from a Dementor . [2] Known family members "When he had been younger, Harry had dreamed and dreamed of some unknown relation coming to take him away, but it had never happened; The Dursleys were his only family." —Harry Potter regarding his feelings towards the Dursleys [src]
Vernon
Which poet wrote about the charms of Miss Joan Hunter Dunn?
Harry’s school list - Pottermore Harry’s school list Extract from Harry Potter and the Philosopher’s Stone by J.K. Rowling Harry woke early the next morning. Although he could tell it was daylight, he kept his eyes shut tight. ‘It was a dream,’ he told himself firmly. ‘I dreamed a giant called Hagrid came to tell me I was going to a school for wizards. When I open my eyes I’ll be at home in my cupboard.’ There was suddenly a loud tapping noise. ‘And there’s Aunt Petunia knocking on the door,’ Harry thought, his heart sinking. But he still didn’t open his eyes. It had been such a good dream. Tap. Tap. Tap. ‘All right,’ Harry mumbled, ‘I’m getting up.’ He sat up and Hagrid’s heavy coat fell off him. The hut was full of sunlight, the storm was over, Hagrid himself was asleep on the collapsed sofa and there was an owl rapping its claw on the window, a newspaper held in its beak. Harry scrambled to his feet, so happy he felt as though a large balloon was swelling inside him. He went straight to the window and jerked it open. The owl swooped in and dropped the news- paper on top of Hagrid, who didn’t wake up. The owl then fluttered on to the floor and began to attack Hagrid’s coat. ‘Don’t do that.’ Harry tried to wave the owl out of the way, but it snapped its beak fiercely at him and carried on savaging the coat. ‘Hagrid!’ said Harry loudly. ‘There’s an owl –’ ‘Pay him,’ Hagrid grunted into the sofa. ‘What?’ ‘He wants payin’ fer deliverin’ the paper. Look in the pockets.’ Hagrid’s coat seemed to be made of nothing but pockets – bunches of keys, slug pellets, balls of string, mint humbugs, tea- bags ... finally, Harry pulled out a handful of strange-looking coins. ‘Give him five Knuts,’ said Hagrid sleepily. ‘Knuts?’ ‘The little bronze ones.' Harry counted out five little bronze coins and the owl held out its leg so he could put the money into a small leather pouch tied to it. Then it flew off through the open window. Hagrid yawned loudly, sat up and stretched. ‘Best be off, Harry, lots ter do today, gotta get up ter London an’ buy all yer stuff fer school.’ Harry was turning over the wizard coins and looking at them. He had just thought of something which made him feel as though the happy balloon inside him had got a puncture. ‘Um – Hagrid?’ ‘Mm?’ said Hagrid, who was pulling on his huge boots. ‘I haven’t got any money – and you heard Uncle Vernon last night – he won’t pay for me to go and learn magic.‘ ‘Don’t worry about that,’ said Hagrid, standing up and scratching his head. ‘D’yeh think yer parents didn’t leave yeh anything?’ ‘But if their house was destroyed –’ ‘They didn’ keep their gold in the house, boy! Nah, first stop fer us is Gringotts. Wizards’ bank. Have a sausage, they’re not bad cold – an’ I wouldn’ say no teh a bit o’ yer birthday cake, neither.’ ‘Wizards have banks?’ ‘Just the one. Gringotts. Run by goblins.’ Harry dropped the bit of sausage he was holding. ‘*Goblins?*’ ‘Yeah – so yeh’d be mad ter try an’ rob it, I’ll tell yeh that. Never mess with goblins, Harry. Gringotts is the safest place in the world fer anything yeh want ter keep safe – ’cept maybe Hogwarts. As a matter o’ fact, I gotta visit Gringotts anyway. Fer Dumbledore. Hogwarts business.’ Hagrid drew himself up proudly. ‘He usually gets me ter do important stuff fer him. Fetchin’ you – gettin’ things from Gringotts – knows he can trust me, see. ‘Got everythin’? Come on, then.’ Harry followed Hagrid out on to the rock. The sky was quite clear now and the sea gleamed in the sunlight. The boat Uncle Vernon had hired was still there, with a lot of water in the bottom after the storm. ‘How did you get here?’ Harry asked, looking around for another boat. ‘Flew,’ said Hagrid. ‘*Flew?*’ ‘Yeah – but we’ll go back in this. Not s’pposed ter use magic now I’ve got yeh.’ They settled down in the boat, Harry still staring at Hagrid, trying to imagine him flying. ‘Seems a shame ter row, though,’ said Hagrid, giving Harry another of his sideways looks. ‘If I was ter – er – speed things up a bit, would yeh mind not mentionin’ it at Hogwarts?’ ‘Of course not,’ said Harry, eager to see more magic. Hagrid pulled out the pink umbrella again, tapped it twice on the side of the boat and they sped off towards land. ‘Why would you be mad to try and rob Gringotts?’ Harry asked. ‘Spells – enchantments,’ said Hagrid, unfolding his newspaper as he spoke. ‘They say there’s dragons guardin’ the high-security vaults. And then yeh gotta find yer way – Gringotts is hundreds of miles under London, see. Deep under the Underground. Yeh’d die of hunger tryin’ ter get out, even if yeh did manage ter get yer hands on summat.’ Harry sat and thought about this while Hagrid read his newspaper, the Daily Prophet. Harry had learnt from Uncle Vernon that people liked to be left alone while they did this, but it was very difficult, he’d never had so many questions in his life. ‘Ministry o’ Magic messin’ things up as usual,’ Hagrid muttered, turning the page. ‘There’s a Ministry of Magic?’ Harry asked, before he could stop himself. 'Course,’ said Hagrid. ‘They wanted Dumbledore fer Minister, o’ course, but he’d never leave Hogwarts, so old Cornelius Fudge got the job. Bungler if ever there was one. So he pelts Dumbledore with owls every morning, askin’ fer advice.’ ‘But what does a Ministry of Magic do?’ ‘Well, their main job is to keep it from the Muggles that there’s still witches an’ wizards up an’ down the country.’ ‘*Why?*’ ‘Why? Blimey, Harry, everyone’d be wantin’ magic solutions to their problems. Nah, we’re best left alone.’ At this moment the boat bumped gently into the harbour wall. Hagrid folded up his newspaper and they clambered up the stone steps on to the street. Passers-by stared a lot at Hagrid as they walked through the little town to the station. Harry couldn’t blame them. Not only was Hagrid twice as tall as anyone else, he kept pointing at perfectly ordinary things like parking meters and saying loudly, ‘See that, Harry? Things these Muggles dream up, eh?’ ‘Hagrid,’ said Harry, panting a bit as he ran to keep up, ‘did you say there are dragons at Gringotts?’ ‘Well, so they say,’ said Hagrid. ‘Crikey, I’d like a dragon.’ ‘You’d like one?’ ‘Wanted one ever since I was a kid – here we go.’ They had reached the station. There was a train to London in five minutes’ time. Hagrid, who didn’t understand ‘Muggle money’, as he called it, gave the notes to Harry so he could buy their tickets. People stared more than ever on the train. Hagrid took up two seats and sat knitting what looked like a canary-yellow circus tent. ‘Still got yer letter, Harry?’ he asked as he counted stitches. Harry took the parchment envelope out of his pocket. ‘Good,’ said Hagrid. ‘There’s a list there of everything yeh need.’ Harry unfolded a second piece of paper he hadn’t noticed the night before and read: HOGWARTS SCHOOL OF WITCHCRAFT AND WIZARDRY *Uniform * Three sets of plain work robes (black) One plain pointed hat (black) for day wear One pair of protective gloves (dragon hide or similar) One winter cloak (black, silver fastenings) Please note that all pupils’ clothes should carry name tags *Set Books * All students should have a copy of each of the following: The Standard Book of Spells (Grade 1) by Miranda Goshawk A History of Magic by Bathilda Bagshot Magical Theory by Adalbert Waffling A Beginners’ Guide to Transfiguration by Emeric Switch One Thousand Magical Herbs and Fungi by Phyllida Spore Magical Drafts and Potions by Arsenius Jigger Fantastic Beasts and Where to Find Them by Newt Scamander The Dark Forces: A Guide to Self-Protection by Quentin Trimble Other Equipment 1 cauldron (pewter, standard size 2) 1 set glass or crystal phials 1 telescope
i don't know
Which 1979 film is based on Conrad’s story ‘Heart of Darkness’?
A Computer Animated Film Based on Joseph Conrad’s ‘Heart Of Darkness’ Set in Brazil’s Favelas? | IndieWire A Computer Animated Film Based on Joseph Conrad’s ‘Heart Of Darkness’ Set in Brazil’s Favelas? A Computer Animated Film Based on Joseph Conrad's 'Heart Of Darkness' Set in Brazil's Favelas? Jun 13, 2014 1:06 pm Share This Article Talk This could be interesting… One of 6 feature film projects pitched at the Annecy’s Intl. Animation Film Market (MIFA) is what will be a Brazil-set version of Joseph Conrad’s “Heart of Darkness” – one of the most controversial tales of the last century+, telling the story of Marlow, the cargo boat captain in Africa at the end of the 19th century, on assignment to return Kurtz, an ivory trader with a reputation, who encounters the “darkness” of the Congo wilderness, and the “darkness” that resides within human beings, after witnessing the brutalization of Africans by white European traders. It’s a story that’s a number of films (shorts and features) have taken inspiration from – “Apocalypse Now,” Francis Ford Coppola’s 1979 work, likely being the most widely-known. Sao Paulo-based Karmatique Imagens production house is behind the projected $3 million project, which the filmmakers say will be the first attempt to focus on what they term the “B side” of Rio de Janeiro through an animation feature; essentially, not the Brazil that you see in the lovely vacation brochures, with the beautiful beaches and such, with their stated goal being to expose the racial, social and economic contrasts that still haunt Brazilian society. Their version of Conrad’s story will be set in the near-future, in a riot and corruption-laden Rio de Janeiro, and will follow Police officer Marlow, who is asked to find a certain Captain Kurtz – a famous policeman who has gone missing in mysterious circumstances. The mission has to be carried out in a boat, undertaking a dangerous journey through the favelas of Rio de Janeiro (the same favelas that were the setting for cross-over films like “City of God”). The film will be directed by Rogerio Nunes, from a script he co-wrote with Sergio Nesteriuk. The movie, which will also be titled “Heart of Darkness” (“Coração das trevas” in Portuguese) will be accompanied by a mini-series made up of four half-hour parts. The project bowed this week as part of Annecy Feature Film 2014 MIFA Pitches Progam – a section that is said to be fast-becoming a key program where new talent emerges.
Apocalypse Now
Which autumn-flowering bulbous plant is sometimes known as ‘the belladonna lily’?
Example Essays: Heart Of Darkness 1. Darkness in Conrad’s Heart of Darkness A title can also help to convey a certain theme or motif and Heart of Darkness is no exception. ... The second is centered on Europe and imperialism, and the figurative darkness of it; lastly, the main interpretation of darkness is directly related to Kurtz and the complete darkness of his heart and soul. ... This direct reference to the title implies that the heart of the jungle is a place of darkness, a center of evil. ... This reference to the novella"s title shows that Kurtz"s heart and soul were a focus of darkness within him. ... The second reveals imperialism as the heart of corrupt... Word Count: 937 2. Heart Of Darkness Heart Of Darkness: Themes in Garden of Evil and Heart of Darkness Independent Novel Study- ThemeTheme: is the central topic or dilema in the story. ... The story of the Garden of Evil relates to Heart of Darkness in the waythat the themes are similar. ... Heart of Darkness is a very good example of a Quest story.Marlowe is risking life and limb inorder to fufill his adventure of meetingthe infamous Mr.Kurtz. ... The point of view in Heart Of Darkness is told from a first person narrative.4. ... Heart of Darkness is an Allegory of an archetypal story because it shows tha... Word Count: 1617 3. Heart of darkness The journey through the Heart of Darkness by Joseph Conrad is a voyage through the treacherous Congo River. Marlow, the central narrator in Heart of Darkness, and his crew, make their way on their steamer up to the primeval world. Marlow"s journey into the Heart of Darkness symbolizes a journey through madness and hell traveling through the mystery of the unknown. ... (Heart of Darkness, Joseph Conrad p.77) Marlow had second thoughts about his trip up the Congo River. ... (Heart of Darkness, Joseph Conrad p.109) Marlow is willing to take any chances to get closer and closer up the Congo ... Word Count: 955 4. Heart Of Darkness aEKurtz is definitely a disturbing symbol in Heart of Darkness, embodying the gloom, the despair, the "impenetrable darkness" of the unknown jungle, the darkness inherent in all men"s hearts but he does not dominate the novel. It is Marlow"s perception, his ever changing understanding of the darkness and its many elements from afar and up close, that fills the novel, creates its many layers. ... The symbols becoming a vehicle that carries us, the audience, from stop to stop, Marlow"s journey becoming an evaluation of the darkness contained inside the hearts of mankind. ... This "Heart ... Word Count: 510 5. Imperialism and The Heart of darkness In Heart of Darkness, the author shows the European imperialist idea and finds that its outcomes are as dark as the African continent it portrays. The book"s two centers are two dark hearts that fascinate Marlow. ... As much as Marlow also hints at Kurtz"s dark energy, he shows the man as passively manipulated by the force of African darkness that mingles with his own dark heart. ... Thus Heart of Darkness is an ambiguous title whose antecedent becomes unclear at the end of the story. ... Kurtz and imperialism itself all have hearts equally dark in Conrad"s world. ... Word Count: 1126 6. Heart of darkness Chinua Achebe in his essay on Heart of Darkness describes Joseph Conrad as a racist in how he characterizes the native Africans in the novel. ... In Chinua Achebe"s essay, "An Image of Africa: Racism in Conrad"s Heart of Darkness,aE Achebe contends that Joseph Conrad"s portrayal of Africa, and the African people, in his book Heart of Darkness, is that of a racist. ... However, Conrad wrote Heart of Darkness at the beginning of the 20th Century. ... The Heart of Darkness is something that one takes into himself, and can pass it from person to person. ... However, after all the riches h... Word Count: 852 7. Heart of Darkness Coppola fails to capture the enduring meaning of "Heart of Darkness" because Williard lacks Marlow"s qualitiesThe everlasting qualities of "Heart of Darkness" have no been captured by Coppola in the film "Apocalypse Now", because he has failed to capture the essence of the character Marlow. ... Conrad personifies the jungle aE" it breathes and protects the natives from the whites, in both "Heart of Darkness" and "Apocalypse Now". ... Both the text "Heart of Darkness" and film "Apocalypse Now", contains a great deal of irony. ... The darkness however that is in the Europeans and Kurtz in "Heart... Word Count: 871 8. Heart Of Darkness The Visions of Light Vs Darkness When Joseph Conrad composed Heart of Darkness he created a literary masterpiece which embodied the essence of light contrasting with darkness. ... The light and dark images of the novel contrast not only each other but them selves allowing the reader to envision the struggle one encounters once they have met with the darkness in their heart. ... The physical setting of the novel plays a major role in the journey through Heart of Darkness in both a physical or literal sense as well as in the metaphorical journey through one"s own heart. ... It is this title, Hea... Word Count: 4389 9. Heart Of Darkness Heart of Darkness, by Joseph Conrad, is a novella which explores the true nature of human beings, and the deterioration of morals and sanity in a remote environment. Heart of Darkness This transformation of the human psyche is set up by the author in the rawest form, by setting the environment of the story in the deepest unexplored regions of Central Africa, via the Congo River. ... s story begins in Heart of Darkness, he is depicted as an eager and even inexperienced person, in terms of his knowledge on the dangers of subjecting himself to the darker, possibly truer, side of human nature. ...... Word Count: 937 10. Heart Of Darkness Heart of Darkness Response Paper"Heart of DarknessaE is a very involved story, which takes place on a mission into the hearts of Africa. ... One of the main themes in "Heart of DarknessaE is colonialism in Africa. ... It also could stand for a person"s heart of darkness, which after long periods of time spent in the center of Africa Mr. ... The darkening of a heart would be of a dying person. ... Darkness and lightness were also used when describing the Africans and the Europeans. ... Word Count: 988 11. Heart Of Darkness Heart of DarknessThe Novel Heart of Darkness by Joseph Conrad is an autobiography of his journey in Congo. ... However, this meta-narrative also denotes the tapping into one"s mind about a certain "darkness." ... They are described as the guards of the doors to the darkness. ... Kurtz is the captain of the inner station, which is located deep into the heart of the jungle. ... It is not surprising that they ultimately died in the heart of darkness. ... Word Count: 940 12. Heart of Darkness AbstractThis paper introduces and discusses the book "Heart of Darkness," by Joseph Conrad. ... Women in "Heart of Darkness" play an important and distinctive role in the tale. They represent civilization (and the lack of it) far away in the jungles of Africa, where the "darkness" lies in wait for every man.From The Paper"The African woman in the novel serves another purpose. ... Word Count: 285 13. Hearts Of Darkness Hearts Of Darkness My film is not about Vietnam. ... This film was the adapting of Joseph Conrad novel Heart of Darkness, transferring its story to the heart of the Cambodian jungle. ... Martin Sheen the main character of the movie had a heart attack wile filming. ... Word Count: 433 14. Heart Of Darkness Where is The Heart of Darkness?... In Joseph Conrad"s novel Heart of Darkness, however, these colors and images symbolize almost the opposites of what the reader usually perceives them to signify. ... In the very river that they sit in, in the heart of industrial London darkness lurks. ... The heart of darkness is in the heart of Western civilization. ... Conrad challenges the reader to find the heart of darkness that lurks in our very own backyard; to realize that what we claim to be light is merely another form of darkness. ... Word Count: 1077 15. heart of darkness Chinua Achebe, a well-known writer, once gave a lecture at the University of Massachusetts about Joseph Conrad's Heart of Darkness, entitled "An Image of Africa: Racism in Conrad's Heart of Darkness." ... While reading Heart of Darkness, I noticed a significant difference in the levels of communication that were allotted between the Europeans and the Africans. ... By completely agreeing with either writer, I would be denying myself the right to find my own opinion regarding racism in Heart of Darkness. ... Word Count: 1109 16. Heart Of Darkness Our Heart of DarknessEvery individual in this world has a heart of darkness. ... The heart of darkness is something that all of the characters introduced throughout this story struggle with. ... Marlow"s heart of darkness is strong. ... This is where the heart of darkness again comes into play. ... His glory comes from doing well, and in order to do well, he must reach his goal and make it into the heart of darkness. ... Word Count: 1748 17. Essay on the Heart of Darkness The Heart of Darkness.In Joseph Conrad"s novel Heart of Darkness, the evil qualities of a man are introduced and discerned as direct effects of imperialism. The character of Marlow in the Heart of Darkness advances the theme of the hypocrisy of imperialism in the scene when Marlow arrives to the Company"s outer station at the mouth of the Congo river. Through Marlow"s eyes the reader penetrates into the darkness within the characters and themselves. ... Strings of dusty niggers with splay feet arrived and departed; a stream of manufactured goods, rubbishy cottons, beads, and brass wire set int... Word Count: 489 18. heart of darkness In Heart of Darkness, Joseph Conrad reverses the tradition by using the color of white as a symbol for darkness and mystery. ... Every human has dark sides, and Marlow is fascinated in his discovery of his own dark side. Marlow chooses to stays loyal to his nightmare by denying its existence and identity.Like Marlow, white men who have come to Africa with hopes of spreading white light and white civilization to the darkness find the only darkness of their hearts. ... Ironically, the blacks are with less darkness and evil. ... In the novel where everything is associated with gloom and darkne... Word Count: 572 19. Heart of Darkness and Apocalypse Now "Heart of Darkness," by Joseph Conrad is a short novel published in 1899. "Apocalypse Now" is a 1979 film based on the novel Heart of Darkness by Francis Ford Coppola set during the Vietnam War. ... The first point of similarity that Heart of Darkness and "Apocalypse Now" share deals with racism. ... Both Heart of Darkness and "Apocalypse Now" deal with the horrible dark side of colonialism and imperialism. In Heart of Darkness, the Belgian company is the imperial power in Africa. ... Word Count: 2231 20. Heart of Darkness In the short story, "Heart of DarknessaE by Joseph Conrad, the dark heart of mankind is revealed.Marlow encounters the dark side during his trip to Africa. At the beginning of the story Marlow introduces his journey by saying, "this has been one of the dark places of the earth.aE He is foreshadowing his terrible experience of corruption, power-hunger, and dark reality. ... Word Count: 437 21. Apocalypse Now Vs. Heart Of Darkness Heart of Darkness takes place on the Congo River in the Heart of Africa while Apocalypse Now is set in Vietnam. Characterization in Heart of Darkness and Apocalypse Now are almost identical. ... In Heart of Darkness, Kurtz, is an ivory trader who has gone too deep into the jungles of Africa in search of ivory. ... In Heart of Darkness Marlow assumes that he will return to civilization after finding Kurtz. ... In Heart of Darkness there is an outside narrator telling the story that he heard Marlow tell. ... Word Count: 930 22. Symbols in Heart of Darkness In, "Heart of Darkness," Joseph Conrad uses the nature of the Congo river as a symbol to express the chaos and condition in the heart of both the conquerors and the conquered. ... Conrad writes about how the river came to have a, "profound darkness," within its heart, implying that all the hatred, disgust, vanity, and poisonous feelings in the heart of the Europeans and the Africans figuratively accumulated in the river. In effect, the author uses personification when Marlow realizes that the river not only appeared, "dark," but also, "hopeless," confronting the fact that the obscurity and p... Word Count: 595 23. Dark Imagery in Heart of Darkness His significance in this act changes from literal at that point in the novel to figurative when taken in context with the later events in Heart of Darkness. ... In the most literal sense, the "Heart of Darkness  is referring to the mysterious jungles of Africa that Marlow and his crew are entering. ... "Heart of Darkness  can also refer to the practice of ivory trade itself. ... Looking deeper, "Heart of Darkness  also alludes to the mysterious vibe that Africa puts out. ... Even "Heart of Darkness  has a heart of darkness.... Word Count: 834 24. Heart Of Darkness Throughout Heart of Darkness Conrad uses a plethora of simple colors, objects, and places to convey multifaceted images and ideas. ... Although the interpretation of symbols in the Heart of Darkness is elaborate, due to their simplicity they are often overlooked. An overriding series of symbols in Heart of Darkness is the ongoing contrast of white and black, dark and light, and respectively holding representations of good and evil. ... Towards the close of Heart of Darkness he finds himself amidst a swarm of small flies. ... Looking between the lines helps convey the true meaning in Heart of D... Word Count: 1071 25. Heart of Darkness Joseph Conrad's Heart of Darkness began in his personal experience working on a Congo River steamer in 1890, five years after King Leopold of Belgium established the Congo Free State.The Heart of Darkness has two storytellers: Joseph Conrad, the author, and the story"s narrator, Marlow. ... Society recognizes the problems but it doesn"t encourage the correction of the problems.In Heart of Darkness, suggests bringing the light (Europeans) into darkness (Africa), the "civilizingaE mission actually uncovers the "darknessaE as its own heart. ... Color is used very effectively as... Word Count: 895
i don't know
In Shakespeare’s ‘The Merchant of Venice’, what was the title character’s first name?
SparkNotes: The Merchant of Venice: Character List The Merchant of Venice Plot Overview Analysis of Major Characters Shylock -  A Jewish moneylender in Venice. Angered by his mistreatment at the hands of Venice’s Christians, particularly Antonio, Shylock schemes to eke out his revenge by ruthlessly demanding as payment a pound of Antonio’s flesh. Although seen by the rest of the play’s characters as an inhuman monster, Shylock at times diverges from stereotype and reveals himself to be quite human. These contradictions, and his eloquent expressions of hatred, have earned Shylock a place as one of Shakespeare’s most memorable characters. Read an in-depth analysis of Shylock. Portia -  A wealthy heiress from Belmont. Portia’s beauty is matched only by her intelligence. Bound by a clause in her father’s will that forces her to marry whichever suitor chooses correctly among three caskets, Portia is nonetheless able to marry her true love, Bassanio. Far and away the most clever of the play’s characters, it is Portia, in the disguise of a young law clerk, who saves Antonio from Shylock’s knife. Read an in-depth analysis of Portia. Antonio -  The merchant whose love for his friend Bassanio prompts him to sign Shylock’s contract and almost lose his life. Antonio is something of a mercurial figure, often inexplicably melancholy and, as Shylock points out, possessed of an incorrigible dislike of Jews. Nonetheless, Antonio is beloved of his friends and proves merciful to Shylock, albeit with conditions. Read an in-depth analysis of Antonio. Bassanio -  A gentleman of Venice, and a kinsman and dear friend to Antonio. Bassanio’s love for the wealthy Portia leads him to borrow money from Shylock with Antonio as his guarantor. An ineffectual businessman, Bassanio proves himself a worthy suitor, correctly identifying the casket that contains Portia’s portrait. Gratiano -  A friend of Bassanio’s who accompanies him to Belmont. A coarse and garrulous young man, Gratiano is Shylock’s most vocal and insulting critic during the trial. While Bassanio courts Portia, Gratiano falls in love with and eventually weds Portia’s lady-in-waiting, Nerissa. Jessica -  Although she is Shylock’s daughter, Jessica hates life in her father’s house, and elopes with the young Christian gentleman, Lorenzo. The fate of her soul is often in doubt: the play’s characters wonder if her marriage can overcome the fact that she was born a Jew, and we wonder if her sale of a ring given to her father by her mother is excessively callous. Lorenzo -  A friend of Bassanio and Antonio, Lorenzo is in love with Shylock’s daughter, Jessica. He schemes to help Jessica escape from her father’s house, and he eventually elopes with her to Belmont. Nerissa -  Portia’s lady-in-waiting and confidante. She marries Gratiano and escorts Portia on Portia’s trip to Venice by disguising herself as her law clerk. Launcelot Gobbo -  Bassanio’s servant. A comical, clownish figure who is especially adept at making puns, Launcelot leaves Shylock’s service in order to work for Bassanio. The prince of Morocco -  A Moorish prince who seeks Portia’s hand in marriage. The prince of Morocco asks Portia to ignore his dark countenance and seeks to win her by picking one of the three caskets. Certain that the caskets reflect Portia’s beauty and stature, the prince of Morocco picks the gold chest, which proves to be incorrect. The prince of Arragon -  An arrogant Spanish nobleman who also attempts to win Portia’s hand by picking a casket. Like the prince of Morocco, however, the prince of Arragon chooses unwisely. He picks the silver casket, which gives him a message calling him an idiot instead of Portia’s hand. Salarino -  A Venetian gentleman, and friend to Antonio, Bassanio, and Lorenzo. Salarino escorts the newlyweds Jessica and Lorenzo to Belmont, and returns with Bassanio and Gratiano for Antonio’s trial. He is often almost indistinguishable from his companion Solanio. Solanio -  A Venetian gentleman, and frequent counterpart to Salarino. The duke of Venice -  The ruler of Venice, who presides over Antonio’s trial. Although a powerful man, the duke’s state is built on respect for the law, and he is unable to help Antonio. Old Gobbo -  Launcelot’s father, also a servant in Venice. Tubal -  A Jew in Venice, and one of Shylock’s friends. Doctor Bellario -  A wealthy Paduan lawyer and Portia’s cousin. Doctor Bellario never appears in the play, but he gives Portia’s servant the letters of introduction needed for her to make her appearance in court. Balthasar -  Portia’s servant, whom she dispatches to get the appropriate materials from Doctor Bellario. More Help
Antonio
The Adam’s Apple helps to protect the walls and the front section of what bodily part?
The Merchant of Venice Washington State University THE MERCHANT OF VENICE A 1598 reference to this play notes that it was "'otherwise called The Jew of Venice', suggesting that from the start Shylock was regarded as the play's central character" (Wells 158) even though he appears in only five scenes (Wells 159). Standard dating of this one places it around 1596-97, but an anonymous play fitting its description was being performed in 1579 and also one called The history of Portio and demorantes -- too early for Stratfordian dating (Clark 331; Ogburn and Ogburn 230; Farina 60). The play's relevance to marriage negotiations between Queen Elizabeth and the Duke of Alençon and to the third Frobisher Expedition to the Northwest indicate Oxfordian authorship, and begun in 1578 (Ogburn and Ogburn 229). Performance of it is currently out of fashion because of the apparent anti-Semitic aspects, and the consensus that Shakespeare here "essentially belongs to his age, just this once, in regard to the Jews" (Bloom 188). But that's characteristically superficial or willfully limited reading for you, similar to the case of Chaucer's The Prioress' Tale. Elizabethan society would allow hatred of the theatrical manifestation of a Jewish character. So the dolts get an easy scapegoat here and are allowed to miss the real critique operating in this play. (Our impulse is still to find a target of hatred. After the end of the Cold War, we had a difficult time finding a stereotype we could hate. We tried to hate the Japanese in the early '90s; alas, it was too economic and abstract to take hold. But now, imagine a play involving an Islamic fundamentalist living in Colfax.) ACT I SCENE i The title character, Antonio, begins the play intriguingly: "In sooth, I know not why I am so sad; / It wearies me" (I.i.1-2). Much ink has been spilled with conjectures about Antonio's melancholy. Perhaps he's simply melancholic of temperament. Or, since "Antonio has a male friend to whom he is devoted with a self-sacrificial intensity that is almost unbelievable" (Asimov 501), perhaps his devotion to Bassanio is homoerotic and the news that this friend seeks to marry has depressed him -- that Antonio is melancholy because "he is losing Bassanio to a woman" (Wells 162). (Antonio is a name Shakespeare uses also in Twelfth Night for a character with an intense devotion to another male). Or perhaps Antonio has an "ominous foreboding" (Carey 133) about the events that will transpire in the course of this play. At one point in the development of the play Antonio's melancholy may have been Oxford's own (Ogburn and Ogburn 232). [Shepherd Tony, Antony (w/ Cleo), and Antonio all would represent Oxford (Ogburn and Ogburn 852).] But my own sense? See the next scene's commentary. Antonio ends his whimper: "And such a want-wit sadness makes of me, / That I have much ado to know myself" (I.i.6-7). Shakespeare is getting quite good at representing characters who do not know themselves. Friends Solanio and Salerio -- "those unmemorable characters known in the theatre as the Salads" (Wells 162) -- try to explain that Antonio's merchant ship being at sea naturally makes him sad, what with fears of pirates and storms. If they really believe this to be the cause, their graphic description of a shipwreck is not the way to cheer him up! But what they are describing would be anxiety and dread, not sadness. This looks like another Italian city (like Padua in The Taming of the Shrew) where the citizens interpret everything in materialistic terms. All the Salads can conclude (I.i.50f) is that "some people are, by simple temperament, happy; others sad" (Asimov 502). The Salads may have been representations of Oxford's literary associates (Ogburn and Ogburn 977). The prefix "sal" (or French "sale" but pronounced "sal") means "lewd" -- so we get the "sal" friends of E.O. (io). Burghley objected to Oxford's "lewd" friends (Ogburn and Ogburn 238). A reference to Janus (I.i.50) is intriguing too. When three other friends arrive -- Bassanio, Lorenzo, and Gratiano -- the two Salads take their leave politely, but Antonio claims that beneath their excuses they are anxious to get back to business (I.i.63-64): an odd, strained, and baffling moment signifying at least a tangle of politeness. Bassanio's entrance line characterizes him as cavalier: "Good signiors both, when shall we laugh?" (I.i.66). Gratiano tries to cajole Antonio a bit, and Antonio renders an embryonic version of a more famous Shakespearean conceit: "I hold the world but as the world, Gratiano, / A stage, where every man must play a part, / And mine a sad one" (I.i.77-79). But perhaps "Antonio was created for nobler things. And so he suffers from that homesickness of the soul that ultimately attacks everyone who 'consecrates' his life to something below his spiritual level" (Goddard, I 91). The phrase "cut in alabaster" resonates: "the figure of Lord Oxford's 'grandsire,' the Fifteenth Earl, was actually 'cut in alabaster' in the family tomb at Castle Hedingham" (Ogburn and Ogburn 244). After Gratiano and Lorenzo depart, Bassanio confesses, good-naturedly, to thinking Gratiano a pretty empty fellow. Bassanio now hits Antonio up for some cash, even though he is already indebted to him. After all, when you shoot one arrow lord-knows-where, the best thing to do is randomly shoot another and it'll end up really close to the first: problem solved! (I.i.140-144). Bassanio is an "upwardly mobile young urbanite. He is in debt, and he sees that the best way of resolving his problems is to get (temporarily) into further debt" (Garber 284). At present, he needs some wooing cash: In Belmont is a lady richly left And she is fair and, fairer than that word, Of wondrous virtues. (I.i.161-163) Note the apparent ranking of priorities here. No wonder some think Bassanio a fortune-hunter (Wells 162). Bassanio also calls Portia's hair "a golden fleece" (I.i.170) -- suggesting something to be won or achieved (and not much more, considering the function and disappearance of the Golden Fleece in classical myth)! Antonio has all his money wrapped up in the ships, but he'll allow Bassanio to raise cash elsewhere on his (Antonio's) credit. SCENE ii The scene shifts to "Belmont," 10 miles from Venice and 2 miles from a monastery, as we will find out. This matches the Villa Foscari on the Brenta Canal (Anderson 99; Farina 64). Portia begins this second scene, saying to her waiting-woman, "By my troth, Nerissa, my little body is a-weary of this great world" (I.ii.1-2). Nerissa is skeptical of this indulgent melancholy: "You would be, sweet madam, if your miseries were in the same abundance as your good fortunes are; and yet for aught I see, they are as sick that surfeit with too much as they that starve with nothing" (I.ii.3-7). MD's diagnosis: "affluenza" -- that yuppy disease we used to hear about some years ago where spoiled wealthy useless elites had nothing else to do but bemoan the slightest hint of discontent while the rest of us don't have the luxury to skip half a day of work despite the cancer. This goes for Antonio too. "Melancholy, weariness, tedium -- the reiteration of the note cannot be coincidence. And the other characters confirm the conjecture. Over and over they give the sense of attempting to fill every chink of time with distraction or amusement, often just words, to prevent their thinking" (Goddard, I 84). Portia, probably with faux haughtiness, tells Nerissa, "Good sentences, and well pronounc'd" (I.ii.10). "They would be better if well follow'd" (I.ii.11). Portia laments the fact that knowing what is good to do is easier than doing it. This will relate to Portia's rhetoric and behavior later (Goddard, I 112), despite the skads of critics perennially going gaga for the supposedly glorious Portia. We learn of the lottery prepared by Portia's father before his death, whereby suitors must choose between three chests: gold, silver, or lead. [The British sovereign in the 16th century possessed three crowns: iron, silver, and gold, signifying the kingdoms of England, France, and Ireland; the English crown was the iron one (Clark 332-333; Ogburn and Ogburn 231). Even Samuel Johnson suspected a connection between Portia's suitors and Queen Elizabeth's (Clark 342).] According to Henry VIII's will: "our said daughter Elizabeth, after our decease, shall not marry, nor take any person to be her husband, without the assent and consent of the Privy-Councillors, and others appointed by us to be of Council with our said dearest son Prince Edward" (qtd. in Clark 334; cf. Ogburn and Ogburn 231-232). Even current Stratfordians are willing to acknowledge the connection: "It is possible to see Portia in a historical-allegorical frame as a figure for Queen Elizabeth here -- a lady richly left, whose father's dead hand seems to control the choice of a husband. Elizabeth, like Portia, was the target of suitors from many nations as well as a number of wellborn Englishmen, each one imagining himself on the brink of becoming King of England" (Garber 288). Numerous suitors, guilty of the worst stereotypical traits of their nationalities, have bored Portia already. We hear of a Neapolitan prince obsessed with his horse, who sounds historically like Don John of Austria, also with a low-born mother (Ogburn and Ogburn 245); a morose Palentine; and a French lord whose personality is a pastiche of other men's -- seemingly a mockery of the notorious "Monsieur Le Bon": Alençon, who, with the reference to the thrush or throstle and its French equivalent mauves suggests Alençon dancing for whatever tune ambassador Mauvissière played (Ogburn and Ogburn 245). Also mentioned is a Scottish lord perpetually wrathful at the English; and a German drunkard, probably John Casimir (Ogburn and Ogburn 246). Finally mentioned is a monolinguistic English baron with no distinct sartorial style (the ancestor of the American-born culture-vulture, ravaging Europe for its "style" and patching together monstrosities -- this type appears elsewhere in the canon). In a few lines in the Merchant of Venice Shakespeare summarized a long list of facts: the will of Henry VIII which directed the manner in which Elizabeth might be married; the parade of suitors from over Europe for her hand and her calculating appraisal of them; Don John's illegitimacy, his status as a Neapolitan Prince, his love of horses, and his one-time ambitions to marry Elizabeth. (Ruth Loyd Miller, in Clark 343) "The names 'Falconbridge' and 'Oxenford' are precisely parallel in construction: an animal (two syllables) followed by a means of crossing a river (one syllable)" [Chuck Berney, "The Merchant of Venice: 2004 and 1980." Shakespeare Matters 4.2 (Winter 2005): 31] Certainly a character named Falconbridge ("the Bastard") is the playwright's alter ego in King John. Nerissa asks Portia if she recalls Bassanio, and Portia tries to cover her enthusiasm with an air of casualness, but the Prince of Morocco's imminent arrival is announced. The servant mentions that "The four strangers" (I.ii.123) are ready to leave and a fifth, the Prince of Morocco, is on his way, so the numbers don't add up (six "strangers" were listed, and we didn't have the impression they'd had their respective shots at the box contest yet) -- so is this an indication of awkward revision? When Nerissa brings up the subject of Bassanio, she mentions that he "came hither in the company of the Marquis of Montferrat" (I.ii.114). Noemi Magri has pointed out that this is a gratuitous mention of Guglielmo Gonzaga, better known as the Duke of Mantua (1538-1587) ["Places in Shakespeare: Belmont and Thereabouts." Great Oxford. Tunbridge Wells: Parapress Ltd., 2004. 101]. Gonzaga was almost certainly Oxford's host in Mantua during his mid-1570s travels (cf. Anderson 99). SCENE iii Shylock the Jewish money-lender and Bassanio negotiate, with Shylock being annoyingly indecisive: "well ... well ... well ...." When Shylock tries to establish "Antonio is a good man" (I.iii.12), Bassanio thinks he means morally, while Shylock meant financially sound. "'Good' to Bassanio is an ethical term; to Shylock it is financial" (Garber 297). Shylock lists dangers to Antonio's venture; "Shylock's statement reminds us that Lord Oxford, on his return from the Continent in 1576 was attacked by pirates ... and that during his absence one of his servants had to be discharged for defrauding him ... so that he knew both 'water-thieves' and 'land-thieves' from personal experience" (Clark 338). Shylock's listing of the dangers may also suggest that at one stage in the development of the play, Oxford was thinking of Burghley as Shylock, in this case his tendency to catalogue and itemize everything (Ogburn and Ogburn 238). Shylock wishes to speak with Antonio directly, and Bassanio invites him to dinner, but Shylock balks: "Yes, to smell pork, to eat of the habitation which your prophet the Nazarite conjur'd the devil into. I will buy with you, sell with you, talk with you, walk with you, and so following; but I will not eat with you, drink with you, nor pray with you" (I.iii.33-38). The reference to the New Testament story of Jesus exorcising the demons from a man and driving them into a herd of swine (Mk. 5:1-13) is interesting: "the odd detail that Shakespeare's Jew has read the enemy Scripture" (Bloom 184). Shylock has thought through a reason, from an alien (Christian) perspective, as to why they also ought not to eat pork. Clearly Shylock can talk with them, wittily and good-naturedly. But when Antonio himself arrives, Shylock acknowledges his hatred for the merchant in an aside: Antonio is a Christian and he lends out money without charging interest, which hurts the rates Shylock can charge. Antonio is self-righteous (I.iii.70) and hostile, impatient with an analogy Shylock tries to draw to a scriptural story of Jacob: "Mark you this, Bassanio, / The devil can quote Scripture for his purpose" (I.iii.97-98). Shylock's reference to the sheep of Laban story probably illustrates that Antonio's profits amount to the same thing as Shylock's own practice of charging interest (Goddard, I 90). "Antonio's attempt to distinguish between his mercantilism and Shylock's usury persuades nobody" (Bloom 185). Shylock notes that Antonio has insulted him and spat upon him in the Rialto, and fortune has brought about this current situation. Shylock refers here to his "Jewish gaberdine," the anachronism of which has puzzled some. But Asimov declares, "The Jewish gaberdine was a long, coarse cloak of the kind pilgrims wore in humility, to show that they were approaching some shrine as sinners hoping to be forgiven" (Asimov 518). Antonio, we are given to understand, abhors Shylock's practice of "usury": "Why, then, does not Antonio state his objection to it like a rational being instead of arguing with kicks and saliva?" (Goddard, I 88). Antonio remains nasty to Shylock, saying that he's likely to spit at him again in the future. Shylock seems sincere, certainly surprised by the seemingly irrational passion Antonio invests in his antagonism: Why, look you how you storm! I would be friends with you, and have your love, Forget the shames that you have stain'd me with, Supply your wants, and take no doit Of usance for my moneys, and you'll not hear me. This is kind I offer. (I.iii.137-142) Bassanio confirms this with his impression, "This were kindness" (I.iii.142). (There's a similar moment in Henry V with Exeter possibly a bit baffled at the King's reaction to the tennis balls.) Shylock will even make this offer without charging interest. Most take this as a shrewd move, and baiting the trap, but does that make as much sense as the possibility that this is Shylock's sincere overture to disregard the past and start over with a charitable attempt to form at least a connection involving some tolerance? Are we witnessing "a sincere wish to wipe out the past and be friends" (Goddard, I 94)? In a moment, though, perhaps given Antonio's behavior, Shylock adds that if Antonio cannot pay him on the appointed day, "let the forfeit / Be nominated for an equal pound / Of your fair flesh, to be cut off and taken / In what part of your body pleaseth me" (I.iii.148-151). This is presented as "a merry sport" (I.iii.145) by Shylock. Bassanio advises against this, but Antonio is confident that his ships will come in long beforehand. And Shylock adds that a pound of human flesh is useless, unlike that "of muttons, beefs, or goats" (I.iii.167). It's a deal: and now either they are locked in a hate-bond, or Shylock means something else by all this that's unclear. And besides, Antonio is only a bit happier in this play when he is gambling and taking big risks (Garber 287). Regarding the name Shylock: "There is a Hebrew word shalakh, which appears twice in the Bible (Leviticus 11:17 and Deuteronomy 14:17). In both places, birds of prey are being listed as unfit articles of diet for Jews. No one knows exactly what bird is meant by shalakh, but the usual translation into English gives it as "cormorant'" (Asimov 510). Clark, however, refers to the colloquial use of the prefix "shy-," defined at the time as meaning "of questionable character, disreputable, shady," and the term "shy-cock," slang for "a wary or cowardly person" (Clark 335-336). Lock was the name of the Treasurer of the Cathay Company, which funded Martin Frobisher's third expedition. Originally, Frobisher was seeking a northwest passage to China but when he found what he thought was gold ore, investors in the third expedition included the 28-year-old Earl of Oxford, to the tune of 3,000 pounds -- the amount of the "bond" in ducats in the play. Frobisher ranted against Lock, who probably knew the ore was worthless when he sold Oxford his share (Clark 334-335; cf. Farina 64). The Queen herself was an investor in the Cathay Company and must have been deeply interested in the outcome of the Expedition of 1578. She probably took as great an interest in directing legal procedure against Lock as Portia did against Shylock, albeit in somewhat different fashion. (Clark 340)
i don't know
What part of a horse takes the strain of the collar?
CUSTOM MADE COMFORT FOR THE HORSE AND RIDER     INTRODUCING THE TRAPEZIUS FLEXIBLE PANEL SADDLE       THE SADDLE OF THE FUTURE FROM THE WISDOM OF THE PAST              Unlike modern saddles the TRAPEZIUS is built on two separate 'floating' panels.  These are based on old Icelandic saddles which used a flexible material from the mouth of the whale.  The whale panels are reproduced using modern materials to present a flexible support for the  seat of the saddle.  The panels flex independently of each other to follow the movement of the back muscles either side of the spine and allow the shoulder to rotate with minimal interference.   The horse can turn its neck naturally without the interference often seen with traditional saddles which can pinch at the wither making the horse appear 'stiff'.  This design also cuts down on friction soring behind caused by the constant sway of the saddle as the back end moves in sympathy with each front fork being pushed away from the shoulder.   The trees have been developed specifically for the shape of the horse's skeleton and the panels adjust to the changes in musculature as the horse gets fitter or fatter.  This cuts out the need for reflocking which is necessary with traditional stuffed panels.   Specific attention is given to the shape of the front forks.  These must splay out with the shape of the horse.  If the front forks are too straight they will dig into the horse, causing discomfort and leading to behavioural problems or even lameness over a period of time.   The smooth panels provide a greater load bearing area than conventional stuffed panels thus ensuring that the rider's weight is spread evenly over the musculature of the back to lessen muscle fatigue.  A unique pressure measuring probe was used in development to minimise the risk of pressure soring so often seen with lumpy stuffed panels.   Minimum bulk under the flaps ensures close contact and allows the rider to wrap the legs around the horse in a natural way thus reducing rider fatigue.   The saddle itself sits close to the horse's back and the rider feels more of the movement - the  nearest thing to bare back.   The girth straps are angled forward so that the saddle sits the rider centrally on the horse's back.  Saddles placed over the wither will interfere with the rotation of the shoulder blade and cause the horse to shorten its stride to minimize the discomfort.   Horses which are uncomfortable will not perform at their best whether in serious competition or purely for pleasure riding.   The Trapezius was developed purely for our own use but we do sometimes have an extra one for sale as people have often asked us to sell them.  We are not in the saddlery trade so we do this as a service to horse owners who agree with us that this is the ultimate saddle for horse and rider!  The current cost is �1100 but we have none available at the moment.   The following paragraphs may give you more insight into the effects of poor saddle fit on the hores's behaviour and performance.  We hope this helps you to recognise and eliminate saddle problems for your horse.   THE ULTIMATE STOIC                                  That the horse is the ultimate stoic cannot be held to question.  The have a high tolerance level to pain and an even higher tolerance of discomfort ‑ otherwise we could not ride them.   It is because of this tolerance of pain, discomfort and general mistreatment that we must learn to recognise when we are damaging the horse, either physically or mentally.  All too often I hear a rider describe their horse as brilliantly clever because it 'pretends to go lame' to avoid schoolwork, or jumping, or being ridden two days in a row!   Horses are just not that clever or complex!  It is complete nonsense to ascribe to the horse the ability to pretend to limp to avoid a particular kind of work!  Far more likely is that the horse is suffering from a minor lameness ALL THE TIME but particular types of work bring it to the fore such that the rider notices it.  Take the hunter who hunts all day, taking jumps in its stride and is totally 'sound' on the field.  Yet, take him into a dressage arena to do some schoolwork or suppling exercises and he shows signs of lameness.  It is not that he is putting it on to avoid work he does not enjoy.  It is simply that the excitement of the hunt takes his mind off whatever is hurting him.   It is always true that whatever problem the horse has it will become more apparent the more the horse is ridden.  Of course that is not the same as saying that the horse does not have a problem until it is in regular hard work.  The basic problem may be there every time the horse is ridden but the rider simply does not recognise it as a physical problem until more regular work exacerbates it enough to make the horse overtly lame or simply unrideable.  These early signs that the horse has a physical problem are usually of a behavioural nature and can be as little as the horse becoming difficult to catch in the field!        In the following pages we will take a closer look at some of these early signs in relation to saddling problems.  The reader should be aware that other problems may also be present and it is important to examine the horse thoroughly to ensure that he is comfortable in his feet and in his back as well as being nutritionally sound if he is to perform at his best.   THE HORSE'S BACK     The centre of gravity of the stationary horse lies just behind the elbow and about two‑thirds of the way below the topline.  This tends to pull the back down making it hollow.  Ligaments and muscles resist this pull to keep the back from sagging under the weight of the horse's gut.  Very fat horses and  regular broodmares will develop sagging backs as the muscles and ligaments lose tone and strength and give way to the gravitational pull of the body cavity.  Similarly, if these ligaments and muscles are not correctly developed to carry the additional weight of saddle and rider, the horse's back will sag.     When a horse has developed, for whatever reason, a dipped or 'sway' back the whole of the horse's movement will be affected and it will be in much discomfort with a rider on its back.  It will develop its movement in such a way as to alleviate its discomfort as much as possible.  This, in time will give rise to extra strain on the horse's locomotory muscles, tendons and ligaments.  Long term foot problems may also develop as the horse puts its feet to the ground in an unnatural way to relieve discomfort in its topline.  Similarly tendon and ligament problems can arise from the uneven pressures exerted on them.      Foot problems can give rise to back pain.  This is generally accepted by vets who will almost always suspect lameness in a limb when presented with a horse with a 'back problem'.  That the two often go together cannot be denied, however the scenario of a back problem existing as the cause of the foot/limb lameness is often  overlooked. In this case, no amount of corrective therapy directed at the foot will cure the problem unless the back problem is first addressed.     It appears that the prime source of back pain in horses is muscular in its origin.  (Eventually this can give rise to problems in the spine itself ‑ or more specifically the spinous processes which rise out of the spine).  Many muscle groups work together or in opposition to produce movement of the horse's limbs and hence motion over the ground.  When one or more of these muscular functions is prevented from correct action then strain will arise and the horse will be forced to develop a compensatory way of going.  This will result in uneven development of the locomotory muscles which will be obvious to the trained observer.     The horse's spine is well protected by layers of muscle so the scenario of a slipped disc is rare in the horse.  Much more common is muscle and/or ligament damage and a great many horses suffer very real pain due to sore back muscles.  Once again, as the horse rarely vocalises its discomfort, it will demonstrate the response to back pain in its behaviour.  Here are some clues:                 1.  Difficult to catch in the field, when in regular work.             2.  Shies away from saddling, swishes tail, stamps a foot, lays ears back when saddled.             3.  Tosses head up, stamps, kicks up at belly, tries to bite or snaps teeth in the air when girth is tightened.             4.  Will not stand still for mounting.             5.  Drops back when rider mounts ‑ so‑called 'cold back'. (There is no such thing as a 'cold' back ‑ only sore backs)             6.  Calm, easy‑going horse in hand who gets 'silly' under saddle:  always jogging or wanting to go faster, cantering sideways, bucking, etc.             7.  Star‑gazing, hollow outline ‑ difficult to get on the bit. 8.  Hops rider off one particular diagonal, reluctance to canter on one lead, difficult to trot uphill, often preferring to canter.             9.  Rushes fences or refuses to jump.             10. Drags back toes, creating more wear on the toes of back feet.             11. Tendency to overreach or forge, tripping, head shaking, tail swishing.             12. Dropped at the loins with a tendency to leave back legs behind or take small steps with back legs; as if walking in stiletto heels! 13.  Reluctance to travel, difficult to box.     Each of these is a sign that all is not as it should be.  Taken individually some of these signs could be due to a schooling problem, foot problem or management problem, however a combination of several of these would certainly indicate pain in the back and further investigation is warranted.     Stand the horse square on a level surface and look at the muscles on its hindquarters ‑ are they the same on both sides?  Now look along the horse's back to its shoulders ‑ are both shoulders evenly developed?  Look at the long back muscles, are they well developed or do they fall away from the spine, giving the spine a promonent look in an otherwise well covered horse?  When ridden does the saddle habitually fall away to one side?  Does one stirrup always feel shorter than the other?  Now gently feel along the horse's muscles on either side of the spine.  If there is a sore bit the horse will indicate this by raising its head sharply, swishing its tail or stamping a foot and shaking its head or it may vibrate the skin as if �ticklish�.  Not all horses react in the same way, indeed some horses with very sore backs will tense their muscles in anticipation of the pain and so will appear not to react at all.     Facing the fact that your horse could have a sore back is not easy.  Naturally it is difficult to accept that you may be causing your much‑loved pet pain whenever you ride it and so it is easier to listen to 'knowledgeable' people who will convince you that the horse is merely badly trained or temperamental.  Sometimes they may be right as 'backs' can originate from many different causes, here are a few:     1.  Improper foot balance causing deviation of flight of limb. 2.  Poor schooling with horse's head held too high or too tightly, causing the back to hollow. 3.  Lameness in one or more limbs, causing the horse to compensate with poor posture. 4.  Poor posture of rider. 5.  Saddle's weight bearing area too small for weight of rider. 6.  Saddle fitted too far forward and pinching at the withers. 7.  Improper balance of saddle such that:                         a.  rider's weight thrown forward onto wither area, b.  rider's weight thrown back onto loins,             c.  saddle bouncing on loins.             8.  Saddle twisted, causing uneven weight distribution from side to side.             9.  Saddle sitting fore and aft and not in contact with the horse's back in the middle.    Assuming that the majority of back problems arise from saddles and their fitting that is what we will examine in more detail.     WEIGHT‑BEARING AREA OF SADDLE     With the horse's comfort in mind, a saddle should distribute the rider's weight over as large an area as possible on the horse's back.  Consider carrying a rucksack with very narrow straps compared to one of the same weight with wider straps.  The wider straps distribute the weight of the rucksack over a wider area and so the burden is easier to carry.  Technically, the wider the straps the fewer pounds per square inch of pressure is exerted.  The principle is the same for a saddle on a horse's back.     Put chalk or powder on the horse's back, grease the saddle and sit this on the powder.  The powdered area of the saddle is the bit to measure.  You may be surprised at how small a weight bearing area your saddle actually presents to the horse!     The heavier the rider the worse the problem for the tissues of the horse's back.  Too small a weight bearing area will put too much pressure on the horse and we risk causing damage to tissue.  The longer the ride the more pronounced the damage.  The heavier the rider the more weight‑bearing area the saddle must possess.      So much for weight‑bearing area which must be a priority when buying a saddle if the horse is to be worked regularly and in comfort.  Remember to check that the saddle fits the horse all the way along the weight bearing panels ‑ put your hand up under the centre of the saddle and check that it is not 'floating' in the middle.  The worst kind of damage comes from the table‑leg effect of a saddle which rests on the horse in front and behind while bridging the middle.  Consider how little actual load‑bearing surface you have then!  (Western saddles can be particularly bad in this respect as the 'skirts' often do not fully distribute the weight.  The rider is effectively sitting on the four points of the saddle tree).      THE THORACIC SLING  To understand the effect that a saddle has on a horse's ability to maintain its natural balance and equilibrium, it is important to note that the thorax of the horse is not attached to any part of the forelimbs by any form of bony or rigid union.  It is suspended between the two shoulder blades, cradled within a sling made of muscles.  The horse has no collar bone.     The thorax has therefore a great deal of lateral movement which is necessary to allow the horse to carry out 'bending' movements.  A horse 'bends' round a pole by moving its forelegs away from and towards its body ‑ the actual body does not bend at all.     When we place a saddle on a horse we must aim to keep an even balance on either side of the shoulder girdle ‑ especially important when you realise that the horse has no collar bone.  Consider a person walking towards you carrying two identical buckets.  One bucket has a ten pound weight in it and the other bucket is empty.  How long would it take you to work out which bucket was empty?  You would probably be able to tell in a few strides due to the compensatory posture of the person trying to manage the uneven load.   If one side of a saddle is slightly higher than the other then this will concentrate more of the rider's weight onto the lower side.  This will force more weight onto that leg when the horse moves.  Conversely, the opposite front leg will be freer and therefore more able to work in the correct manner.  The eventual outcome of this will be to build more muscle on the freer side than on the side which is propping the extra weight.     When the horse is in motion it will compensate for the uneven load but this may be imperceptible to all but a very few well‑trained observers.  Remember the thoracic sling ‑ with no collar bone the horse compensates in a more subtle way!  The horse may well go on for years without any 'obvious' adverse effects, however, in a relatively short time it will have muscle discrepancy which can be detected by any informed owner.     When the rider adopts rising trot the concussive effect of the 'sit' phase doubles the rider's weight as it meets with the horse's back.  Thus, when the rider sits on the shoulder which is already bearing more weight then the horse will often break stride and canter or simply 'hop' the rider over to the other diagonal.  The horse  immediately feels more comfortable because the rider is helping with the equilibrium of his thoracic sling by placing more weight on the lighter, freer side ‑ the imbalance of the saddle is thus evened out to an extent that the horse can cope with and therefore maintain trot.     This imbalance need not be much.  As little as 1/4 inch can give the horse a 'favourite' diagonal in trot or a 'favourite' canter lead ‑ depending, of course, on your weight and how much you ride the horse!     THE PECTORAL MUSCLES  In simplification, the pectoral muscles are an essential part of the thoracic sling and of the forward thrust of the horse's body over his front legs.  The effect of saddle imbalance often gives rise to tenderness in these muscles.  Thus, when the horse is girthed it may show its discomfort (or even anticipation of the girth) in a number of ways:  tossing head in the air, snapping teeth, stamping a front foot or kicking at belly with a back foot.  Very bad cases may run backwards or even collapse!      THE TRAPEZIUS MUSCLE  The trapezius muscle is a flattened triangular sheet of muscle, the base of which covers the area from the midline of the neck, withers and thorax.  The apex of the triangle is inserted into the spine of the scapula along with other muscles which are important for the movement of the horse's front legs. (For the sake of simplicity, we will ignore these other muscles as long as the reader accepts that an adverse effect on one muscle group will have an effect on others).  Suffice it to say that the trapezius is responsible for the lifting of the front legs.  The higher the head carriage, the higher the steps.  (This is why ewe‑necked horses always have a high knee action).     The front arch of the typical modern saddle straddles the trapezius muscle over the wither or thorax of the horse.  The inevitable effect of this is to cause pinching to the trapezius muscle thus making it uncomfortable for the horse to stretch out its head and neck and use the muscle strongly to lift its legs to any degree.  Foreleg movement may appear jerky as the horse tries to cope with the pain.     An arched surface cannot bear weight without being pinched!  Consider the effectiveness of the old‑fashioned 'dolly' clothes pegs.  These were very effective in holding clothes on the washing line because they employed just this principle;  they were merely pushed onto the line over the cloth and the cloth was pinched into security.  In the same way the arched surface of the horse receives compressive forces from the weight of the rider on the saddle arch, in effect the trapezius muscle is being pinched like the clothes under the dolly peg.     This pinching will be exacerbated if the saddle is tipping the rider's weight forward.  Most of the rider's weight will then be concentrated on the front arch of the saddle thus transferring too many pounds per square inch onto a small area.  The horse's freedom of movement will be affected, its strides will become 'jerky' but it may still feel quite even in its gaits to all but the purist.  It will certainly be unhappy and it may well trip frequently, especially towards the end of a ride or when going downhill.     The next time you ride your horse push your fingers under the front forks of your saddle.  If your fingers are pinched and uncomfortable the chances are that your horse feels the same!     Raise the saddle in front to level out the rider's weight, minimize the pinching of the trapezius and, as long as the damage is not too deepset, the horse will be more comfortable.     THE LONGISSIMUS DORSI  The longissimus dorsi is the longest muscle in the horse's body.  Broadly speaking, it travels the length of the horse's back from wither region to cover the lumbar region.  As far as we are concerned, its importance lies in its action as a brace for the horse's spine, holding the spine rigid to allow the muscle mass of the hindquarters to pull against it for hindleg leverage.  The longissimus dorsi fires sequentially along its length.  If its function is impaired then its effectiveness in holding the spine up will be affected, the pull of the muscles of the hindquarters will not be at optimum level and the horse will find it difficult to track up with its hindlegs ‑ in effect it will 'leave its hindlegs behind'.  This will be most noticeable in the faster gaits and especially so in upward transitions.     If the saddle has too little weight‑bearing area this will interfere with the sequential firing of the longissimus dorsi.  Over a period of time (depending on how often the horse is ridden) the horse's back will appear dropped and it will become 'sway‑backed'.  Ultimately, this can lead to the tips of the lumbar vertebrae touching each other and eventually fusing.  With the fusion the pain will be lessened but the horse's athletic movement, even free in its field, will be forever impaired.     The above situation may take years to occur but in the meantime the horse just is not quite 'engaging its hocks' or it may drag the toes of its back feet, especially downhill, perhaps making your farrier comment on the fact that it is lazy because it wears the toes of its hind shoes excessively!     Even when the calculated load bearing surface of the saddle is adequate for the rider, if the saddle is tilted backwards then too much weight will be concentrated on too small an area.  The same situation occurs when the rider habitually leans back in the saddle ‑ discomfort and impaired movement of the hindquarters with eventual muscle and bone damage to the horse!     When the horse drops its back and drags its hindlegs in this way it is also inclined to raise its head.  Thus the action of the trapezius will give more 'lift' to the front legs making the horse seem falsely light in front, to the uninformed rider.  The keen observer will be appalled at the lack of harmony and grace which such a stilted outline gives to the eye.  In fact the horse is not going well at all, it is merely compensating for pain.  It will often open its mouth in a silent scream of despair only to be shut up by the addition of an over‑tightly winched drop nose band!     FITTING A SADDLE     We have already examined the effects of the load‑bearing surface of the saddle and also the balance from side to side and from front to back.  Now we will look at the correct place to put the saddle and how it should fit the horse.     Any good book on horse management will tell you that the saddle must be clear of the horse's spine along the full length of the channel.  The front arch of the saddle must be well clear of the horse's wither when the rider sits in the saddle.  That is basic and there is no excuse for raw withers from saddles which press down on them!  There is also no excuse for the all‑too‑often‑seen white patches either side of the horse's wither from saddle pressure!  These are indications of extreme damage to the horse who must have experienced very real pain    under saddle before these dramatic signs appear.     As we have said, the saddle must clear the horse's spine along the full length of the channel, it must be evenly balanced fore and aft so that the rider is not tipped forward or backward, it must be balanced from side to side so that the rider is sitting evenly on the horse.  What we have not yet looked at is where the saddle should sit on the horse.     Most people tend to place the saddle too far forward on the horse such that it sits over the horse's wither.  The effect of this is that of the dolly clothes peg pinching the trapezius muscles and inhibiting the lift of the front legs.  Another effect is that the saddle presents an obstruction to the rotation of the shoulder blades.  If you are unaware of how much movement there is in the shoulders when a horse moves try leading your horse down a hill without a saddle, watch the  tip of the shoulder and notice how much rotation there is.  Now put your saddle on the horse over its wither and ride down the same hill.  Place the tips of your fingers under the front of the saddle where it rests on the side of the wither.  Are your fingers pinched?  If they are then your horse is being pinched!  Can you see a bulge of muscle appearing against the front of the saddle as the horse's shoulder moves back?  If so then your horse will not stride out as it should.     If you now suspect that your saddle has been pinching your horse or in some way causing him discomfort there are several things you can examine for yourself.  If you use a numnah or saddle cloth examine this for marks. If the saddle is exerting too much pressure on one place then this part will show more grease or wear.  It is not  uncommon to find two dirty spots at the front of the numnah which correspond to pressure points on either side of the wither.     Having examined the saddle cloth you can now examine the horse for signs of pressure or friction.  Take the horse out for its normal ride then leave it in the stable for an hour or so.  If the saddle has been exerting undue pressure on the horse you will be able to detect fluid filled raised patches.  Gently run your hand over the saddle area and be aware of any slightly warm or raised areas.  If you find a raised area, gently push your finger into it.  If this is filled with fluid it will leave a slight indentation.  These are commonly found in the wither area.  At the back of the saddle patch you may also detect fluid‑filled areas or you may find ruffled hair or warm patches caused by friction rubs.     Another sign of too much pressure on too small an area becomes obvious when the horse has sweated under saddle.  If there is evidence of patches which dry out more quickly than the whole area then these patches are exhibiting heat generated by a rush of blood to a damaged area.      If the horse is to be comfortable under saddle then all of these signs of initial damage must be taken very seriously indeed before the horse develops 'temperamental' behaviour or suffers the deep tissue damage  exhibited by white hairs or even open sores!  If the saddle is sound and true it may simply need more stuffing to make it fit the horse properly.  Or, it may fit better when placed further back off the horse's wither area and therefore free of its shoulders.     Think on how successful the American Indians were as horsemen.  Their horses were ridden without saddles and they habitually sat in the correct place on the horse's back.  You will not find drawings of them perched over their horses' withers.  Their weight was spread over buttocks and thighs which did not present as a rigid structure in the same way as a saddle necessarily does.  Their movements were fluid and very much in tune to the movement of the horse's muscles ‑ otherwise they would simply fall off!   However if the damage has been longterm then the horse may be worse ridden bareback.     BACK PADS     Back pads can be a mixed blessing to the horse.  Whereas a pad will help to lessen the concussion and help to spread the load there is a danger that they will increase the pinching over the wither area and therefore the trapezius muscle.  There are some excellent pads on the market which will help the horse to cope but they must be used with caution.  The best of back pads is no compensation for a saddle which does not fit the horse and indeed they can make matters worse.  The only time I would recommend the use of a good back pad would be where the saddle was a good fit for the horse but had insufficient load‑bearing surface for the weight of the rider.  In this case a pad may help the horse to cope better but I would still prefer that a better saddle was found.     TRAPEZIUS SADDLES     One saddle built on a different principle to the modern British saddle is the 'TRAPEZIUS'.  I have used these saddles on a number of horses with minor back problems and have found that the horses not only go better but in many instances previous damage is lessened.  Of course some horses have suffered so much damage to deep tissue that they cannot be ridden in comfort in any saddle.  As with all things, prevention is better than cure!        I would recommend a TRAPEZIUS to anyone who had the best welfare of their horse at heart.  Why is it different?  The extra wide load‑bearing surface is detached from the seat which carries the rider.  That is to say that the rider is held in an immovable seat while the panels which lie on the horse's back are free‑floating and move with the movement of the horse in the way that a bareback rider would move to absorb the shock.  The saddle is designed such that the horse's shoulders cause the panels to flex out of their way thus lessening the  battering effect.  As the horse moves one side of its body in opposition to the other so do the TRAPEZIUS panels move independently with this movement.  The movement of the horse is thus less impeded than by more traditional modern saddles.     I visited a lady with a four year old stallion.  He had no particular problems when ridden out but would not go forward in the indoor school.  The owner put this down to the horse feeling enclosed.  We fitted him with a TRAPEZIUS saddle and he went forward freely in a way which was a joy to watch.  He carried himself beautifully in walk, trot and canter.  We put his regular saddle back on and he tried a few strides of trot and then stopped!  This young horse had not learned that he must put up with discomfort for the sake of going nowhere.   Another bonus with TRAPEZIUS saddles is that they  adjust very easily to fit different horses of the same type, or the same horse as it changes shape with its level of fitness or fatness!  The TRAPEZIUS tree is designed to fit the horse's frame while the panels adjust to fit the muscle.
Withers
What was the middle name of Mark Chapman, John Lennon’s killer?
How to Tack up a Horse: 14 Steps (with Pictures) - wikiHow Tack is the equipment used to for riding a horse. Learn the perfect way to get your horse ready to ride if you are a beginner or novice! Steps 1 Tie your horse. Cross ties, but you may use something else if your horse is used to it. If you tie your horse with the lead rope, it's always a good idea to do a quick-release (or "slip") knot! 2 Groom the horse. This can be a full groom - both brush the horse and pick out the feet with a hoof pick. As you groom, check the horse for lumps, bumps, swelling, and heat that could mean your horse is unsound. See Related wikiHows below. 3 If you want to do the bridle first, tie your pony's head-collar so that it is around his neck. This will make it easier for when you put the bridle on. If doing the saddle first, leave it on his face so he can't run away. 4 Put on the saddle pad/blanket/cloth. (If you are not going to ride straight away leave the nose band off until you are ready to ride. Place the front on the horse's withers, a bit higher than normal. Slide it down a bit so the hair will not be pushed down in an unnatural position. 5 Place the saddle gently on the horse's back. It should sit in the middle of the saddle pad. Again, make sure it doesn't interfere with the horse's shoulder. If it is sitting correctly, most of the time there will be a thin strip on the saddle pad that the saddle sits straight above, and should be coming out from directly underneath the pommel. Remember, if your horse has a martingale attach it before you start when you are putting on the saddle.Take note to also lift the top of the blanket (pad) into place, where the pommel on the saddle is. It's easiest to lift both blanket AND saddle up, so they can come down gently from a few centimetres above the withers. 6 Put on his cinch or girth. Some horses will bloat - if he is known to do this, tighten it gradually on both sides when he exhales so he can't do this and tighten it again prior to mounting. Ideally, you should have the girth about 3/4 as tight as you prefer it. If your saddle is unattached attach it with keepers. If using breast strap, or rear cinch, now is the time to position them. Move your horse at least three steps, forward or back. Tighten the cinch or girth again and do so gradually. 7 Put on the horse's boots. You may have to put on boots or polos but it depends on your horse's needs. Make sure the strap of the boots go from the inside of the horse's leg, wrapping around the front so the end if the strap is facing backwards on the outside of the leg 8 Unbuckle the cross ties. Put the reins over the horse's head. This is so they don't get tangled in all the other straps on the bridle and so that you will always have control over the horse. 9 Hold the crown, noseband, and throat latch in your right thumb, under and over the horse's head. This way, only the bit is being given and does not get tangled. Offer the bit into the horses mouth. Put a finger on each side of the bit and gently push against the horse's mouth. If the horse does not take in the bit, it is a good idea to put your thumb in the very corner of the horse's mouth where there is no teeth, and push on the horse's tongue. This will make your horse open his mouth. 10 Put the crown/headpiece of the bridle over the horse's ears. Some put in the farthest ear first, so the ear nearest will easily slide under. 11 Buckle the throat latch. When you buckle it, you should be able to put four fingers or a fist in between the throat and the throat latch. 12 If this question (or a similar one) is answered twice in this section, please click here to let us know. Video If you want to see the rest click on the link because it was in two videos. Enjoy! Tips When you attach the reins, always make sure the clips are facing outwards, so the clips don't rub against your horse's mouth. To help a shy horse take the bit, put a little honey or peppermint oil on it. Then praise them each time they take the bit to help them get used to it. In the winter, be sure to warm the bit so the horse will not become bit-shy. Make sure that when putting the bit in the horses mouth, you do not hit the horses teeth, or they will become sour to the bit. Always tighten the girth again once you have warmed up as horses tend to puff their stomach out when being tacked up. If after you've warmed up your horse still puffs his stomach out when you tighten his girth then tighten it as you walk, he cannot puff his stomach out and walk at the same time. Be careful they can kick you! When you go to pick your horse's hooves, bring the horse's hoof to you so to lessen the risk of being kicked. Have an experienced horse friend help you tack up the first few times! When approaching your horse with an item, always walk slowly so your horse won't spook. Place your hand on the horse's shoulder when in reach and never walk directly behind or in front of the horse. Avoid setting the saddle on the floor. Put it over a fence, door, a special rack or the horses back. If you must put the saddle down on the floor, put it on top of a rug or coat, leaning against a wall with the seat facing the wall, the pommel down and the cantle (that is the back of the saddle) resting against the wall with the girth over it to protect it from scratches. Have your horse or pony smell the item so they know what is happening to them. I always put the saddle slowly, so they are not spooked by the sudden weight. Know your horse - Some horses don't like to be rubbed or touched in certain places (for example the belly) so when you tack and untack be sure to be cautious around these places. If you do not know where these places are as the horse is not yours ask a more experienced rider or the owner of the horse. Always when training, praise your horse by giving him/her treats if you feel that they did well! Behave gently. Be friendly, gentle to the horse, and make sure everything is clean and hygienic before you start. Make sure you put the saddle and bridle on from the left side.This is not necessary, some people prefer to train their horse so that he will accept things from both sides. Always undo the back girth first in case he runs away because if you undo the front girth first and not the back girth the horse could spook and run off making the saddle go under their belly. Always be kind and gentle to the horse that you will be riding. If not, the horse can sense that and will not be as to ride as you want him to be. Also, DONT be scared! If you are, the horse will then become scared and will give you trouble as you ride him. Make sure your saddle fits your horse as it can cause discomfort. Some horses are "girthy", that is, they don't like their girth being tightened. They may attempt to bite you if you tighten their girth, so if your horse is like this, simply be wary. (Tip: When you first put the girth on; keep it loose at first. After leading your horse around for a few minutes tighten the girth again because the horse will have let out air. Gradual tightening the girth instead of tightening it all the way at once can help girthy horses.) Warnings While tacking up, never kneel down! Crouch if you need to, but never sit or kneel next to a horse, as they can accidentally or purposefully kick or step on you. If the stirrup bar is an old type it may be hinged to lock the stirrup in place. Always keep it down, to help prevent being dragged. Always wear a helmet when riding. Your helmet should never have had an impact or been stored improperly. It should be under 5 years old.
i don't know
According to legend, which Greek philosopher slept in a tub?
Greek Philosopher: Diogenes Greek Philosopher: Diogenes Updated on December 4, 2016 412 - 322 BC The celebrated Greek cynic philosopher who is said to have lived in a tub, wearing the coarsest clothing and living on the plainest food. Many of his sayings have been preseved, and serve for occasional quotation. 'Diogenes' by John William Waterhouse, 1882 About Diogenes Diogenes was born in Sinope, in Pontus, an Ionian Greek colony on the Southern Shores of the Black Sea (present-day Turkey). His father, Icesias, a banker, was convicted of debasing the coinage, and Diogenes, being implicated in the matter, was obliged to leave Sinope. He traveled to Athens, where he convinced the Cynic philosopher Antisthenes to take him as a disciple. Diogenes then plunged into a life of austerity and self-mortification. He wore coarse clothing, ate the plainest food, and accepted relief from the Athenians. He slept on bare ground, in the open streets, or under porticoes. His eccentric life did not, however, lose him respect of the Athenians, who admired his contempt of comfort. Practical good was the chief aim of his philosophy; and he did not conceal his disdain for literature and the fine arts. He laughed at men of letters for reading the sufferings of Odysseus while neglecting their own, and at orators who studied how to enforce truth but not how to practice it. On a voyage to Aegina he was seized by pirates and carried to Crete, where he was sold as a slave. When asked what business he was proficient in, he answered, "In commanding." He was purchased by a certain Xeniades of Corinth, who recognized his worth, set him free, and made him tutor to his children. Alexander the Great According to a popular story, on one occasion Diogenes had an interview with Alexander III, King of Macedonia. The king opened the conversation with "I am Alexander the Great", and the philosopher answered, "And I am Diogenes the Cynic". Alexander then asked him in what way he could serve him. "You can stand out of the sunshine," the philosopher replied. Alexander is said to have been so struck with the Cynic's self-possession that he went away remaking, "If I were not Alexander, I would wish to be Diogenes." Diogenes died at Corinth, according to tradition, on the same day as Alexander. Alexander the Great meets the Greek philosopher Diogenes of Sinope circa 335 BC. Related Links
Diogenes of Sinope
‘The Manassa Mauler’ was the nickname of which heavyweight boxing champion?
Plato - philosophers.co.uk Philosophers .co.uk Plato Claude Levi-Strauss (1908-2009) is one of France’s foremost thinkers of the 20th century. The celebrated philosopher and anthropologist is one of the key figures of structuralism and is along with Franz Boas and James George Frazer often referred to as the “father of modern anthropology” as he dramatically changed the Western perception of culture and civilisation. Plato (c. 428-427 BC ?€? 348-347 BC) is widely considered as one of the greatest thinkers of all times and is along his mentor Socrates and his student Aristotle regarded as one of the founders of Western science and philosophy. His thought is preserved in 26 dialogues which profoundly influenced the Western view of the world. Plato is also renowned as the founder of the Academy in Athens, the first higher education institution in the Western world. Name Controversy Diogenes Laertius, a biographer of ancient Greek philosophers reports that Plato’s real name was Aristocles, just like his grandfather’s. According to Laertius, the ancient Greek philosopher came to be known as Plato after his wrestling coach dubbed him Platon, allegedly for his robust figure as the Greek word “platon” translates into “broad”. According to later sources, Plato’s name is related to the broadness of his eloquence or the width across his forehead. Modern scholars, however, believe that the story about Plato’s name is a legend, arguing that Plato was a very common name in his time. Early Life Plato’s exact date and place of birth remain uncertain but he is thought to be born in Athens or the island of Aegina (17 miles south from Athens) sometime between 429 and 423. The celebrated ancient Greek philosopher was born into an influential aristocratic family. His father Ariston was according to the legend a descendant of Cordus, a semi-mythical king of Athens who ruled in the 11th century BC, while his mother was Perictione whose family was related to the renowned Athenian statesman, lawmaker and poet Solon. Plato’s mother was also Charmides’s sister and Critias’s niece. Both were notable figures during the so-called Thirty Tyrants, a pro-Spartan oligarchic regime that rose to power after the Athenian defeat in the Peloponnesian War in 404 BC. Plato grew up two brothers, Adeimantus and Glaucon, sister Potone and half-brother Antiphon. After the death of Plato’s father, his mother married her uncle Pyrilampes whom she bore her fifth child. Plato’s father is thought to have died while Plato was a child but the date of his death remains unknown. Education As a member of aristocracy, Plato was educated by the best teachers in Athens. He was initially a follower of Cratylus who introduced him to Heraclitean philosophy but he later became Socrates’s pupil and declared himself as his devoted follower in the dialogue ‘Apology of Socrates’. Relationship between Plato and Socrates isn’t fully understood but in the ‘Apology’, Socrates mentions Plato as one of the youths he was accused to have corrupted, asking why their fathers and brothers didn’t testify against him if the accusations were true. Later, Plato is also mentioned as one of Socrates’s students who offered to pay a fine in behalf of their tutor to save him from death penalty. Later Life After Socrates’s execution in 399 BC, Plato left Athens. He is thought to travel around Greece, Italy, Sicily, the ancient Greek colony of Cyrene (in present-day Libya) and Egypt. He returned to Athens in 387 BC at the age of 40 and founded the Academy, the first known higher education institution in the Western world. Plato’s Academy operated until 84 BC when it was destroyed by Roman general and later dictator Lucius Cornelius Sulla. In the early 5th century AD, the Academy was reopened by the Neoplatonists but it was permanently closed by Byzantine Emperor Justinian I in 529. He saw it as a threat to Christianity despite the fact that the latter borrowed much from its founder’s philosophy. During his later life, Plato became involved in politics of the city of Syracuse in Sicily which was at the time a Greek colony. Diogenes Laertius reports that Plato first visited the city during the reign of the tyrant Dionysius the Elder (c. 432-367 BC) and impressed the tyrant’s brother-in-law Dion who became his follower. The tyrant, however, eventually turned against the philosopher and sold him into slavery. He nearly died in Cyrene before he was bought freedom and sent home by an admirer. However, Plato was asked to return to Syracuse after Dionysius’s death by Dion to become tutor to his nephew and the new king Dionysius II. The latter is thought to accept his teachings but the king distrusted Dion whom he had expelled from Syracuse. Plato was kept against his will by Dionysius II but he was eventually allowed to leave. Death Circumstances surrounding Plato’s death remain uncertain. There are several accounts of his death, however, almost every account offers a different explanation. According to one account, he died in his bed while a young girl played on a flute, according to the second, he died on a celebration of a wedding and according to the third, he simply died in sleep. Works and Influence Although both life and works of Plato are surrounded by a number of legends and myths and despite the fact that many accounts are dubious, the influence of his thought on science and religion is perhaps greater than of any other individual. Directly or indirectly (mainly through Aristotle), Plato’s view of the world dominated until the scientific revolution in the 17th century, while his arguments to prove that God exists and that human soul is immortal found their way into Christian theology. Plato’s works encompass 26 dialogues which are traditionally divided into early, middle and late period. Some of the most notable works of early period include: Apology of Socrates Of middle period dialogues, the most prominent are: Republic Most important late period dialogues include: Sophist Critias Timaeus Plato is also attributed 13 letters of which is best known the so-called Seventh Letter. However, authenticity of many is disputed which is also the case with some dialogues that are traditionally associated with Plato. Famous Philosophers
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What acid does the stomach use to break down food?
How does Stomach Acid Break Down Food? (with pictures) Hobbies How does Stomach Acid Break Down Food? Originally Written By: Brendan McGuigan Revised By: Phil Riddel Last Modified Date: 17 January 2017 Copyright Protected: Top 10 amazing movie makeup transformations Stomach acid, or gastric juice, is mostly made up of hydrochloric acid (HCl), with a good amount of sodium chloride and potassium chloride as well. This acid helps break down food by dissolving some of the bonds in protein molecules, then activates enzymes that further separate these compounds, allowing them to be used by the body. Other nutrients, like carbohydrates and fats, are primarily broken down in the intestines, not the stomach. Production The stomach contains oxyntic cells (also called parietal cells), which release hydrochloric acid in response to a number of different factors. Seeing, smelling, tasting or even thinking about food, for example, causes the brain to send signals to the stomach to prepare it for food to arrive. Once in the stomach, chemicals in the food cause more gastric juice to be produced, as does the stretching the stomach wall. When food leaves the stomach, new signals are sent to stop more acid from being released. Breakdown of Food Hydrochloric acid denatures the proteins in food, which means that it breaks the bonds that allows the molecules to hold their shapes. This exposes the peptide bonds that hold together the amino acid units that make up the protein molecules. At the same time, HCl activates an important enzyme, pepsinogen, by turning it into pepsin . The pepsin then breaks the peptide bonds in proteins, freeing the amino acids and allowing them to be absorbed by the body. In addition to helping to break down food, HCl also acts as a sort of safety mechanism to help protect the body against dangerous bacteria that may have been ingested with food or water. Its pH is typically between 1 and 2, which is very strong. The highly acidic environment is deadly to the vast majority of harmful bacteria and other microorganisms, helping to wipe out the bulk of intruders before the immune system even has to get involved. Although not a perfect defense, it helps reduce the workload on the body’s later defenses. Once the stomach acid has done its job of breaking down the proteins in food, the resulting material is sent onward. Additional digestive juices are secreted from the pancreas and liver into the intestines, where they break down carbohydrates and fats. The small and large intestines take this material and absorb all of the vital nutrients that they can from it. Then, once processed as completely as it can be, the remainder is passed out of the body as waste. Problems Caused by Stomach Acid When food is swallowed, it goes down a long tube called the esophagus , which has strong muscles at both ends and a valve at the bottom that is meant to stop juice from the stomach from making its way in. Sometimes, however, this valve does not do its job properly, and fails to keep all of the acid out, allowing some to leak into the esophageal tissue. When this happens, the HCl in the tissue creates a burning sensation known as heartburn , and sometimes an acidic taste in the back of the throat. Since gastric juice is so strong, the lining of the stomach has to have a defense mechanism to protect itself from damage. It produces mucus that is high in bicarbonate, an alkaline substance that coats the lining of the stomach, neutralizing any acid that comes into contact with it. Sometimes, this mechanism doesn’t work effectively for a number of different reasons, such as overproduction of HCl, lack of sufficient blood supply, or the bacterium Helicobacter pylori, which can infect the stomach’s mucus layer. When this protective function is impaired, the acid can damage the lining, which may result in a gastric ulcer . Underproduction of HCl can also be a problem. Many essential vitamins are tightly bound to proteins, and if these cannot be broken down effectively, a person may develop a vitamin deficiency, even with a diet that includes enough of them. A lack of acid also undermines the body’s defenses, since bacteria and other dangerous agents might not be destroyed completely. People with low acid production may be more likely to suffer from gastrointestinal infections and illnesses. Ad
Hydrochloric acid
In which county is Bosworth Field, site of the famous battle of 1485?
BBC Science & Nature - Human Body and Mind - Organ Layer Location: Between a muscular tube called the oesophagus and the small intestine Physical description: A J-shaped elastic sac which is the widest part of your digestive system Function: Storing food, breaking food down and mixing it with juices secreted by your stomach lining Food store Your stomach is a short-term food-storage facility. This allows you to consume a large meal quickly and then digest it over an extended period of time. When full, your stomach can hold around one litre of chewed up food. Swallowed food is propelled down your oesophagus into your stomach. Food is enclosed in your stomach by two circular muscles, known as sphincters. Chemical breakdown As soon as food enters your stomach, your stomach lining releases enzymes that start breaking down proteins in the food. Your stomach lining also secretes hydrochloric acid, which creates the ideal conditions for the protein-digesting enzymes to work. The potent hydrochloric acid kills bacteria, protecting your body from harmful microbes which can enter your body in food. Your stomach protects itself from being digested by its own enzymes, or burnt by the corrosive hydrochloric acid, by secreting sticky, neutralising mucus that clings to the stomach walls. If this layer becomes damaged in any way it can result in painful and unpleasant stomach ulcers. Physical breakdown Waves of muscular contraction along your stomach wall, known as peristalsis, break food down into smaller pieces, mix it with fluids secreted from your stomach lining and move it through your stomach. This creates a mixture that resembles thick cream. Release of food into small intestine When food has been broken down sufficiently, small amounts are squirted out of your stomach into your small intestine for further processing. This normally occurs within four hours of eating a meal, but can take six or more hours if your meal has a high fat content.
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Charles Dickens was born in which English town in 1812?
Charles Dickens is born | World History Project Charles Dickens is born Charles Dickens was born on February 7, 1812 in Portsmouth. His parents were John and Elizabeth Dickens. Charles was the second of their eight children . John was a clerk in a payroll office of the navy. He and Elizabeth were an outgoing, social couple. They loved parties, dinners and family functions. In fact, Elizabeth attended a ball on the night that she gave birth to Charles. Finances were a constant concern for the family. The costs of entertaining along with the expenses of having a large family were too much for John's salary. In fact, when Charles was just four months old the family moved to a smaller home to cut expenses. Mary Weller was an early influence on Charles. She was hired to care for the Dickens children. Her bedtime stories, stories she swore were quite true, featured people like Captain Murder who would make pies of out his wives. Source: Perry Internet Consulting Added by: Kevin Rogers Charles John Huffam Dickens, FRSA (pronounced /ˈtʃɑrlz ˈdɪkɪnz/; 7 February 1812–9 June 1870), pen-name "Boz", was the most popular English novelist of the Victorian era, and one of the most popular of all time. He created some of literature's most iconic characters, with the theme of social reform running throughout his work. The continuing popularity of his novels and short stories is such that they have never gone out of print. His early years seem to have been an idyllic time, although he thought himself then a "very small and not-over-particularly-taken-care-of boy".[5] He spent time outdoors, but also read voraciously, with a particular fondness for the picaresque novels of Tobias Smollett and Henry Fielding. He talked, later in life, of his extremely poignant memories of childhood, and of his continuing photographic memory of the people and events that helped to bring his fiction to life. His family's early, moderate wealth provided the boy Dickens with some private education at William Giles's School, in Chatham.[6] This time of prosperity came to an abrupt end, however, when his father spent beyond his means in entertaining and in retaining his social position, and was finally imprisoned at Marshalsea debtor's prison. Shortly afterwards, the rest of his family joined him in residence at Marshalsea, south of the Thames, (except for Charles, who boarded in Camden Town at the house of family friend Elizabeth Roylance).[7] Sundays became a treat, when with his sister Fanny, allowed out from the Royal Academy of Music, he spent the day at the Marshalsea.[8] The prison provided the setting of one of his works, Little Doritt, and is where the title character's father is imprisoned. Source: Wikipedia Added by: Kevin Rogers Charles Dickens was born at Landport, in Portsea, on February 7, 1812. His father was a clerk in the Navy Pay-office, and was temporarily on duty in the neighborhood. Very soon after the birth of Charles Dickens, however, the family moved for a short period to Norfolk Street, Bloomsbury, and then for a long period to Chatham, which thus became the real home, and for all serious purposes, the native place of Dickens. The whole story of his life moves like a Canterbury pilgrimage along the great roads of Kent. Charles was born and grew up in a paradise of small prosperity. He fell into the family, so to speak, during one of its comfortable periods, and he never in those early days thought of himself as anything but as a comfortable middle-class child, the son of a comfortable middle-class man. The father whom he found provided for him, was one from whom comfort drew forth his most pleasant and reassuring qualities, though not perhaps his most interesting and peculiar. John Dickens seemed, most probably, a hearty and kindly character, a little florid of speech, a little careless of duty in some details, notably in the detail of education. His neglect of his son's mental training in later and more trying times was a piece of unconscious selfishness which remained a little acrimoniously in his son's mind through life. But even in this earlier and easier period what records there are of John Dickens give out the air of a somewhat idle and irresponsible fatherhood. He exhibited towards his son that contradiction in conduct which is always shown by the too thoughtless parent to the too thoughtful child. He contrived at once to neglect his mind, and also to over-stimulate it.
Portsmouth
What name do Toyota give to their luxury vehicle division?
Charles Dickens | Literawiki | Fandom powered by Wikia Share Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you’ve made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. An 1859 portrait of Charles Dickens by William Powell Frith. Charles John Huffam Dickens (February 7, 1812 - June 9, 1870) was an English writer . Many of his stories deal with the injustices he saw in his society. Most of his novels were originally written as serials , that is published chapter by chapter, usually in a magazine. This manner of publishing meant that his novels often had cliff hangers at the end of each chapter, to keep people waiting eagerly for the next installation. Biography Charles Dickens was born in Portsmouth, Hampshire on 7 February 1812, to John and Elizabeth Dickens. His father, John, worked as a clerk in the Navy Pay Office, which allowed Charles to be privately educated at William Giles' School, in Chatham. Unfortunately at the age of nine, Charles’ father; along with the rest of his family were sent to Marshalsea debtor’s prison. Charles was spared custody and was sent to live with a close family friend, Elizabeth Roylance in Camden Town, London. Mrs Roylance was later immortalized as Mrs Pipchin, in Dombey and Son. Charles took a job at Warrens blacking factory in order to aid the plight of his family. In later life he recalled his experiences to John Forster, a biographer and close friend. "The blacking-warehouse was the last house on the left-hand side of the way, at old Hungerford Stairs. It was a crazy, tumble-down old house, abutting of course on the river, and literally overrun with rats. Its wainscoted rooms, and its rotten floors and staircase, and the old grey rats swarming down in the cellars, and the sound of their squeaking and scuffling coming up the stairs at all times, and the dirt and decay of the place, rise up visibly before me, as if I were there again. The counting-house was on the first floor, looking over the coal-barges and the river. There was a recess in it, in which I was to sit and work. My work was to cover the pots of paste-blacking; first with a piece of oil-paper, and then with a piece of blue paper; to tie them round with a string; and then to clip the paper close and neat, all round, until it looked as smart as a pot of ointment from an apothecary's shop. When a certain number of grosses of pots had attained this pitch of perfection, I was to paste on each a printed label, and then go on again with more pots. Two or three other boys were kept at similar duty down-stairs on similar wages. One of them came up, in a ragged apron and a paper cap, on the first Monday morning, to show me the trick of using the string and tying the knot. His name was Bob Fagin; and I took the liberty of using his name, long afterwards, in Oliver Twist." The time spent at Warrens blacking factory was later fictionalized in his most autobiographical novel 'David Copperfield' and 'Great Expectations'. It was these experiences that cemented his views on the poor treatment of the working classes and the Victorian class system. Dickens used his novels to highlight the horrendous conditions and social injustices of the poor. His humanization of the lower classes was often shocking and much criticized by the upper classes. The death of John Dickens’ paternal grandmother and her bequest to the family of £450 allowed John to secure their release from prison. Unfortunately, Charles’ mother; Elizabeth, did not send for him and he remained in the service of Warrens blacking factory for some time. Eventually, Charles was able to complete his education at Wellington House Academy. In May 1827 Charles left the academy and took a position as a junior clerk in the law office of Ellis and Blackmore. His experience gained here allowed him to move on to become a freelance reporter of Doctor’s Commons where he remained for a further four years. In the coming years his reputation as a reporter grew and he became a political journalist, commenting on local and national election campaigns. Charles married Catherine Thompson Hogarth on 2nd April 1836 and during their marriage he fathered ten children. The marriage, although not short, did not last and the couple separated in 1857. Charles never divorced, however; he continued a relationship with his mistress Ellen Ternan, an actress he hired for his play ‘The Frozen Deep’. He remained with Ellen until his death. Charles Dickens died at home on June 9th 1870 after suffering from a stroke. At the time of his death his obituary in The Times alleged his last words to have been: “Be natural my children. For the writer that is natural has fulfilled all the rules of art.” His epitaph was printed and circulated on the day of his funeral and reads: "To the Memory of Charles Dickens (England's most popular author) who died at his residence, Higham, near Rochester, Kent, 9 June 1870, aged 58 years. He was a sympathizer with the poor, the suffering, and the oppressed; and by his death, one of England's greatest writers is lost to the world." Selected works Some of his more well known works are: The Pickwick Papers (1837) The Adventures of Oliver Twist (1839) The Life and Adventures of Nicholas Nickleby (1839) The Old Curiosity Shop (1841) Barnaby Rudge: A Tale of the Riots of 'Eighty (1841) The Christmas Books: Hard Times: For These Times (1854) Little Dorrit (1857) The Mystery of Edwin Drood (1870) The Lazy Tour of Two Idle Apprentices (1890)
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Six states of the USA have mountains whose names include what animal?
United States United States OFFICIAL NAME: United States of America FORM OF GOVERNMENT: Constitution-based federal republic LANGUAGES: English, Spanish (no official national language) MONEY: U.S. dollar AREA: 3,794,083 square miles (9,826,630 square kilometers) MAJOR MOUNTAIN RANGES: Rocky Mountains, Appalachian Mountains MAJOR RIVERS: Mississippi, Missouri, Colorado American Flag Map of United States GEOGRAPHY The United States of America is the world's third largest country in size and nearly the third largest in terms of population. Located in North America, the country is bordered on the west by the Pacific Ocean and to the east by the Atlantic Ocean. Along the northern border is Canada and the southern border is Mexico . There are 50 states and the District of Columbia .   More than twice the size of the European Union, the United States has high mountains in the West and a vast central plain. The lowest point in the country is in Death Valley which is at -282 feet (-86 meters) and the highest peak is Denali (Mt. McKinley) at 20,320 feet (6,198 meters). PEOPLE & CULTURE Throughout its history, the United States has been a nation of immigrants. The population is diverse with people from all over the world seeking refuge and a better way of life.   The country is divided into six regions: New England, the mid-Atlantic, the South, the Midwest, the Southwest, and the West. European settlers came to New England in search of religious freedom. These states are Connecticut , Maine , Massachusetts ,  New Hampshire , Rhode Island , and Vermont .   The mid-Atlantic region includes Delaware , Maryland , New Jersey , New York , Pennsylvania , and the city of Washington, D.C. These industrial areas attracted millions of European immigrants and gave rise to some of the East Coast's largest cities: New York, Baltimore, and Philadelphia.   The South includes Alabama , Arkansas , Florida , Georgia ,  Kentucky ,  Louisiana , Mississippi ,  North Carolina , South Carolina , Tennessee , Virginia , and West Virginia , all of which struggled after the Civil War, which lasted from 1860-1865.   The Midwest is home to the country's agricultural base and is called the "nation's breadbasket." The region comprises the states of Illinois ,  Indiana , Iowa , Kansas , Michigan , Minnesota , Missouri ,  Nebraska , North Dakota , Ohio , South Dakota , and Wisconsin .   The Southwest is a beautiful stark landscape of prairie and desert. The states of Arizona , New Mexico , Oklahoma , and Texas are considered the Southwest and are home to some of the world's great natural marvels, including the Grand Canyon and Carlsbad Caverns.   The American West, home of rolling plains and the cowboy, is a symbol of the pioneering spirit of the United States. The West is diverse, ranging from endless wilderness to barren desert, coral reefs to Arctic tundra, Hollywood to Yellowstone . The states of the West include Alaska , Colorado , California , Hawaii , Idaho , Montana , Nevada , Oregon , Utah , Washington , and Wyoming . NATURE The landscape varies across the large country from tropical beaches in Florida to peaks in the Rocky Mountains, from rolling prairie lands and barren deserts in the West to dense wilderness areas in the Northeast and Northwest. Interspersed throughout are the Great Lakes, the Grand Canyon, the majestic Yosemite Valley, and the mighty Mississippi River.   The wildlife is as diverse as the landscape. Mammals such as bison once roamed freely across the plains, but now live only in preserves. Black bears, grizzlies, and polar bears are the largest carnivores. There are over 20,000 flower species and most came from Europe. There are more than 400 areas which are protected and maintained by the National Park Service, and many other parks in each state.   The bald eagle is the national bird and symbol of the United States and is a protected species. U.S. Dollar, Photograph by AP Images, U.S. Dept. of the Treasury GOVERNMENT & ECONOMY Citizens over the age of 18 years old vote to elect the President and Vice President of United States every four years. The president lives in the White House in the capital city of Washington, D.C.   There are two houses of Congress: the Senate and the House of Representatives. There are 100 senators, two from each of the 50 states and each serves a six-year term. There are 435 representatives who must be elected every two years.   The Supreme Court is made up of nine justices who are picked by the president and must be approved by Congress.   For the first time in the nation's history an African American, Barack Obama, was elected President of the United States in 2008. He was reelected for a second term in 2012.    Advances in the past hundred years have established America as a world leader economically, militarily, and technologically. America has the largest coal reserves in the world. HISTORY For centuries native peoples lived across the vast expanse that would become the United States. In the early 17th century, settlers moved from Europe to the New World, established colonies, and displaced the native peoples.   The settlers fought for their independence from Britain in the late 18th century and formed a union of states based on a new constitution. The nation continued to expand westward and although the country is a relatively young nation, it has become a global power since declaring independence from Britain on July 4, 1776.
Bear
Which 74-year-old veteran actor received a knighthood in the New Year Honours?
The Paleozoic Era Online exhibits : Geologic time scale The Paleozoic Era The Paleozoic is bracketed by two of the most important events in the history of animal life. At its beginning, multicelled animals underwent a dramatic "explosion" in diversity, and almost all living animal phyla appeared within a few millions of years. At the other end of the Paleozoic, the largest mass extinction in history wiped out approximately 90% of all marine animal species. The causes of both these events are still not fully understood and the subject of much research and controversy. Roughly halfway in between, animals, fungi, and plants colonized the land, the insects took to the air, and the limestone shown in the photo at right was deposited near Burlington, Missouri. The Paleozoic took up over half — approximately 300 million years (542 mya to 251 mya)* — of the Phanerozoic. During the Paleozoic there were six major continental land masses; each of these consisted of different parts of the modern continents. For instance, at the beginning of the Paleozoic, today's western coast of North America ran east-west along the equator, while Africa was at the South Pole. These Paleozoic continents experienced tremendous mountain building along their margins, and numerous incursions and retreats of shallow seas across their interiors. Large limestone outcrops, like the one pictured here, are evidence of these periodic incursions of continental seas. The Paleozoic Era is bracketed by the times of global super-continents. The era opened with the breakup of the world-continent Pannotia and closed with the formation of Pangea, as the Earth's continents came together once again. Many Paleozoic rocks are economically important. For example, much of the limestone quarried for building and industrial purposes, as well as the coal deposits of western Europe and the eastern United States, were formed during the Paleozoic. The Paleozoic is divided into six periods: the Cambrian , Ordovician , Silurian , Devonian , Carboniferous (in the U.S., this is divided into the Mississippian and Pennsylvanian Periods), and Permian . Most of these names derive from locations where rocks of these ages were first studied. Cambria was the Latin name for Wales, and the Ordovices and Silures were two Welsh Celtic tribes. The Devonian is named for Devonshire, England. The Mississippian is named for the upper Mississippi River valley, not the state of Mississippi, which has very few rocks of this age; however, the Pennsylvanian is named for the state of Pennsylvania. The Permian was described from rocks in the region of Perm, a town in the Ural Mountains of Russia. The exception to this naming convention is the Carboniferous; its name means "coal-bearing," and this is a time when extensive coal beds were formed around the world. Life Two great animal faunas dominated the seas during the Paleozoic. The "Cambrian fauna" typified the Cambrian oceans; although members of most phyla were present during the Cambrian, the seas were dominated by trilobites, inarticulate brachiopods, monoplacophoran molluscs, hyolithids, "small shelly fossils" of uncertain systematic position, and archaeocyathids. Although all of these except the archaeocyathids survived past the Cambrian, their diversity declined after the Ordovician. Later Paleozoic seas were dominated by crinoid and blastoid echinoderms, articulate brachiopods, graptolites, and tabulate and rugose corals. By the end of the Ordovician , life was no longer confined to the seas. Plants had begun to colonize the land, closely followed in the Silurian by invertebrates, and in the Upper Devonian by vertebrates. The early tetrapods of this time were amphibian-like animals that eventually gave rise to the reptiles and synapsids by the end of the Paleozoic. One of the earliest terrestrial tetrapod faunas known in the world is from Joggins , Nova Scotia. Land plants evolved rapidly into the vacant niches afforded them on land. By the end of the Devonian, forests of progymnosperms, such as Archaeopteris dominated the landscape. By the end of the Paleozoic, cycads, glossopterids, primitive conifers, and ferns were spreading across the landscape. The Permian extinction, 251.4 million years ago, devastated the marine biota: tabulate and rugose corals, blastoid echinoderms, graptolites, the trilobites, and most crinoids died out. One lineage of crinoids survived, but never again would they dominate the marine environment. Paleozoic fossil localities Aldan River, Siberia : Lower Cambrian fauna from this site in Yakutia, Siberia, trace the early evolution of animals with skeletons. Burgess Shale : One of the greatest fossil finds ever made is the Burgess fauna of British Columbia. Thousands of soft-bodied animal fossils paint us a picture of Cambrian marine life. Canning Basin, Australia : A great diversity of fossil gastropods has been uncovered in the Canning Basin. Glass Mountains, Texas : Permian fossils from the Glass Mountains are of shallow, warm-water marine life. House Range, Utah : A varied array of Cambrian critters has been found in the Wheeler Shale and the Marjum Formation, both of which are exposed in the House Range. Joggins, Nova Scotia : Carboniferous coal swamps were home to early tetrapods such as Dendrerpeton. Lake Winnipeg, Manitoba, Canada : The limestones of this region have preserved many spectactular fossils of Ordovician macroalgae. Marble Mountains, California : Olenellid trilobites are plentiful in the Latham Shale, here in the Mojave Desert. Mazon Creek, Illinois : This site has become famous for its iron concretions preserving both plants and marine invertebrates. Rhynie Chert, Scotland : This has been one of the most important sources of fossils of early land plants and terrestrial arthropods. The anatomy of specimens is preserved in three-dimensional detail. White-Inyo Mountains, California : You can visit Cambrian reefs in the mountains of eastern California. Resources Find out more about the Mesozoic paleontology and geology of North America at the Paleontology Portal's pages on the Cambrian , Ordovician , Silurian , Devonian , Carboniferous , and Permian Periods. See the Wikipedia page on the Paleozoic. Read more about the Permian-Triassic extinction on Wikipedia. Find out more about the complex history of the formation and break-up of Pangea on Wikipedia. * Dates from the International Commission on Stratigraphy's International Stratigraphic Chart, 2008.   Tony R. Fiorillo created the original page, 5/24/1994; Allen G. Collins made modifications, 11/11/1994, and broke the original page into multiple pages 11/28/1994; Ben M. Waggoner added new text, 11/11/1994 and 11/28/1994; Brian R. Speer updated the content, 5/20/1998; Sarah Rieboldt updated the pages to reflect the Geological Society of America (GSA) 1999 Geologic Timescale, 11/2002; Dave Smith recombined the content into a single page and adapted it to the new site format, 6/29/2011; photographer of Burlington limestone unknown
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In which month in 2015 will the American Football Superbowl be played?
Super Bowl Sunday 2015 - Calendar-12.com Feb. 2024 4 The dates the holiday is observed are marked with a dotted line (applies to federal holidays). Date calculations are based on your computer's date and time. Super Bowl Sunday 2015 Tweet Super Bowl Sunday is the day on which the annual championship game of the National Football League (NFL) is played. NFL is the highest level of professional American football in the United States. The game was created as a result of the agreement between NFL and American Football League (AFL). The two were merged in 1970. Super Bowl Sunday is considered national holiday by most fans. It is the second-largest day for food consumption in the U.S. after Thanksgiving Day. The Super Bowl is also one of the most watched American broadcasts attracting more than a hundred million viewers. Roman numerals are used to identify successive games, instead of the year in which it is held. The first, i.e. Super Bowl I was played on January 15, 1967. In 2015 Super Bowl XLIX (49th) was held. Put a link to this page on your blog or website Use Ctrl+C to copy the link <a href="https://calendar-12.com/holidays/super_bowl_sunday/2015" title="Check the date of Super Bowl Sunday in 2015">2015 Super Bowl Sunday</a> If you have found this website useful and would like to let other people know about it, simply copy the link shown above and paste to your blog post or a website. Thank you. © Calendar-12.com 2011 — 2017 We use cookies to personalize content and ads and to provide social functions and analyze traffic on our site. By continuing using our site, you accept our cookie policy and consent to the use of cookies. Read more
February
WWII was brought to a close when Japan surrendered in what month?
Former NFL Player Doug Williams Became The First Black Quarterback In Super Bowl History To Earn The MVP Title | The Huffington Post Former NFL Player Doug Williams Became The First Black Quarterback In Super Bowl History To Earn The MVP Title 01/31/2015 11:53 am ET | Updated Feb 04, 2015 1.3k Lilly Workneh Black Voices Editor, The Huffington Post This weekend will be a significant one to sports fans everywhere as the NFL's annual Super Bowl will air Sunday -- but it also marks another historic moment worth honoring. On this day in 1988, former American football player Doug Williams was named the first African-American player to earn the MVP title. Williams also broke barriers by becoming the first black football quarterback to play in a Super Bowl game. Williams, now 59, played for the Washington Redskins and helped the team defeat the Denver Broncos in Super Bowl XXII at the Jack Murphy stadium in San Diego, California. The final score was Washington 42, Denver 10. The former quarterback eventually retired from the sport after the 1989 season and went on to take on head coaching roles at numerous schools including Morehouse College and Grambling State. He later accepted a position in the front office with the Washington Redskins last February. Take a look back at some of Williams' impressive career highlights in the pictures below as we honor his contributions to sports -- and black -- history: Focus On Sport via Getty Images SAN DIEGO, CA- JANUARY 31: Doug Williams #17 of the Washington Redskins walks off the field holding his helmet in the air after the Redskins defeated the Denver Broncos in Super Bowl XXII on January 31, 1988 at Jack Murphy Stadium in San Diego, California. The Redskins won the Super Bowl 42-10. (Photo by Focus on Sport/Getty Images) Ronald C. Modra/Sports Imagery via Getty Images TAMPA, FL - NOVEMBER 1, 1981: Doug Williams #12 of the Tampa Bay Buccaneers goes back to pass during a NFL game against the Chicago Bears on November 1. 1981 in Tampa, Florida. (Photo by Ronald C. Modra/Sports Imagery/Getty Images) Focus On Sport via Getty Images SAN DIEGO - JANUARY 31: Doug Williams #17 of the Washington Redskins walks past the media after winning the Super Bowl XXII against the Denver Broncos at Jack Murphy Stadium on January 31, 1988 in San Diego, California. The Redskins defeated the Broncos 42-10. (Photo by Focus on Sport/Getty Images) Jonathan Daniel via Getty Images 1987: Doug Williams #17 of the Washington Redskins scrambles with the ball during a 1987 NFL season game. (Photo by: Jonathan Daniel/Getty Images) Focus On Sport via Getty Images CIRCA 1978: Quarterback Doug Williams #12 of the Tampa Bay Buccaneers circa 1978. Williams played for the Buccaneers from 1978-82. (Photo by Focus on Sport/Getty Images) Peter Brouillet via Getty Images 1985: Oklahoma Outlaws Quarterback Doug Williams, USFL. (Photo by Peter Brouillet/Getty Images) Mike Powell via Getty Images 27 Jan 1988: Quarterback Doug Williams of the Washington Redskins fields questions during Media Day for Super Bowl XXII against the Denver Broncos at Jack Murphy Stadium in San Diego, California. The Redskins won the game, 42-10. Mandatory Credit: Mike Powell via Getty Images ASSOCIATED PRESS Washington Redskins quarterback Doug Williams is surrounded by members of the media after leading the Redskins to a 42-10 victory over the Denver Broncos in Super Bowl XXII in San Diego, Jan. 31, 1988. Williams completed 18 of 29 attempts and was named Most Valuable Player. (AP Photo) Nate Fine via Getty Images Quarterback Doug Williams of the Washington Redskins in a 21 to 20 loss to the Atlanta Falcons on September 28, 1987 at Fulton County Stadium in Atlanta, Georgia . (Photo by Nate Fine/NFL/Getty Images
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In the dead parrot sketch, what breed was the parrot?
Monty Python's dead parrot did exist - Telegraph News Monty Python's dead parrot did exist The fictional Norwegian Blue parrot - famed as the star of Monty Python’s iconic dead parrot comedy sketch - appears to have once really existed. Parrots lived in Scandinavia about 55 million years ago  Photo: PA By Laura Clout 12:43PM BST 15 May 2008 A fossil expert has established for the first time that parrots lived in Scandinavia about 55 million years ago when the area was covered in tropical forest. The dead parrot sketch Dr David Waterhouse of Norwich, Norfolk, found that a fossilised wing recovered from a mine in Denmark came from a bird which belonged to the parrot family. He said: “I specialise in bird fossils and am also a Python fan, so I have lived with jokes about dead parrots for years. “Obviously we were dealing with a bird that is bereft of life, but the tricky bit was establishing it was a parrot.” Dr Waterhouse, the assistant curator of Natural History at Norfolk Museums and Archaeology Service, believes the same species of parrot would have also flown in Norway, as the country would have had a similar climate to Denmark at the time. Related Articles World's oldest living tree over 9,000 years old 18 Apr 2008 It is the first time that it has been established that parrots lived so far north, although at 55 million years old the bird is very much an 'ex-parrot’, having lived 10 million years after the dinosaurs died out. The fossil is also much older than the remains of the next-oldest parrot found in the southern hemisphere, which are believed to date back 15 million years. Dr Waterhouse, 29, has nicknamed the bird Danish Blue, although the species has now been given the scientific name Mopsitta Tanta. “No Southern Hemisphere fossil parrot has been found older than about 15 million years old, so this new evidence suggests that parrots evolved right here in the Northern Hemisphere before diversifying further south in the tropics later on.” Dr Waterhouse said. The classic dead parrot television sketch was first screened in 1969 on Monty Python’s Flying Circus. It featured John Cleese as angry parrot owner Eric Praline trying to convince a pet shop owner, played by Michael Palin, that the bird he had bought earlier was dead. Cleese’s character is shown banging the lifeless bird on the counter, shouting at it, and pointing out it was nailed to the perch. He is assured by Palin that the lifeless Norwegian Blue is just resting, stunned, “tired following a prolonged squawk” or “pining for the fjords”. It was voted Britain’s best loved alternative comedy sketch in a 2004 poll for the Radio Times. Dr Waterhouse made his discovery three years ago in Denmark when he spotted the remains in a small museum on the Isle of Mors in Jutland. They were unearthed in 2003 at an opencast mine digging out soft rock for cat litter. Dr Waterhouse, who was studying for a PhD in parrot evolution, was able to establish that the fossilised 6cm long humerus, or upper wing, had all the hallmarks of the parrot family. His research, supported by the Irish Research Council for Science, Engineering and Technology and University College Dublin is published in the current issue of Palaeontology journal. Michael Palin was amused when told about the discovery, saying: “All I can say is that it just shows that nothing is original.”  
Dead Parrot sketch
In ‘Monty Python and the Holy Grail’, what was desired by the knights who say ‘Ni’?
dead parrot | eBay dead parrot: 1 2 3 eBay determines this price through a machine learned model of the product's sale prices within the last 90 days. eBay determines trending price through a machine learned model of the product’s sale prices within the last 90 days. "New" refers to a brand-new, unused, unopened, undamaged item, and "Used" refers to an item that has been used previously. Top Rated Plus Sellers with highest buyer ratings Returns, money back Sellers with highest buyer ratings Returns, money back
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Which Scottish King was killed when his horse fell from a cliff at Kinghorn, Fife?
Alexander III | king of Scotland | Britannica.com king of Scotland David I Alexander III, (born Sept. 4, 1241—died March 18/19, 1286, near Kinghorn, Fife , Scot.), king of Scotland from 1249 to 1286, the last major ruler of the dynasty of kings descended from Malcolm III Canmore (reigned 1058–93), who consolidated royal power in Scotland. Alexander left his kingdom independent, united, and prosperous, and his reign was viewed as a golden age by Scots caught up in the long, bloody conflict with England after his death. Alexander III of Scotland Hulton Archive/Getty Images The only son of King Alexander II (reigned 1214–49), Alexander III was seven years old when he came to the throne. In 1251 he was married to Margaret (d. 1275), the 11-year-old daughter of England’s King Henry III. Henry immediately began plotting to obtain suzerainty over Scotland. In 1255 a pro-English party in Scotland seized Alexander, but two years later the anti-English party gained the upper hand and controlled the government until Alexander came of age the year 1262. In 1263 Alexander repulsed an invasion by the Norwegian king Haakon IV, who ruled the islands along Scotland’s west coast. Haakon’s son, King Magnus V, in 1266 ceded to Alexander the Hebrides and the Isle of Man . Alexander was killed in 1286 when his horse fell over a cliff. Because his children were all dead, his infant grandchild Margaret “the Maid of Norway” (d. 1290) succeeded to the throne. Learn More in these related articles:
Alexander III
In 1973, who joined the EEC at the same time as Britain and Ireland?
Edinburgh History  -  Recollections  -  Queensferry Ferry Bryan Gourlay Biggar, Lanarkshire, Scotland Thank you to Bryan Gourlay who remembers sailing on the Queensferry ferry in the late 1940s for weekends spent at his caravan near Kinghorn, Fife Bryan wrote: 1940s Weekends in Fife "I was first on the Queensferry crossing, about five years old, in the late 1940s, when we went across regularly to my family�s �caravan� at Pettycur Bay near Kinghorn. It was nothing like the huge site and posh caravans that are there now. Ours was in tiny field, just off the road, near where the entrance to the caravan park is today." Converted 1920s Bus "I say �caravan�, because that�s what we called it. In truth it was a dilapidated 1920s, single-decker bus that a joiner friend of my dad hastily converted into living quarters � a couple of rooms with raised platforms for mattresses and little else. The separate driver�s cabin was converted into an indoor loo, containing a large galvanized bucket type of thing with a wooden seat, that would be instantly condemned as a highly dangerous health risk to the entire Fife coastline nowadays." Singer Sports Car "The picture shows our minus five star �caravan� behind the car, with another old bus waiting in the wings for a similar top-quality conversion. Our car was a pre-war Singer Sports (a posh Hillman), which had been up on bricks in a lock-up in St Leonards for five or six years during the War, as petrol for private use was difficult to come by." Family Outings "On most Saturday lunchtimes, between Easter and September, we would set off from Edinburgh for the ferry. Somehow, we shoe-horned ourselves into the car. Me, my mother and father, two aunties, my granny � and sometimes my great granny - a bit like a Broons� family outing." Boarding the Ferry "As there was little ground clearance left, we all (except grannies) had to get out of the car and walk on to the ferry � which saved bottoming the car as it went from the ramp on to the deck. Boarding or disembarking could be a bit tricky depending on how high or low the ferry was sitting in the water, or how much it was being pitched about by the swell." The Crossing "While the adults got back in the car for the crossing, my dad and I would go up on the front, upper deck. There was always a great feeling of anticipation when the ropes were thrown onto the boat, the paddle wheels started turning, and we edged away from the pier and off, wind and spray in our hair, out to sea. One of the high spots was a train crossing the rail bridge, with smoke belching from its stack, passengers waving out the windows and throwing coins out for luck. While some of the pennies, ha�pennies and farthings hit bits of the bridge and fell on to the tracks, some must have reached the waters many feet below. I suppose there�s a few quid in �old money� sitting on the sea-bed on either side of the bridge." Reaching Fife "At North Queensferry, we had to reverse the process, walk off the boat and get into the car once it was safely on dry land. We didn�t get very far, as we always stopped in Aberdour for an ice cream slider (wafer) or cone, before making the short trip to the �caravan� near Kinghorn." Kinghorn "The weekend was spent around Kinghorn, in the harbour, or down on the beach across the road. I can remember my dad taking me a few hundred yards along the road to the spot where, in 1285, King Alexander III of Scotland fell off his horse and over the cliff to his death." The Last Ferry Home "On Sunday evening, we all piled into the car for the return journey home to Edinburgh. For some reason, we always seemed to be going for the last ferry, which my dad didn�t want to miss as this meant the long trip round by the Kincardine bridge. Sometimes, even if we got to North Queensferry on time, there would be too many cars waiting in the queue, and we�d have to head for Kincardine anyway." Queensferry "The return ferry journey routine was the same, we walked on and off the ferry as my dad (with grannies) drove the car. Back at Queensferry, the heavily-loaded car always struggled very hard to get up the steep brae from the Hawes Inn. The Ferry Brian later sent me this photograph taken on one of  the journeys that his family made between South Queensferry and  Kinghorn. 1950s My Dad's Lorry "For several years, I used to go on the ferry in my dad�s lorry. Lorries were much smaller then and the ferry could take at least a couple at a time. The lorry was a six ton Bedford, very often overloaded, with its load roped extra tightly so it could handle the embarking, disembarking and pitching of the boat." Loading the Ferry "The ferrymen loading the ferry would get the lorries to wait until they had loaded cars to the left and right of the entrance, leaving a space in the middle for lorries. Everything was done at a brisk pace, with lots of hand signals and loud instructions from the good-humoured ferrymen, so the ferry wasn�t delayed."  Queen Margaret and Robert the Bruce    Michael wrote Queensferry Crossing "My great-grandmother, Ann Elizabeth Gawn of Granton (1842-1907) married John McRitchie in 1862.  The McRitchies were ferrymen and innkeepers in North Queensferry for centuries. The ferry crossing was described as slow, difficult and dangerous, faithfully reflecting the family traits. Parish records show that Alexander McRitchie married Helen Walwood in 1687 though I can't link them to my own line beyond 1716 when gt-gt-gt-gt-gt grandparents David McRitchie and Janet Douglas were married.  The last McRitchie in North Queensferry, Alex the piermaster, died in 1914. Question "Do you know where I might  be able to find any old pictures of the ferry crossing, especially sail vessels? We know the family owned some as we have the will of John McRitchie (d.1823) which describes one sloop in great detail.  I'm working on a book for the family (nothing fancy, probably A4 or A5 stitch bound) and I have several accounts and booklets relating to the crossing, but the ferry pictures are elusive.  Any help gratefully received!"
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What word describes the property of a metal that allows it to be drawn out into wire?
Copper properties and uses. Introduction. Picture 7. Copper's anti-bacterial and corrosion resistant properties help make it ideal for beer brewing vessels. Corrosion resistant Copper is low in the reactivity series . This means that it doesn't tend to corrode. Again, this is important for its use for pipes, electrical cables, saucepans and radiators. However, it also means that it is well suited to decorative use. Jewellery, statues and parts of buildings can be made from copper, brass or bronze and remain attractive for thousands of years. Antibacterial Copper is a naturally hygienic metal that slows down the growth of germs such as E-coli (the “burger bug”), MRSA (the hospital “superbug”) and legionella. This is important for applications such as food preparation, hospitals, coins (see biocidal copper ), door knobs and plumbing systems. Picture 8. Brazing copper pipes to make a strong joint. Picture 9. Brass can be polished up to give an attractive gold finish. Easily joined Copper can be joined easily by soldering or brazing . This is useful for pipework and for making sealed copper vessels. Ductile Copper is a ductile metal. This means that it can easily be shaped into pipes and drawn into wires. Copper pipes are lightweight because they can have thin walls. They don't corrode and they can be bent to fit around corners. The pipes can be joined by soldering and they are safe in fires because they don't burn or support combustion. Tough Copper and copper alloys are tough . This means that they were well suited to being used for tools and weapons. Imagine the joy of ancient man when he discovered that his carefully formed arrowheads no longer shattered on impact. The property of toughness is vital for copper and copper alloys in the modern world. They do not shatter when they are dropped or become brittle when cooled below 0 °C. Non magnetic Copper is non magnetic and non sparking. Because of this, it is used in special tools and military applications. Attractive colour Copper and its alloys , such as brass, are used for jewellery and ornaments. They have an attractive golden colour which varies with the copper content. They have a good resistance to tarnishing making them last a long a time. Picture 10. Roll over the properties above to see which metals give copper alloys those properties. Alloys easily Copper can be combined with other metals to make alloys . The most well known are brass and bronze . Although copper has excellent electrical and thermal properties, it needs to be hardened and strengthened for many industrial applications. It is therefore mixed with other metals and melted. The liquid metals form a solution which, when they solidify, are called alloys. Some copper alloys are: brass: copper + zinc Picture 11. Copper hot water cylinders (background) are shredded and compressed into bales (front right) for recycling. Recyclable Copper can be recycled without any loss of quality. 40% of the world's demand is met by recycled copper (see extracting copper ). Catalytic compounds Copper can act as a catalyst . For example, it speeds up the reaction between zinc and dilute sulphuric acid. It is found in some enzymes , one of which is involved in respiration . So it really is a vital element. Question 5     The table shows some uses of copper. In each case, the use relies on particular properties. Click on the buttons to show which properties each use should have. Use
Ductility
By what name is hydrated magnesium sulphate better known?
PROPERTIES OF METALS This section is devoted primarily to the terms used in describing various properties and characteristics of metals in general. Of primary concern in aircraft maintenance are such general properties of metals and their alloys as hardness, brittleness, malleability , ductility , elasticity, toughness, density, fusibility, conductivity, and contraction and expansion. You must know the definition of the terms included here because they form the basis for further discussion of aircraft metals. Hardness Hardness refers to the ability of a metal to resist abrasion, penetration, cutting action, or permanent distortion. Hardness may be increased by working the metal and, in the case of steel and certain titanium and aluminum alloys, by heat treatment and cold-working (discussed later). Structural parts are often formed from metals in their soft state and then heat treated to harden them so that the finished shape will be retained. Hardness and strength are closely associated properties of all metals. Brittleness Brittleness is the property of a metal that allows little bending or deformation without shattering. In other words, a brittle metal is apt to break or crack without change of shape. Because structural metals are often subjected to shock loads, brittleness is not a very desirable property. Cast iron , cast aluminum, and very hard steel are brittle metals. Malleability A metal that can be hammered, rolled, or pressed into various shapes without cracking or breaking or other detrimental effects is said to be malleable. This property is necessary in sheet metal that is to be worked into curved shapes such as cowlings, fairings, and wing tips. Copper is one example of a malleable metal. Ductility Ductility is the property of a metal that permits it to be permanently drawn, bent, or twisted into various shapes without breaking. This property is essential for metals used in making wire and tubing. Ductile metals are greatly preferred for aircraft use because of their ease of forming and resistance to failure under shock loads. For this reason, aluminum alloys are used for cowl rings, fuselage and wing skin, and formed or extruded parts, such as ribs, spars, and bulkheads. Chrome-molybdenum steel is also easily formed into desired shapes. Ductility is similar to malleability . Elasticity Elasticity is that property that enables a metal to return to its original shape when the force that causes the change of shape is removed. This property is extremely valuable, because it would be highly undesirable to have a part permanently distorted after an applied load was removed. Each metal has a point known as the elastic limit, beyond which it cannot be loaded without causing permanent distortion. When metal is loaded beyond its elastic limit and permanent distortion does result, it is referred to as strained. In aircraft construction, members and parts are so designed that the maximum loads to which they are subjected will never stress them beyond their elastic limit. NOTE: Stress is the internal resistance of any metal to distortion. Toughness A material that possesses toughness will withstand tearing or shearing and may be stretched or otherwise deformed without breaking. Toughness is a desirable property in aircraft metals. Density Density is the weight of a unit volume of a material. In aircraft work, the actual weight of a material per cubic inch is preferred, since this figure can be used in determining the weight of a part before actual manufacture. Density is an important consideration when choosing a material to be used in the design of a part and still maintain the proper weight and balance of the aircraft. Fusibility Fusibility is defined as the ability of a metal to become liquid by the application of heat. Metals are fused in welding. Steels fuse at approximately 2,500�F, and aluminum alloys at approximately 1, 110�F. Conductivity Conductivity is the property that enables a metal to carry heat or electricity . The heat conductivity of a metal is especially important in welding, because it governs the amount of heat that will be required for proper fusion. Conductivity of the metal, to a certain extent, determines the type of jig to be used to control expansion and contraction. In aircraft, electrical conductivity must also be considered in conjunction with bonding , which is used to eliminate radio interference . Metals vary in their capacity to conduct heat. Copper, for instance, has a relatively high rate of heat conductivity and is a good electrical conductor.  
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What is the SI derived unit of radioactivity?
Definitions of the SI Units and other Units of Measurement angstrom (�) convert A metric unit of length, equal to 0.1 nanometre or 10-10 metre . Angstrom unit named after the Swedish physicist Anders Jon �ngstr�m (1814-1874) and is used most often to measure extremely small lengths like the wave length of light. arcminute (' , min) convert A unit of angle measurement, also called the minute of arc, equal to 60 arcseconds and to 1/60 degree . There are 21 600 arcminutes in a circle. Care is needed not to confuse symbols with units of length or time. The SI recommends ' as the symbol for arcminute. arcsecond (",sec, s, as) convert A unit of angle measure, also called the second of arc, equal to 1/60 arcminute. One arcsecond is a very small angle: there are 1 296 000 seconds in a circle. Care is needed not to confuse symbols with units of length or time. The SI defines s as the symbol for the time unit and recommends " as the symbol for the arcsecond. atomic mass unit (u) The unit of mass used for measuring the masses of atoms and molecules. Originally these relative masses were based on hydrogen, known to be the lightest element, having a mass of 1 u, and all the other atoms should have masses which are whole-number multiples of this (then unknown) mass of the hydrogen atom. Since 1960 the unified atomic mass unit has been defined as 1/12 the mass of the carbon-12 atom. 1u = 1.66 x 10-27 kg. atomic number A unit of measurement, equal to the number of electrons surrounding a neutral (uncharged) atom, and also to the number of protons in the nucleus. The atomic number was originally defined simply as an index describing the position of an element in the periodic table. Avogadro constant (NA), Avogadro's number A unit of relative quantity equal to the number of atoms or molecules per mole of a substance. The currently accepted value is 6.022 1415 x 1023 per mole. The atomic mass unit in grams, is equal to one divided by this number. The unit is named after the Italian chemist and physicist Amadeo Avogadro (1776-1856). Avogadro was the first to conclude from Dalton's atomic theory that equal volumes of gases (at the same temperature and pressure) must contain equal number of molecules. bar (bar) convert A unit of pressure, equal to 105 pascal . One bar is roughly the same as the average pressure of the Earth's atmosphere (atm), which is 1.013 25 bar. A barometer an instrument for measuring barometric pressure of the atmosphere, usually in units of millibar (mbar) or as the height in millimetres, of a column of mercury ( mmHg ). barn (b) A unit of area used in nuclear physics. One barn is equal to 10-28 square metre or 100 square femtometre. becquerel (Bq) The SI derived unit of activity, usually meaning radioactivity. One becquerel is the radiation caused by one disintegration per second. The unit is named after the French physicist, Antoine-Henri Becquerel (1852-1908), the discoverer of radioactivity. Note: both the becquerel and the hertz are basically defined as one event per second, yet they measure different things. bel (B) A logarithmic measure of sound intensity, invented by engineers of the Bell telephone network in 1923 and named after the inventor of the telephone, Alexander Graham Bell (1847-1922). The scale is logarithmic; if the difference in sound intensity is 1 bel the difference is 10 times and 2 bels corresponds to an increase of 10 x 10 or 100 times in intensity. The beginning of the scale, 0 bels, was originally intended to represent the faintest sound that people can hear. In practice, sound intensity is almost always stated in decibels. One bel is equal to approximately 1.151 293 nepers . bohr radius (a0) A unit of distance used in particle physics. The bohr radius represents the mean distance between the proton and the electron in an unexcited hydrogen atom. It equals about 52.918 picometre (pm), or 52.918 x 10-12 metre. The unit was named after the Danish physicist Niels Bohr (1885-1962). boltzmann's constant (k) The number that relates the average energy of a molecule to its absolute temperature. Boltzmann's constant is approximately 1.38 � 10-23 J/K. British thermal unit (Btu or BTU) convert A unit of heat energy defined as the amount of heat required to raise the temperature of one pound of water by one degree Fahrenheit . Like the calorie below Btu can have slightly different values, so for accurate work it is necessary to specify which is being used. BtuIT = 1055.056 J calorie (cal) convert The CGS unit of heat energy. This calorie (also called a gram calorie or small calorie) is the amount of heat required at a pressure of one atmosphere to raise the temperature of one gram of water by one degree Celsius . There can be some confusion in some of the units of energy. The calorie can take 5 different values and, while these do not vary by very much, for accurate work it is necessary to specify which calorie is being used. The 5 calories are known as the: International Table calorie = calIT = 4.1868 J thermochemical calorie = calth = 4.184 J mean calorie = calmean = 4.190 02 J 15 degree C calorie = cal15C = 4.185 80 J 20 degree C calorie = cal20C = 4.181 90 J. As a further complication, in working with food and expressing nutritional values, the unit of a Calorie (capital C) is often used to represent 1000 calories (kcal), and again it is necessary to specify which calorie is being used. candela (cd) The SI base unit for measuring the luminous intensity of light. Candela is the Latin word for "candle." The candela is defined as the luminous intensity, in a given direction, of a source that emits monochromatic radiation of frequency 540 x 1012 hertz and that has a radiant intensity in that direction of 1/683 watt per steradian . coulomb (C) The SI derived unit of electric charge. One coulomb is the amount of charge accumulated in one second by a current of one ampere (A s) . The coulomb was named after the French physicist, Charles-Augustin de Coulomb (1736-1806). cubic unit The word cubic place before a unit name of length to indicate a unit of volume. cubic metre (m3) convert The SI derived unit of volume. curie (Ci) A unit of radioactivity. Originally, defined as the radioactivity of one gram of pure radium. Now the curie is defined exactly as 3.7 x 1010 atomic disintegration's per second, or becquerel (Bq) , this being the best estimate of the activity of a gram of radium. The unit is named for Pierre and Marie Curie, the discoverers of radium. degree Celsius (C) convert A unit of temperature. The Celsius temperature scale was named after the Swedish astronomer and physicist Anders Celsius (1701-1744). The freezing point of water (at one atmosphere of pressure) was originally defined to be 0 C, while the boiling point is 100 C. Thus the Celsius degree is 1/100 of the difference between these two temperatures. In the SI system, the degree Celsius a derived unit from the base unit kelvin and is defined so that the temperature of the triple point of water (the temperature at which water can exist simultaneously in the gaseous, liquid, and solid states) is exactly 0.01 C (0 K) and the size of the degree is 1/273.16 of the difference between this temperature and absolute zero (the temperature at which all molecular motion ceases). For practical purposes this is equivalent to the original definition. See also degree Fahrenheit , degree Rankine , kelvin . degree centigrade (C) Old name for the degree Celsius . The Celsius scale was called "centigrade" because it has 100 (centi-) gradations between the freezing point and boiling point of water. degree ( or deg) convert A unit of angle measurement, equal to 1/360 circle, 60 minutes, 3600 seconds, or about 0.017 453 293 radian. diopter (dpt or D) A metric unit used in optics to measure the refractive power of a lens. Each converging lens has a focal length, defined to be the distance from the centre of the lens to the point at which the lens focuses light. (Diverging lenses, which can be used to convert focused light to parallel rays, have a negative focal length.) The shorter the focal length, the greater the refractive power of the lens. The refractive power of the lens, in diopters, equals 1 divided by the focal length of the lens, in meters, so 1 diopter = 1 m-1. dyne (dyn) convert The CGS unit of force. One dyne is the force that accelerates a mass of one gram at the rate of one centimetre per second per second. Expressed in SI units, the dyne equals 10-5 newton . electronvolt (eV) A unit of energy used in physics. One electronvolt is the work required to move an electron through a potential difference of one volt . The size of the electronvolt must be determined experimentally; the currently accepted value is 1.602 176 53 x 10-19 joule . This unit is accepted for use with SI units. electronvolt-kilogram relationship ((1 eV)/c2) A unit of mass used in particle physics. Mass and energy are related by Einstein's famous equation, E = mc2. The constant c is the speed of light, 299.79 x 106 m/sec. An energy of 1 electronvolt is therefore equivalent to a mass of about 1.782 661 81 x 10-36 kg. electron mass (me) The mass of the electron, often used as a unit of mass in particle physics. An electron has a mass of about 9.109 3826(16) x 10-31 kg (equivalent to 5.109 989 x 105 eV). erg (erg) convert The unit of energy in the CGS system, equal to the work done by a force of one dyne acting through a distance of one centimetre. 1 erg = 10-7 J. degree Fahrenheit (F) convert A traditional unit of temperature still used customarily in the United States. The unit was defined by the German physicist Daniel G. Fahrenheit (1686-1736). Fahrenheit set 0 at the coldest temperature he could conveniently achieve using an ice and salt mixture, and he intended to set 96 as the temperature of the human body. The scale was later precisely defined by the freezing (-32 F) and boiling (212 F) points of water. 1F equals 5/9 C, but in converting between scales adjustment is needed for the zero points as well. To convert a temperature in F to C, first subtract 32 and then multiply by 5/9. In the other direction, to convert a temperature in C to F, first multiply by 9/5 and then add 32. farad (F) The SI derived unit of electric capacitance. A pair of conductors separated by an insulator can store a much larger charge than an isolated conductor. The better the insulator, the larger the charge that the conductors can hold. This property of a circuit is called capacitance, and it is measured in farads. One farad is defined as the ability to store one coulomb of charge per volt of potential difference between the two conductors. This is a natural definition, but the unit it defines is very large. In practical circuits, capacitance is often measured in microfarads or nanofarads. The unit was named after the British physicist Michael Faraday (1791-1867). faraday (Fd) A unit of electric charge. The British electrochemist and physicist Michael Faraday (1791-1867) determined that the same amount of charge is needed to deposit one mole of any element. This amount of charge, equal to about 96 485 coulombs, became known as Faraday's constant. Later, it was adopted as a convenient unit for measuring the charges used in electrolysis. One faraday is equal to the product of Avogadro's number (see mole) and the charge (1 e) on a single electron. foot (ft or ') convert a traditional unit of distance. Almost every culture has used the human foot as a unit of measurement. The International foot is equal to 0.3048 metre . g convert A symbol for the average acceleration produced by gravity at the Earth's surface (sea level). The actual acceleration of gravity varies depending on latitude, altitude, and local geology. The symbol g is often used informally as a unit of acceleration. The standard acceleration of gravity gn is defined to be exactly 9.806 65 meters per second per second (m/s). The name grav is also used for this unit. Note that g is also the symbol for the gram. gal (Gal) convert The CGS unit of acceleration. One gal is an acceleration of 1 centimetre per second per second (cm/s2). This unit is used by geologists, who make careful measurements of local variations in the acceleration of gravity in order to draw conclusions about the geologic structures underlying an area. 1 Gal = 1 cm s-2 = 10-2 m s-2. gallon (gal) convert The U.K. use a larger gallon than either of the U.S. gallons. The imperial gallon, designed to contain exactly 10 pounds of distilled water under precisely defined conditions, holds exactly 4.546 09 litre or cubic decimetre. The imperial gallon equals 1.20095 U.S. liquid gallons (British wine gallons) or 1.03206 U.S. dry gallons (British corn gallons). gamma (γ) A unit of magnetic flux density equal to 10-9 tesla (1 nanotesla) or 10-5 oersted (10 Oe). In geophysics, small changes in the Earth's magnetic field are traditionally stated in gammas. The nanotesla (nT) is now recommended for these measurements. gauss (G) The CGS unit of magnetic flux density. A field of one gauss exerts a force, on a conductor, placed in the field of 0.1 dyne per ampere of current per centimetre of conductor. One gauss represents a magnetic flux of one maxwell per square centimetre of cross-section perpendicular to the field. In SI units, one gauss equals 10-4 tesla . The unit was named after Karl Friedrich Gauss (1777-1855). grad or grade (g or gr or grd) convert A unit of angle measurement equal to 1/400 circle, 0.01 right angle, 0.9, or 54'. This unit was introduced in France, where it is called the grade, in the early years of the metric system. gram (g) convert A unit of mass in the metric system. The gram was originally defined to be the mass of one cubic centimetre of pure water, but is now defined to be 1/1000 of the mass of the standard kilogram. The kilogram , rather than the gram, is considered the base unit of mass in the SI. gravitional constant (G) A constant, G, in the mathematical formula of Newton's definition of gravitational force, F=Gm1m2/r2. G = 6.6742(10) x 10-11 m3 kg-1 s-2 or N m2 kg-2. gray (Gy) The SI derived unit of absorbed dose. Radiation carries energy, and when it is absorbed by matter the matter receives this energy. The absorbed dose is the amount of energy deposited per unit of mass. One gray is defined to be the dose of one joule of energy absorbed per kilogram of matter, or 100 rad. The unit was named after the British physician L. Harold Gray (1905-1965). hartree (Eh) A unit of energy used in nuclear physics, equal to about 4.3598 x 10-18 joule or 27.212 electron volts . The unit was named after the British physicist and mathematician Douglas R. Hartree (1897-1958). hectare (ha) convert A metric unit of land area, equal to 100 are . One hectare is a square hectometre (10 000 m2) or 2.471 054 acre . henry (H) The SI derived unit of electric inductance. A changing magnetic field induces an electric current in a conductor located in the field. Although the induced voltage depends only on the rate at which the magnetic flux changes, measured in webers per second , the amount of the current depends also on the physical properties of the coil. A coil with an inductance of one henry requires a flux of one weber for each ampere of induced current. If it is the current which changes, then the induced field will produce a potential difference within the coil: if the inductance is one henry a current change of one ampere per second produces a potential difference of one volt . The unit was named after the American physicist Joseph Henry (1797-1878). hertz (Hz) The SI derived unit of frequency, equal to one cycle per second . The hertz is used to measure the rates of events that happen periodically in a fixed and definite cycle. The unit was named after the German physicist Heinrich Rudolf Hertz (1857-1894). The becquerel , also equal to one "event" per second, is used to measure the rates of things which happen randomly or unpredictably. horsepower (hp) convert An old unit of power originating from power exerted by a horse. The horsepower was defined by James Watt (1736-1819) who determined that a horse is typically capable of a power rate of 550 foot-pounds per second. Today the SI unit of power is named for Watt , and one horsepower is equal to approximately 746 watts. (Slightly different values have been used in certain industries.) hour (h or hr) convert A traditional unit of time, equal to 60 minutes , or 3600 seconds, or 1/24 day. Imperial units The units of the British Imperial system, adopted in 1828. The basic units of the system are the foot , the avoirdupois pound , and the imperial pint . inch (in or ") convert A traditional unit of distance equal to 1/12 foot or exactly 2.54 centimetre. jansky (Jy) A unit used in radio astronomy to measure the flux density of radio signals from space. One jansky equals a flux of 10-26 watts per square metre of receiving area per hertz of frequency band (W m-2 Hz-1). Although it is not an SI unit, the jansky is widely used by astronomers. Named after Karl G. Jansky (1905-1950), the American electrical engineer who discovered radio waves from space in 1930. The jansky is sometimes called the flux unit. joule (J) convert The SI derived unit of energy. Energy is said to exist in a variety of forms, each of which corresponds to a separate energy equation, but all resulting with the same energy unit of the joule. Some of the more common forms of energy are: kinetic energy, heat, potential energy, chemical energy, electrical energy, electromagnetic radiation, matter and antimatter. One joule is defined as the amount of work or energy exerted when a force of one newton is applied over a displacement of one metre. One joule is the equivalent energy of one watt of power radiated or dissipated for one second. The joule was named after the British physicist James Prescott Joule (1818-1889). kelvin (K) convert The SI base unit of temperature is 1/273.16 of the thermodynamic temperature of the triple point of water (temperature where water exists as gas, liquid and solid simultaneously). The unit kelvin and its symbol K should be used to express both thermodynamic temperature and an interval or a difference of temperature. In addition to the thermodynamic temperature (symbol T) there is also the Celsius (symbol t) defined by the equation t=T-T0 where T0=273.15 K. Celsius temperature is expressed in degree Celsius (symbol C). The unit ' degree Celsius ' is equal to the unit 'kelvin', and a temperature interval or a difference of temperature may also be expressed in degrees Celsius. (The word degree and the sign o must not be used with kelvin or K). Since this temperature is also equal to 0.01 C, the temperature in kelvin is always equal to 273.15 plus the temperature in degrees Celsius. The unit was named after the British mathematician and physicist William Thomson (1824-1907), later known as Lord Kelvin. kilogram (kg) convert The SI base unit of mass is equal to the mass of the international prototype of the kilogram: a piece of platinum-iridium alloy kept at the International Bureau of Weights and Measures, S�vres, France. One kilogram equals exactly 1000 gram and is approximately the mass of a litre of water. kilogram meter (kgfm) convert A metric unit of torque equal to 9.806 65 newton meters (Nm). kilogram of force (kgf) convert A unit of force equal to the gravitational force on a mass of one kilogram. One kilogram of force equals 9.806 65 newton . This unit is also called the kilo pond . kip convert An old unit of force equal to 1000 pound-force or unit of mass equal to 1000 pounds or a symbol for 1000 inch pounds, used as a unit of energy or torque. knot (kn) convert A unit of velocity equal to one nautical mile per hour. Knots are customarily used to express speeds at sea, including the speed of the ship as well as the speeds of the wind and of the current. One knot equals about 1.1508 miles per hour, exactly 1.852 kilometre per hour. light second A unit of distance equal to the distance light travels in a vacuum in one second. The light second distance is exactly 299 792 458 metre (about 186 282.4 miles). Similarly, a light minute is 60 light seconds (about 17 987 547 kilometre or 11 176 944 miles) and a light day is 1440 light minutes (about 24.902 billion kilometre or 16.095 billion miles). light year (ly) convert A unit of distance used in astronomy. One light year is the distance that light travels in one year through a vacuum. Light travels at 299 792 458 meters per second , and there are 31 556 925.9747 seconds in a year, so one light year equals 9.460 528 405 x 1015 metre, or 9.460 528 405 x 1012 kilometre. One light year is approximately 5.880 trillion miles. litre (L or l) convert The metric unit of volume. The litre was originally defined to be the volume occupied by a kilogram of water and equal to one cubic decimetre. In the SI, one kilogram water occupies about 1.000 028 cubic decimetre. To counter this discrepancy, the SI states that the litre "may be employed as a special name for the cubic decimetre." and defined as exactly 1 cubic decimetre, 1000 cubic centimetre, or 0.001 cubic metre . lumen (lm) The SI derived unit for measuring the luminous flux of light being produced by a light source or received by a surface. The luminous intensity of a light source is measured in candela . One lumen represents the total flux of light emitted, equal to the intensity in candela multiplied by the solid angle in steradians (1/(4pi) of a sphere) into which the light is emitted. Thus the total flux of a one-candela light, if the light is emitted uniformly in all directions, is 4pi lumen. lux (lx) The SI derived unit for measuring the illumination of a surface. One lux is defined as an illumination of one lumen per square metre or 0.0001 phot . mach (M or Ma) convert A measure of relative velocity, used to express the speed of an aircraft relative to the speed of sound. The name of the unit is placed before the measurement. Thus "mach 1.0" is the speed of sound, "mach 2.0" is twice the speed of sound, and so on. (The actual speed of sound varies, depending on the density and temperature of the atmosphere. At 0 C and a pressure of 1 atmosphere the speed of sound is about 331.6 m/sec, or 741.8 mi/hr). maxwell (Mx) A CGS unit of magnetic flux, equal to 10-8 weber . In a magnetic field of strength one gauss, one maxwell is the total flux across a surface of one square centimetre perpendicular to the field. This unit was named after the British physicist James Clerk Maxwell (1831-1879). metre or meter(m) convert The SI base unit of length. Originally, the metre was designed to be one ten-millionth of a quadrant, the distance between the Equator and the North Pole. For a long time, the metre was defined as the length of an actual object, a bar kept at the International Bureau of Weights and Measures in Paris. In recent years, however, the SI base units (with one exception) have been redefined in abstract terms so they can be reproduced to very high levels of accuracy in well-equipped laboratories. The SI definition of the metre is the length of the path travelled by light in vacuum during a time interval of 1/299 792 458 of a second. The speed of light in a vacuum, c, (299 792 458 metre per second) is one of the fundamental constants of nature. metre per second convert The SI derived unit of velocity. metre per second per second convert The SI derived unit of acceleration (m s-2). micron () A metric unit of distance equal to one millionth of a meter. The micron is simply a shorter name for the micrometre and is not an approved SI unit. mil convert A unit of angle measure, used in the military for artillery settings. The mil is equal to 1/1600 right angle. mile (mi) convert A traditional unit of distance. The word comes from the Latin word for 1000, mille, because originally a mile was the distance a Roman legion could march in 1000 paces. The British defined the statute mile to be 8 furlongs, 80 chains, 320 rods, 1760 yards or 5280 feet. The statute mile is exactly 1609.344 metre. See also nautical mile . minute (min or ') convert A unit of time equal to 60 seconds or to 1/60 hour. The SI specifies min as the symbol for this time unit. The minute is not an SI unit, but is accepted for use. newton (N) convert The SI derived unit of force. A force of one newton will accelerate a mass of one kilogram at the rate of one meter per second per second. The newton was named after Isaac Newton (1642-1727). He was the first person to understand clearly the relationship between force (F), mass (m), and acceleration (a) expressed by the formula F = ma. newton meter (Nm) convert convert An SI derived unit of torque (energy). Torque, the tendency of a force to cause a rotation, is the product of the force and the distance from the centre of rotation to the point where the force is applied. Torque has the same units as work or energy, but it is a different physical concept. To stress the difference, scientists report torque in newton meters rather than in joules . One newton meter is approximately 0.737 562 pound foot. normal litre (NL or Nl) A unit of mass for gases equal to the mass of 1 litre (0.035 3147 ft3) at a pressure of 1 atmosphere and at a standard temperature, often 0 C (32 F) or 20 C (68 F). Air flow is often stated in normal litre per minute (Nl/min). oersted (Oe) The CGS unit of magnetic field strength. The oersted is defined to be the field strength in a vacuum at a distance 1 centimetre from a unit magnetic pole. A field of one oersted generates a magnetomotive force of 1 gilbert per centimetre of conductor. One oersted equals (1000/4π) A m-1. The oerstead was named after Hans Christian �rsted (1777-1851). ohm (Ω ) The SI unit of electric resistance. If a conductor connects two locations having different electric potentials, then a current flows through the conductor. The amount of the current depends on the potential difference and the resistance to the flow of current. This property of a circuit, the electric resistance, is measured in ohms. One ohm is the resistance that requires a potential difference of one volt per ampere of current. The unit was name after the German physicist Georg Simon Ohm (1787-1854). ounce (oz) convert The avoirdupois ounce a traditional unit of weight is 1/16 pound or about 28.3495 grams. The avoirdupois ounce also equals about 0.911 457 troy ounce. The troy ounce a traditional unit of weight , used in pharmacy and jewellery, is 1/12 troy pound, or about 31.1035 grams. Thus the troy ounce equals 1.09714 avoirdupois ounces. This unit is the traditional measure for gold and other precious metals; in particular, the prices of gold and silver quoted in financial markets are the prices per troy ounce. The troy ounce is divided into 20 pennyweight or into 8 troy drams. The troy ounce is sometimes abbreviated oz t or toz to distinguish it from the more common avoirdupois ounce. parsec (pc or psc) convert A non-metric unit of distance used in astronomy. One parsec is the distance at which a star would appear to shift its position by one arcsecond during the time (about 3 months) in which the Earth moves a distance of one astronomical unit (au) in the direction perpendicular to the direction to the star. Using this unit makes it easy to compute distances: the distance to a star, in parsecs, is simply one divided by the parallax, in arcseconds . If the parallax is 0.01 arcsecond, the distance is 100 parsecs. One parsec divided by one astronomical unit (the length of the semimajor axis of the Earth's elliptical orbit) is the trigonometric function of the parallax called the cotangent; from this relation we can compute that one parsec equals 206 264.8 au. This is the same as 3.261 631 light years , 30.856 78 petametre (30.856 78 x 1012 kilometre). pascal (Pa) convert The SI derived unit of pressure. The pascal is equal to one newton per square metre or one "kilogram per metre per second per second. pascal second (η) (Pa s) convert The SI derived unit of dynamic viscosity. The pascal second or kg m-1s-1is equivalent to 10 poise phon A logarithmic measure of sound loudness closely related to the deci bel . Decibels are used for objective measurements, that is, they measure the actual pressure of the sound waves as recorded using a microphone. Phons are used for subjective measurements, that is, measurements made using the ears of a human listener. A sound has loudness p phons if it seems to the listener to be equal in loudness to the sound of a pure tone of frequency 1 kilohertz and strength p decibels. A measurement in phons will be similar to a measurement in decibels, but not identical, since the perceived loudness of a sound depends on the distribution of frequencies in the sound as well as the pressure of the sound waves. phot (ph) The CGS unit of illuminance or illumination, equal to one lumen per square centimetre or 10 000 lux . pint (pt) convert A traditional unit of volume equal to 1/2 quart. There are three different quarts in use in Britain and the United States, and hence there are three different pints: the U. S. liquid pint, equal to 28.875 cubic inches, 16 fluid ounces, or approximately 0.473 176 litre; the U. S. dry pint, equal to 33.600 cubic inches or 0.550 611 litre ; and the British imperial pint, equal to 20 British fluid ounces , 34.678 cubic inches , 1/8 imperial gallon or 0.568 261 litre. planck constant (h) A unit of "action" (energy expended over time). The constant of proportionality, represented by the symbol h, that relates the energy E of a photon with the frequency η of the associated wave through the relation E = hη, where planck constant h = 6.626 0693 x 10-34 joule second (Js). The unit honours the German physicist Max Planck (1858-1947). planck length (lp) A unit of distance representing the scale at which gravity, and perhaps space itself, becomes quantized (discrete) rather than continuous. This is the shortest distance that is meaningful in our understanding of the laws of physics. The planck length is defined to be the square root of Gh/c3, where G is the universal gravitational constant, h is Planck's constant, and c is the speed of light. This makes the planck length about 1.616 24 x 10-35 metre. planck time (tp) A unit of time equal to the time required for a photon moving at the speed of light to travel the distance of one planck length. This is the shortest time that is meaningful in our understanding of the laws of physics, representing the scale at which time itself may become quantized (discrete) rather than continuous. The planck time is about 5.391 21 x 10-44 second. poise (P, Ps, or Po) convert A CGS unit of dynamic viscosity equal to one dyne-second per square centimetre; the viscosity of a fluid in which a force of one dyne per square centimetre maintains a velocity of 1 centimetre per second. The unit poise is equivalent to 0.1 Pa s . in SI units. poiseuille (Pl) convert An MKS unit of dynamic viscosity equal to 1 pascal second or 10 poise . The poiseuille has been proposed, but not accepted, as an SI derived unit. pond (p) convert A metric unit of force. One pond is the gravitational force on a mass of one gram and it is equal to 980.665 dyne or 9.806 65 x 10-3 newton . The kilopond was used more often than the pond. The name of the unit is from the Latin pondus, weight. pound (lb, lbm) convert A unit of mass or weight. The avoirdupois pound is divided into 16 ounces . By international agreement, one avoirdupois pound is equal to exactly 0.453 592 37 kilogram and this is exactly 175/144 = 1.215 28 troy pounds. pound foot (lbf ft or lb ft) convert A unit of torque. Torque is the tendency of a force to cause a rotation; it is the product of the force and the distance from the centre of rotation to the point where the force is applied. Thus it can be measured in pounds of force times feet of distance. One pound foot is equal to approximately 1.355 818 newton meter (Nm) in SI units. pound force (lbf) convert A unit of force. Traditional measuring systems did not distinguish between force and mass units. Pound force is the gravitational force experienced at the Earth's surface by a mass of one pound. Following Newton's law F = ma; one pound of mass is 0.453 592 kilogram multiplied by the acceleration due to gravity 9.806 65 meters per square second equals 4.448 221 615 newtons. The symbol lbf should be used for the pound force to distinguish it from the pound of mass. pound per square inch (lbf/in2 or psi) convert A unit of pressure. 1 psi equals 6.894 75 kilo pascal (kPa) poundal (pdl or pl) convert An old English unit of force used in engineering. When traditional measuring systems did not distinguish between force and mass units, the poundal was defined to provide a unit clearly measuring force rather than mass. One poundal is the force that accelerates a mass of one pound at the rate of one foot per second. rad (rd) A metric unit for radiation dose. One rad is equal to a dose of 0.01 joule per kilogram (J/kg). The SI unit of radiation dose is the gray (Gy); one rad equals 0.01 gray or 10 milligrays. radian (rad) convert The SI derived unit of plane angle. One radian is the angle at the centre of a circle that cuts off an arc of length equal to the radius. Since the circumference equals 2 pi times the radius, one radian equals 1/(2 pi) of the circle, or approximately 57.295 779. The radian is a dimensionless unit. radian per second (rad/s) convert The SI derived unit of angular velocity. One radian per second is equal to a rotation frequency of about 0.159155 s-1 (9.5493 rpm). degree Rankine (R) convert A unit of absolute temperature. 1 Rankine represents the same temperature difference as 1 Fahrenheit , but the zero point of the scale is set at absolute zero. The unit was named after the British physicist and engineer William Rankine (1820-1872). rem (rem) A unit used for measuring the effective (or "equivalent") dose of radiation received by a living organism. One rem is equal to 0.01 sievert (Sv), which equals the actual dose received in rads , multiplied by a "quality factor" which is larger for more dangerous forms of radiation. The rem is related to the rad in the same way that the sievert is related to the gray . "Rem" is an acronym for "roentgen equivalent: man," meaning that it measures the biological effects of ionising radiation in humans. roentgen or r�ntgen (R) A non-metric unit used to measure the ionising ability of radiation. The biological effects of radiation are caused mainly by excessive ionisation within living cells, so it is important to measure this ionising ability of radiation. One roentgen equals a charge release rate of 258 micro coulombs per kilogram of air. The unit is named after the German physicist Wilhelm Konrad R�ntgen (1845-1923). rydberg constant (R∞) Named after physicist Janne Rydberg, and is a physical constant discovered when measuring the spectrum of hydrogen, and building upon results from Anders Jonas �ngstr�m and Johann Balmer. Each chemical element has it's own Rydberg constant, but most commonly referred to is the "infinity" constant (10 973 731.568 525 m-1). second (s) convert The SI base unit of time. The SI definition of the second is the duration of 9 192 631 770 periods of the radiation corresponding to the transition between the two hyperfine levels of the ground state of the cesium-133 atom. The second was originally defined as 1/86 400 mean solar day until astronomers discovered that the mean solar day is actually not constant. second (") convert A unit of angular measure equal to 1/60 arcminute . This unit is also called the arcsecond to distinguish it from the second of time. One second is a very small angle indeed: there are 1 296 000 seconds in a circle. The SI defines s as the symbol for the time unit (see above) and recommends " as the symbol for the arcsecond. The international standard ISO 31 recommends that angles be stated in degrees and decimal fractions of the degree, without use of arcminutes and arcseconds. siemens (S) the SI derived unit of electric conductance. A conductor has a conductance of one siemens if it carries one ampere of current per volt of potential. Conductance is the inverse of resistance, and the siemens is the reciprocal of the ohm . The unit was named after Werner von Siemens (1816-1892). sievert (Sv) The SI derived unit used for measuring the dose equivalent of radiation received by a human or some other living organism. Various kinds of radiation have different effects on living tissue, so a simple measurement of dose as energy received, stated in grays or rads, does not give a clear indication of the probable biological effects of the radiation. The equivalent dose, in sieverts, is equal to the actual dose, in grays, multiplied by a "quality factor" which is larger for more dangerous forms of radiation. An effective dose of one sievert requires 1 gray of beta or gamma radiation but only 0.05 gray of alpha radiation or 0.1 gray of neutron radiation. The sievert has the same joules per kilogram in SI base units as the gray . The unit was name after the Swedish physicist Rolf Sievert (1898-1966). square metre (m2) convert The SI derived unit of area. steradian (sr) The SI derived unit of solid angle. The steradian is defined as the solid angle which, having its vertex at the centre of the sphere, cuts off an area equal to the square of its radius. So, 1 steradian has a projected area of 1 square meter at a distance of 1 meter, etc. A sphere contains 4 pi steradians. stilb (sb) A CGS unit of luminance, equal to one candela per square centimetre. stoke or stokes (St) convert A CGS unit of kinematic viscosity. The stokes is defined to be 1 cm2 s-1, equivalent to 10-4 m2 s-1 Kinematic viscosity is defined to be dynamic viscosity (see poise ) divided by the density of the liquid. tesla (T) The SI derived unit of flux density (or field intensity) for magnetic fields (also called the magnetic induction). One tesla is defined as the field intensity generating one newton of force per ampere of current per meter of conductor. Equivalently, one tesla represents a magnetic flux density of one weber per square meter of area. The unit was name after Nikola Tesla (1856-1943). therm (thm) convert A unit of heat energy. The therm is equal to 100 000 Btu. Because there have been several definitions of the Btu , there are two official definitions of the therm. In the U.S. the therm equals 105.4804 mega joule . The European Union's definition, made in 1979 using the more current IT Btu, is 105.5060 megajoule. thou A British name for what Americans call a mil: a unit of distance equal to 0.001 inch (25.4 micrometers). ton (tn or T or t) convert A unit of weight equal to 20 hundredweight. In the United States, there are 100 pounds in the hundredweight and exactly 2000 pounds (907.185 kilograms) in the ton. In Britain, there are 112 pounds in the hundredweight and 2240 pounds (1016.047 kilograms) in the ton. To distinguish between the two units, the British ton is called the long ton and the American one is the short ton. torr (Torr) convert A non-metric unit of pressure equal to exactly 1/760 atmosphere or 133.322 pascals. The pressure of 1 atmosphere is almost exactly equivalent to the pressure of a column of 760 millimeters of mercury in a mercury barometer. As a result, 1 torr is the same as 1 mmHg. volt (V) The SI derived unit of electric potential. Electric potential is defined as the amount of potential energy present per unit of charge. The unit of electric potential is the volt, representing a potential of one joule per coulomb of charge. watt (W) convert The SI derived unit of power. Power is the rate at which work is done, or the rate at which energy is expended. One watt is equal to one joule per second . This unit is used both in mechanics and in electricity. The unit was named after James Watt (1736-1819), the British engineer. watt hour (Wh) convert A unit of work or energy, representing the energy delivered at a rate of one watt for a period of one hour. This is equivalent to exactly 3.6 kilo joule (kJ) of energy. weber (Wb) The SI derived unit of magnetic flux. The magnetic flux in webers is equal to the potential difference, in volts , that would be created by collapsing the field uniformly to zero in one second (V s). A traditional unit of time equal to seven days. X unit (Xu) A unit of distance formerly used for measuring the wavelength of x-rays and gamma rays. The X unit is approximately 1.0021 x 10-13 meter. The wavelength of these powerful forms of radiation is now measured in picometre (pm) or femtometre (fm).
Becquerel
Whose law states that “Work expands so as to fill the time available for its completion”?
BIPM - ionizing radiation (CI-2002) . Henri Becquerel's early work was concerned with the polarization of light, the phenomenon of phosphorescence and the absorption of light by crystals (his doctoral thesis). He was elected a member of the French Académie des Sciences in 1889. For his discovery of natural radioactivity in 1896, Henri Becquerel was awarded half of the Nobel Prize for Physics in 1903 , the other half being awarded to Pierre and Marie Curie for their study of the Becquerel radiation. This is why the General Conference on Weights and Measures (CGPM) of 1975 ( Resolution 8 ) decided to honour Henri Becquerel by adopting the special name of becquerel, Bq , for the SI derived unit of activity. This proposal had been made by the International Commission for Radiation Units and Measurements ( ICRU ) and accepted by the Consultative Committee for Units (CCU) as Recommendation U 1 (1974), the earlier non-SI unit having been named after the Curies. For more biographical information see: http://www.nobel.se/physics/laureates/1903/becquerel-bio.html . Hal Gray worked at the Cavendish Laboratory, Cambridge, UK with Rutherford (1927-1932) on the absorption of gamma rays in matter. This research resulted in the Bragg-Gray principle, the application of which enabled the measurement of energy imparted and absorbed dose. That is why the gray was proposed as the special name for the SI derived unit associated with these quantities by the International Commission for Radiation Units and Measurements ( ICRU ) of which Hal Gray was a former Vice-Chairman. The Consultative Committee for Units (CCU) accepted this proposal in 1974 (Recommendation U 1 (1974)). Subsequently, the 15th General Conference on Weights and Measures (CGPM) adopted the special name gray, Gy , to be included in the SI in 1975 ( Resolution 9 ). Indeed, Gray's name is also commemorated in the Gray Laboratory for radiobiology research based at Mount Vernon Hospital in the UK (where he worked from 1933), in the Gray Trust that sponsors a biennial Gray Conference, and in the Gray Medal awarded by the ICRU. For biographies see ICRU News June 1997 , the Royal Society Biographical Memoirs , and the websites of the Gray Laboratory and the Gray Cancer Institute . Rolf Sievert developed the Sievert chamber for measuring radiation dose and the Sievert integral for the calculation of exposure at a point P. He was one of the first members of both the International Commission for Radiological Protection ( ICRP ) and the International Commission for Radiation Units and Measurements ( ICRU ). As a pioneer in radiation protection, he was responsible for instigating Sweden's first radiation protection law passed in 1941 and developing the plans for the Swedish Radiation Safety Authority, the SSM . Rolf Sievert devoted much of his life to radiation protection issues and was elected Chairman of the ICRP from 1956 to 1962. In his honour, the General Conference of Weights and Measures (CGPM) in Resolution 5 of 1979 adopted the sievert, Sv , as the special name for the SI derived unit for the radiation protection quantity, dose equivalent. This had been proposed by the ICRP and the ICRU and accepted by the Consultative Committee for Units (CCU) as Recommendation U 1 (1978). For a biography see the Karolinska Institute .   September 1910 The Radiology Congress met in Brussels and established the International Radioactivity Commission (Commission Internationale de Radioactivité). Mme M. Curie was asked to prepare an International Radium Standard.   18 March 1912 A. Debierne addressed a letter to Ch.-Éd. Guillaume (then Deputy Director of the BIPM) asking him if the BIPM would be willing to keep the Radium Standard.   12 May 1912 S. Meyer, secretary of the Commission Internationale des Étalons de Radium, thanked R. Benoît, Director of the BIPM, for agreeing to keep the standard.   21 February 1913
i don't know
Which US author (1889-1961) had a brief stint as an ambulance driver in WWI?
Actors as Writers: 5 of the Most Commonly Portrayed Literary Lions on Film | IndieWire Actors as Writers: 5 of the Most Commonly Portrayed Literary Lions on Film Actors as Writers: 5 of the Most Commonly Portrayed Literary Lions on Film Nov 2, 2012 3:20 pm Share This Article Talk He helped craft some of America's most respected literary works, and now — thanks to Colin Firth, Michael Fassbender and FilmNation Entertainment — the spotlight is back on Scribner's editor extraordinaire Maxwell Perkins. FilmNation announced Thursday that it's shopping the film "Genius" to AFM buyers as a Firth/Fassbender vehicle helmed by theater director Michael Grandage. With a screenplay by "Hugo" scribe John Logan, "Genius" has been in the works since at least 2010, when Sean Penn was in talks to play Perkins. READ MORE: Bond, Batman & Bridget Jones: The 'Best Exotic Marigold Hotel' Cast (Hearts) Sequels Based on A. Scott Berg’s biography “Max Perkins: Editor of Genius," the project explores the working and personal relationships between "Look Homeward, Angel" and "Of Time and the River" novelist Thomas Wolfe and his longtime editor. Besides Wolfe's efforts, Perkins had a hand in novels such as F. Scott Fitzgerald's "The Great Gatsby" and "Tender is the Night"; Ernest Hemingway's "The Sun Also Rises" and "A Farewell to Arms"; James Jones' "From Here to Eternity"; Marjorie Kinnan Rawlings' Pulitzer Prize-winning "The Yearling"; and Alan Paton's "Cry, the Beloved Country." The work of Perkins' writers has spawned numerous Hollywood productions over the years, while the writers themselves have also become characters on the big screen. That trend comes full circle with "Genius," as Michael Fassbender joins the ranks of actors who have portrayed these American men and women of letters: Ernest Hemingway "Big Papa" attracts some big names when it comes to his big-screen persona. Clive Owens tackled him in HBO's "Hemingway & Gelhorn," Anthony Hopkins starts shooting "Hemingway & Fuentes" opposite Andy Garcia in January and Albert Finney was "Hemingway, The Hunter of Death" in 2001. Even Sandra Bullock tried her hand at Hemingway lore opposite Chris O'Donnell in 1996's "In Love and War," Richard Attenborough's portrait of the writer during his stint as a WWI ambulance driver (and hospital patient). Most recently, Corey Stoll took on the tough-talking role in Woody Allen's "Midnight in Paris." READ MORE: CANNES 2012: Philip Kaufman Talks Tumultuous Romances and Trying Out TV With 'Hemingway & Gellhorn' F. Scott Fitzgerald The influential Jazz Age author — who died at 44 years of age — has been portrayed by Gregory Peck ("Beloved Infidel"), Jeremy Irons ("Last Call") and Richard Chamberlain (TV's "F. Scott Fitzgerald and 'The Last of the Belles'"). Fitzgerald received the social butterfly treatment in 1994's "Mrs. Parker and the Vicious Circle," with Malcolm Gets in the role, and he showed up with Hemingway in "Midnight in Paris," in which Tom Hiddleston oozed just enough charm to make him seem like a decent enough fellow. Marjorie Kinnan Rawlings Mary Steenburgen starred as the Pulitzer Prize-winning author in "Cross Creek," a film directed by Martin Ritt ("Sounder," "Norma Rae"). It premiered at the 1983 Cannes Film Festival, where a pregnant Steenburgen described the challenge of acting in writing scenes to Roger Ebert . "We actors like to chew up the scenery," she said, "and Marjorie wanted to sit and watch life unfolding. I had to make a writer external, and it's not, it's an internal experience."  Maxwell Perkins Malcolm McDowell had a brief role in "Cross Creek" as Perkins himself, who visits Rawlings in Florida after a fishing trip with Hemingway in Key West. McDowell was married to Steenburgen at the time. Ring Lardner Perkins is credited with having tremendous faith in Lardner, a sportswriter, playwright and novelist whose "How to Write Short Stories (With Samples)" put him on the literary map in 1924. Lardner the sportswriter made an appearance in the 1988 baseball drama "Eight Men Out" via John Sayles, who did triple duty on the film as writer, director and actor. Sayles' Lardner and Studs Terkel's Hugh Fullerton spend their time on screen commenting on the action unfolding both on and off the baseball field.
Ernest Hemingway
What do the letters T.T. represent, in the Isle of Man T.T. Race?
Descriptive Writing in the Novel | Tim Weed Descriptive Writing in the Novel Descriptive Writing in the Novel For years I’ve been trying to figure out what makes certain novels so irresistible. What gives them the power to colonize the imagination so completely that putting them down is like parting with a beloved friend? The ingredients aren’t so hard to isolate: complex, coherent, sympathetic characters; robust narrative energy instilled by way of dramatic tension and conflict; a compelling voice; deeply resonant thematic unities, often conveyed through imagery; and a well-rendered setting that creates the effect of an entire, vibrant world. It’s become apparent to me that the last two elements are essential, and too often neglected by many contemporary authors.  There seems to be a theory going around in some literary circles that so-called imagistic prose can accomplish little but slow a story down, like extra weight strapped under the saddle of a racehorse. That may be true in extreme cases, and it’s certainly true in cases of clumsy writing. But in my opinion description — setting, landscape, imagery, a sense of place, whatever you want to call it — is an absolutely critical feature of a profoundly gripping narrative. It is an aspect of craft that novelists ignore to our own detriment. In part it is a matter of taste, of course. I once heard the poet David Baker say that all poetry can be divided into two camps: the ironic and the ecstatic. The Greek root of the word ecstasy is “Ek-stasis,” meaning to place, or situate, out of. Ecstasy is transcendental, mystical, drawing one away from the body and into a state of trance, vision, or dream. Irony, on the other hand, is social, worldly, involving a dissimulating doubleness of voice or imagination. Now, let’s be clear: irony is essential in fiction as an antidote to sentimentality and melodrama. But in my view the best novels — the ones that stick with you long after you’ve put them down — contain a generous dash of ecstasy as well. For me, good descriptive writing is what puts the vivid in John Gardner’s “vivid, continuous dream” of fiction. Good description has the power to strike an almost musical chord of emotions, resulting, in the best of cases, in a kind of narrative trance in which the reader’s consciousness is buoyed up and swept along in the current of the story. This kind of transportation effect is achieved by way of concrete sensory detail. You don’t get it with non-imagistic writing. You may get irony, pathos, angst, even sadness or anger, but you don’t get transportation. I should point out that what I’m discussing here applies more readily to novels than to stories. A great short story is possible without much description, or without any at all, although my personal favorites do manage to evoke a strong sense of place, despite the inherent austerity of the form. But the novel is really the best venue for descriptive writing of the kind I’m referring to. All of this is by way of an introduction to the central literary concept of this essay, the domaine perdu. The concept finds an archetypal embodiment in a novel called Le Grand Meaulnes, by a Frenchman named Alain-Fournier.  Fournier wrote the book at the ripe old age of nineteen, and it was in fact his only published novel; he was killed in action in World War I.  In the book, a boy wandering the French countryside stumbles upon a mysterious, decaying manor house, or domaine.  He senses something magical about the place.  He is overcome by “an extraordinary sense of well-being, an almost intoxicating serenity.”  He hears “strains of lost music” that evoke memories both sweet and sad.  The residents of the domaine end up taking him in; he stays for the weekend. There is a party attended by charming and eccentric people. He befriends a young man, and becomes infatuated with his new friend’s beautiful sister. To make a long story short, the protagonist goes home filled with longing.  He spends the rest of the novel trying unsuccessfully to get back to the lost domaine. The domaine perdu, therefore, is a deep myth having to do with a compulsion to return to a lost world of sensory completeness, beauty, and perfection; to recreate, in the words of the late novelist John Fowles, the “magical-sensual world of extreme infancy.”  It’s the Eden myth; it has a tremendous resonance in every culture. It’s one of the main engines that drives us as writers to describe, and, as readers, to be transfixed by fine descriptive prose. * In the early years of the current decade I had multiple opportunities to visit Hemingway’s house in San Francisco de Paula, about twenty minutes outside Havana. It’s an atmospheric, one might even say a haunted, place. Through the open windows Hemingway’s well-stocked bookshelves are exactly as he left them, for the last time, in the spring of 1960. His spectacles lie open on a side table; several enormous pairs of shoes hang toe-down in a closet rack. The Finca Vigía was the author’s principal home for more than two decades; it is where he wrote The Old Man and the Sea, A Moveable Feast, and the unfinished manuscript that was published posthumously as Islands in the Stream. It was the departure point and refueling station for his beloved marlin-fishing trips; the base of operations for his grandiose, romantic, and wholly fruitless U-boat hunting patrols during WWII. On the walls of the house his big game trophies molder, their hides looking a little thin these days, like the hides of the small mongrel-dogs at rest on the cracked sidewalks of Havana Centro, with their swollen nipples and flies buzzing all around. Downhill through shaded gardens a walkway leads to the author’s expansive pool. Drained now, it’s a dangerous-looking pit with a steeply slanting bottom leading into the leaf-littered shadows of the deep end. Examining another author’s domaine perdu is a little like that empty pool: there’s something about it that’s both melancholy and hazardous. Put another way, delving too deeply into this particular aspect of the writing craft is almost like asking the muse to disrobe and then subjecting her to a gynecological exam followed by Freudian analysis. Is it really a good idea to try to plumb the basic motivations of a great and extremely troubled writer like Hemingway? I’ll just leave that question hanging in the air. Hemingway was many things, some of them admirable, many not, but above all he was a great observer of nature. Those who love his work are generally passionate about it, while those who hate it may be equally so. Whatever your view it is important to consider that the domaine perdu is what makes Hemingway Hemingway. Without it he is merely a craftsman, a skilled and notably economical stylist with a gift for narrative. For a look at what Hemingway is like without the domaine perdu, forget about the novels for a moment and turn to a selection of his short fiction. Stories like “The Hills are White Elephants” and “The Killers” are very, very good — maybe among the best in the language — but there’s little of the bittersweet atmosphere of nostalgia that infuses The Sun Also Rises, A Farewell to Arms, or A Moveable Feast. The longing for a lost world defines and shapes these latter works. Consider the opening paragraph of A Farewell to Arms: In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving and blue in the channels.  Troops went by the house and down the road and the dust they raised powdered the leaves of the trees. The trunks of the trees too were dusty and the leaves fell early that year and we saw the troops marching along the road and the dust rising and leaves, stirred by the breeze, falling and the soldiers marching and afterward the road bare and white except for the leaves. The domaine perdu is closest to the surface when wistfulness bleeds through into description. When the normally laconic Hemingway dwells lovingly on a landscape, that’s the domaine perdu. In A Farewell to Arms and The Sun Also Rises — even in the grittier, grimmer For Whom the Bell Tolls — most of the chapters begin with vivid poetic descriptions like the one we just read. The domaine perdu is often found in beginnings: in the opening pages of a novel, or in the opening paragraphs of a chapter or a story. This is no accident. Description provides an embarkation point, a bridge, or a kind of touchstone that affords both the author and the reader access to the created world. Description also has more practical effects, such as anchoring the reader in the narrative — letting her know in a concrete way exactly where the characters are and what they are seeing –; arresting the reader’s attention with the compelling beauty of the novelistic world; and preparing the emotional ground for the scene to come. In addition to providing embarkation points, the landscapes in Hemingway’s work are a recurring narrative mode used to tie together scenes of dialogue and action. Description is also the main vehicle for the explicit communication of the bittersweet magic, like lingering perfume or canned time, of the world that has been left behind. Here’s an anecdote of a conversation with F. Scott Fitzgerald in A Moveable Feast: On this night though he wanted me to know and understand and appreciate what it was that had happened at St.-Raphael and I saw it so clearly that I could see the single-seater seaplane buzzing the diving raft and the color of the sea and the shape of the pontoons and the shadow they cast and Zelda’s tan and Scott’s tan and the dark blonde and the light blond of their hair and the darkly tanned face of the boy that was in love with Zelda. Note that here the domaine perdu is a secondhand one, having originally belonged to Fitzgerald. Fitzgerald is also emphatically a domaine perdu writer; that is, the domaine perdu is a primary source of emotional power in his books. It is also worth noting that the lost world is not always remembered as a happy place; according to its Greek conception ecstasy is just as likely to come through misery as it is through joy. The above passage describes an exquisitely painful memory for Fitzgerald, of the first big breach with Zelda when she had an affair with a young Frenchman. There’s no need to dwell further on Hemingway and Fitzgerald, other than to point out two doomed writers whose novels radiate the unmistakable essence of the domaine perdu. If a good writer feels strongly about something, it’s infectious. In Hemingway and Fitzgerald, that intensity of feeling speaks for itself. We can all name other domaine perdu authors; the most obvious is Proust. In terms of more contemporary novelists I personally would throw in  Michael Chabon (The Amazing Adventures of Kavalier and Clay), Jeffrey Eugenides (Middlesex), Charles Frazier (Cold Mountain), Susanna Clarke (Jonathan Strange and Mr. Norell), and all of Andrea Barrett’s work, including her short stories. There’s no question that any worthy historical fiction owes its very existence to the impulse to recreate lost worlds, as do the best works of literary fantasy, such as The Chronicles of Narnia, Phillip Pullman’s The Golden Compass, and Ursula K. Leguin’s The Wizard of Earthsea.  Indeed, if we believe John Fowles, the primal urge to return to the domaine perdu by the only means available, by creating it, lurks behind all art, which is precisely why it’s important to recognize and think about. * One of the reason’s Hemingway’s life was so glamorized, and one of the reasons it ultimately became unbearable to him, was that he strove to live his novels before he wrote them. His books are about as autobiographical as well-plotted fiction can get; for example A Farewell to Arms is based on his experience as an ambulance driver in Italy during WWI, For Whom the Bell Tolls is based on his stint as a journalist covering the Spanish Civil War, and Islands in the Stream draws heavily from the years he spent in his fishing yacht, the Pilar, cruising the waters north of Cuba for marlin and Nazi U-boats. For Hemingway, the lost world was a real place, or a series of places, but for the next author we’re going to consider, J.R.R. Tolkien, it was almost entirely made up. This is not to say that some or even most of the superb descriptive passages in The Lord of the Rings didn’t flow from the author’s boyhood wanderings through the bucolic meadows and riverside glades around Oxford, or the denuded wastelands of the World War I killing fields, or trips he might have taken to the spectacular landscapes of the Alps. There’s no doubt that Tolkien too was a great observer and writer of nature. But in his case there were additional elements as well. As a young man Tolkien, like Hemingway, witnessed firsthand the awful slaughter of WWI. Like Hemingway he survived, but by 1918, according to the preface of The Lord of the Rings, all but one of his closest friends were dead. He wrote the trilogy in the period from 1936 – 1949, which may also help to explain the work’s dark, often apocalyptic tone — as well as its “good versus evil” subject matter. The truth is that unlike his other famous book, The Hobbit (first published in 1936), The Lord of the Rings is not really meant for children. Certain children do devour it though, as I did when I was eight or ten. It had a major impact, opening my eyes  to the power of literature as no other book had. The Shire and Mordor, Fangorn Forest, Moria, Rivendell and Lothlórien; I regret that the movies have begun to blur the vivid landscapes of Middle Earth in my mind, replacing them with the crisp silver-screen versions filmed on location in New Zealand. New Zealand is highly photogenic and fairly well-suited to Tolkien, but screen images are incapable of evoking the same magic or carrying the same emotional charge as fictional landscapes, especially those you read as a child. The fact is — and this is a powerful counter-argument to the lament that the novel is dead or dying — film simply can’t accomplish the things with landscape that literature can. Well-drawn literary landscapes become rooted in your soul, instead of washing over in blasts of music and awe-inspiring, computer-enhanced cinematography. I picked up the books again several years back, partly because I had the time (at over a thousand densely-printed pages it’s not the kind of thing you can read in single afternoon), and partly because I wanted to revisit it before Hollywood stole my primeval memories of hobbits, wizards, and the detours and byways of Middle Earth. I was not disappointed. It really is a terrific story, in some ways even better than I had remembered. I was tempted to go on a mission to revive the books’ standing among the MFA set, but then it’s not as if the Tolkien estate really needs my help. Those who love the trilogy will always love it despite the commercial hype, and it will continue to be difficult to explain to those who have avoided it or haven’t been able to get through the first hundred pages (and there are many) what it is that’s so wonderful about it. The uninitiated reader will have to simply take it on faith that The Lord of the Rings provides an unparalleled example of how the domaine perdu can be used in a novel to express an extremely compelling vision of human existence. I won’t bother to summarize the plot too extensively; it’s a straightforward quest story, with the twist that the quest is not to retrieve the grail but rather to destroy it. Over the course of the book Frodo Baggins and his fellowship make their way ever eastward, from the bucolic backwater of the hobbits’ Shire to the seething darkness of Mordor. On the way the party experiences many setbacks, as the reader gradually becomes aware of a miasma of apocalyptic evil that is settling over the novel’s world. They stop over in some very nice places on the way, however, Eden-like way-stations populated primarily by elves, in which the travelers long to remain but cannot. These way-stations are what concern us, because they stand out in the story like islands of light in a rising sea of darkness. They are, in other words, manifestations of Tolkien’s domaine perdu: outposts of a detailed, magical world that has already been lost. Rather than quote at length from these chapters I’ve selected a few nearly random passages to give you something of the flavor: Slowly the hall filled, and Frodo looked with delight upon the many fair faces that were gathered together; the golden firelight played upon them and shimmered in their hair. The others cast themselves down upon the fragrant grass, but Frodo stood awhile still lost in wonder.  It seemed to him that he had stepped through a high window that looked on a vanished world. A light was upon it for which his language had no name. Tolkien was an Oxford professor, deeply absorbed in his studies. His main areas of focus were early Nordic and Anglo-Saxon literature, and during the course of his writing life he made up an entire world that was inspired by and in many ways based upon, these bodies of myth. There’s a great deal of verse scattered throughout The Hobbit and The Lord of the Rings, much of it in Elvish, a complex language that Tolkien, a gifted linguist, ambitiously invented out of whole cloth. I have a feeling that most people simply skip over the verse to get on with the story, but that’s a mistake, because the verse is important to the underlying mood of the books — the tip of the iceberg, if you will, exposing the vast and emotionally charged domaine perdu dwelling beneath the story, scaffolding it, and bestowing its unique inner power. Now you may well be asking at this point: if this world is entirely made up, how can you call it a domaine perdu? Doesn’t a lost world imply a place and time that exists in actual memory, as with Hemingway and Fitzgerald? The answer, I believe, is not necessarily. The main emotion associated with the domaine perdu is not merely nostalgia but longing, and it’s eminently possible, even likely, that all writers long for a place and time that never existed. In a sense, Hemingway’s Paris is every bit as made up as Tolkien’s Middle Earth. But let’s get back to the story. As Frodo’s party makes its way steadily eastward, between and sometimes even during their sojourns in way-stations of light and Bardic poetry, the evil in the world begins to assert itself with ever greater force. Terrifying ringwraiths assail the party and wound Frodo with a clammy blade; flocks of crows and other flying creatures careen menacingly through the sky above their heads; orcs pursue them through the abandoned mines of Moria, and a powerful monster drags the wizard Gandalf down into the abyss. Meanwhile the dreadful penumbra encroaches upon every quarter of the sky, and it is apparent that even fortresses of light such as Rivendell and Lothlórien must eventually succumb to the rising tide of Evil. This image of a world gradually drowning in darkness buttresses the dramatic tensions inherent in the quest story; it is at bottom an extremely dark tale. Frodo’s journey is from one pole to another — from the pole of light to the pole of darkness — and it hinges absolutely upon the existence of a domaine perdu. Early in the quest, soon after they’ve left the last outpost of the known hobbit world, Frodo tries to sleep: He lay tossing and turning and listening fearfully to the stealthy night noises: wind in chinks of rock, water dripping, a crack, the sudden rattling fall of a loosened stone.   He felt that black shapes were advancing to smother him . . . He lay down again and passed into an uneasy dream, in which he walked on the grass in his garden in the Shire, but it seemed faint and dim, less clear than the tall black shadows that stood looking over the hedge. And much later, as he and his faithful servant Sam slog along through the swamps on the outskirts of Mordor: Dead grasses and rotting reeds loomed up in the mists like ragged shadows of long-forgotten summers.  As the day wore on the light increased a little, and the mists lifted, growing thinner and more transparent.  Far above the rot and vapors of the world the Sun was riding high and golden now in a serene country with floors of dazzling foam, but only a passing ghost of her could they see below, bleared, pale, giving no color and no warmth. The Lord of the Rings is full of such bleak, frightening images; the prevailing mood is one of fear and dread. What saves it from being merely horrifying or depressing, however, is the potential for redemption inherent in the hidden domaine perdu. It’s always there in the background. Sometimes it bleeds through, like rays of sunlight appearing through a break in a low overcast. You can’t have true darkness without light to offset it; you need one to comprehend the other. Fear and dread open the possibility for uncomplicated joy; just as the presence of light gives extra power to the encroaching darkness. To put it in more mundane terms, the “reason” for the elegiac passages — the “islands” of festivity and light — is to make the encroaching evil more real and more threatening, and the overwhelmingly dark tone of the story as a whole causes the “islands” to burn that much more brightly. It is a well-known fact that fiction about happiness is untenable; less well-known, perhaps, is the fact that fiction that dwells solely in realms of darkness also comes too easily, and is by nature incomplete. Evil is indisputably a part of life (although perhaps not in the simple-minded terms put forth by neoconservatives and certain heads of state), but so is love. This is the wisdom underlying Tolkien’s work; his novels enact this truth compellingly and on an epic scale. * For a final angle on the domaine perdu, consider the Native American writer James Welch. For those who don’t know his novels you should go out and get them without delay: they are original, beautiful, and vastly under-appreciated. Particularly germane to this discussion is his magnificent book, The Heartsong of Charging Elk. The novel is told from the perspective of a young Lakota Sioux in the 1880’s who travels to Europe with Buffalo Bill’s Wild West Show. The prologue shows Charging Elk as a small boy, less than a year after Custer’s defeat at Little Bighorn. In just a few pages it draws a remarkably vibrant portrait of the novel’s domaine perdu: the quickly vanishing prairie Eden from which Charging Elk’s people have been expelled, and to which he spends most of the novel trying to return. I hope this sounds familiar. The story itself begins a decade or so later. Charging Elk lies in a Marseilles hospital, after having become separated from the Wild West Show and fallen deathly ill. In this passage he has just regained consciousness after days in a near-coma: He thought of sunrise in another place.  A place of long views, of pale dust and short grass, of few people and no buildings.  He had seen that sunrise over the rolling simple plains, he had been a part of it and it had been a part of him . . . He remembered the villages, the encampments, one place, then another.  Women picking berries, men coming back with meat, the dogs and horses, the sudden laughter or tears of children, the quiet ease of lying in a sunny lodge with the skins rolled up to catch the breeze. Note the elegiac flavor of the prose: the sun-dappled imagery doled out in brief comma-separated clauses, like gently breaking waves of memory. Such emotionally charged description is possible this early in the novel because it emanates from a clearly understandable place within the protagonist, the place described so vividly in the prologue. Even if the reader doesn’t share Charging Elk’s yearning for the lost purity of the Plains Indian lifestyle — though it’s probably fair to assume that most of Welch’s readership does share it — he can relate to that yearning because he’s seen where it comes from. If we accept John Fowles’ earlier-stated premise that we all carry around our own domaines perdus, the emotion behind the description is not only earned, but universally resonant. Charging Elk wanders the perilous streets of the late 19th century French seaport, lost, cold, and hungry. His memories of the Dakota territory are a continual presence, always in the background and periodically coming into the foreground — a pattern utterly reminiscent of the way Tolkien uses the Shire in The Lord of the Rings. The lost domain is most vivid when the present-time narrative is darkest, as when Charging Elk is sentenced to a life sentence for murder in La Tombe, a grim French high-security prison: But quite often, at the very moment Charging Elk’s despair was at its apex, the snow would fall.  And he would lift his head and feel the downy flakes settle on his face and melt and he would be transported, as if by magic . . . back to the Stronghold and the winters he had spent with Kills Plenty. The domain perdu provides contrast between memory and current reality, and it provides the only cause for hope in the face of overwhelming evidence for despair. Notice the element of transportation in this passage; the memory of his domaine perdu does for Charging Elk what good fiction can do for a reader, and it’s no accident that the transportation is accomplished by way of vivid sensory description. To summarize: The domaine perdu in The Heartsong of Charging Elk fulfills a number of key narrative functions. It gives shape to the protagonist’s journey by providing a chronological and emotional starting point from which he gets further and further away. It helps round out the protagonist’s character, defining his principal “dramatic need” (to return to Dakota Territory), while at the same time offering a font of illuminating backstory.  In one sense it’s a narrative of the destruction of an entire way of life, the tapering tail-end of more than three centuries of genocide on the North American continent. In another sense it’s a narrative of a stranger trying and repeatedly failing to navigate a strange land, who is exploited, commits murder, spends more than a decade in jail, and does not live to see his people again. This may sound like bleak material, but The Heartsong of Charging Elk is rescued by the domaine perdu, which infuses the story with light. Welch succeeds in blending the joyous with the tragic in a way that rings entirely true. What more can a novelist hope for, or a reader? * There’s a hike I used to take a few times a year as a child. It begins in a tall hardwood forest, which gives way gradually to a mixed forest and then to a dense boreal forest of conifers. Glades of gnarled dwarf-spruce open out onto little mossy lawns of heather spackled with the bright scarlet brushstrokes of summer berries or autumn leaves. Climbing on you come to the edge of a vast cone of broken granite sloping up to the summit: fins and hillocks and thrones of mottled gray stone softened by a patina of multicolored lichen. This is what Tolkien might have called a “fell-field”; his goblins would have been drawn to it because of the fissures, large and small, that shoot through the ancient rock. Most of these are tightly joined, like the unmortared blocks of a Roman aqueduct; others take the form of gaping black abysses that appear to give lightning-bolt access to a hollow mountain underworld. Like the landscapes I once explored in Tolkien’s books, this place is rooted in my dreams. Just by thinking about it I can awaken its magic, like summoning ghosts. I’ve heard it said that the only proper subject for fiction is humanity. I’ve also heard it stated that the novel is an inherently bourgeois art form, limited in scope to portraying the foibles and intricacies of human society. But this sort of conventional wisdom ignores the fact that humanity is inseparable from nature. To write narratives focused solely upon ourselves, without reference to the greater world that embraces and sustains us, is to reflect the lack of vision, the illusory and damaging presumption of separation that has brought us to the current point of crisis. It is also to ignore the challenge of portraying humankind with reference to our surroundings, as denizens of a larger universe. According to the Irish poet John O’Donohue, “To recognize and celebrate beauty is to recognize the ultimate sacredness of experience.” By describing the landscapes through which our characters move, we engage in a ritual of gratitude and healing. Such rituals are few and far between these days, and we ought to embrace them. Writers in the so-called literary fiction genre too often hear about the options that are foreclosed to us. Yet there are no hard and fast rules to writing, only conventions. One of the great pleasures of being a writer is that it is our job to constantly challenge these conventions — to stretch them, break them, or simply to ignore them. It is worthwhile to give some thought to where you yourself come down on the question of whether literature exists more to delight or to instruct. Description roots us in a narrative and keeps us there; its capacity to take us back to our species’ primal attachment to the land is powerful medicine that we as writers would be foolish to ignore. Despite what you may be told in certain writing workshops and how-to books, my advice is not to shy away from well-rendered naturalistic description, even when it’s not doing anything explicit to advance character or plot. Let your work breathe, especially in the early drafts. Tap into the landscapes buried within yourself. Consider the duality of opposites wherein the true nature of existence resides, and remember that transportation is triggered by the senses: sight, sound, smell, touch. The literature of the domaine perdu, which is a literature of loss, is more essential than ever now, when so many actual landscapes have been destroyed and so many others are severely threatened. Whether your own lost worlds are real or imagined, the fact that you’re drawn back to them is a clear sign that you’re heading in the right direction. ____ This essay originally appeared in The Writer’s Chronicle as “Accessing Eden: Novelistic Landscapes and the Domaine Perdu.” Share this: Enter your email address to follow this blog and receive occasional news. Join 2,069 other followers
i don't know
Who has been the tallest British Prime Minister since WWI?
BBC - History - British History in depth: Prime Ministers and Politics Timeline On This Day Prime Ministers and Politics Timeline Do you know which prime minister brought 'fallen women' to 10 Downing Street? Or which one fought a duel? Or who was known as 'the Goat'? Take a political journey through nearly 300 years of high ideals and low cunning, from Gordon Brown to the first man to hold prime ministerial powers, Robert Walpole. Margaret Thatcher Conservative, 1979 - 1990 Britain's first female prime minister came to power with the country descending into industrial and economic chaos. A relatively inexperienced politician, she nonetheless adopted a personal style of indomitable self-confidence and brooked no weakness in herself or her colleagues. Derisively dubbed the 'Iron Lady' by the Soviet press, she wore the moniker with pride. Her government's free-market policies included trade liberalisation, deregulation, sweeping privatisation, breaking the power of the unions, focus on the individual and the creation of an 'enterprise culture'. 'Thatcherism' has had a profound and lasting economic and social impact on Britain, and still sharply divides opinion to this day. The first PM to serve three consecutive terms (including two 'landslide' victories) she was eventually toppled by her own party following the disastrous imposition of a 'poll tax'. Nonetheless, she is generally considered to be one of the best peace time prime ministers of the 20th Century. James Callaghan Labour, 1976 - 1979 Callaghan inherited the office of prime minister following the surprise resignation of Harold Wilson. With only a tiny parliamentary majority to support him, he faced an increasingly one-sided confrontation with organised labour in the form of rampant strike action. Things came to a head in the so-called 'Winter of Discontent', a phrase from Shakespeare borrowed by Callaghan himself to describe the events leading up to February 1979. Britain was 'strikebound', with public servants staging mass walk outs, leaving food and fuel supplies undelivered, rubbish uncollected and - most notoriously - bodies unburied. Things became so bad in Hull it was dubbed 'the second Stalingrad'. The tabloid press has since been accused of overstating the severity of the situation (and wrongly quoting him as saying 'Crisis? What Crisis?') but it was enough at the time to sound the death knell for Callaghan's government later in the same year. Harold Wilson Labour, 1974 - 1976 In March 1974, Wilson became prime minister for the third time at the head of a minority government, following the first hung parliament (one where no party holds a majority) for 45 years. Often described as a wily fixer and negotiator, it took all of his skills to hold on to power in the face of economic and industrial turmoil. His party was also sharply divided, with many Labour members of parliament (MPs) bitter about Wilson's manoeuvring against his colleagues. He called another general election in October 1974, thereby ending the shortest parliament since 1681, and was returned to office with a majority of just three seats. He presided over a referendum on Britain's membership of the European Economic Community (EEC), and a collapse in the value of the pound which prompted a humiliating 'rescue operation' by the International Monetary Fund (IMF). Exhausted, Wilson resigned saying 'politicians should not go on and on'. Edward Heath Conservative, 1970 - 1974 Heath succeeded in taking Britain into the European Economic Community (EEC), the precursor to the European Union, despite two previous failed attempts by Britain to gain entry, in 1961 and 1967. But his government was dogged by torrid industrial relations and recurrent economic crises. Things came to a head in January 1974, when industry was put on a 'three-day week' to conserve fuel. Fuel was in dangerously short supply following a combination of domestic industrial action (coal miners on 'work-to-rule') and a quadrupling of prices by Middle Eastern oil exporting nations in the wake of Israel's victory in the Yom Kippur War. In March 1974, Heath called a general election on the question of 'who governs Britain?' - the unions, or the elected representatives of the people. To his surprise the result was a hung parliament (one where no party holds a majority) and he was ousted. Harold Wilson Labour, 1964 - 1970 In 1964, 'Good old Mr Wilson' - an avuncular, pipe-smoking figure - came to power amid much excitement and optimism. He had promised a 'new Britain' forged in 'the white heat of a second industrial revolution'. In reality, his administration never escaped from a cycle of economic crises, vainly battling against further devaluations of the pound. Wilson won a second general election in 1966 (the year England lifted the football World Cup) making him the first Labour PM to serve consecutive terms. In 1967, the government failed in its application for membership of the European Economic Community (EEC) and was also finally forced to devalue sterling. The electorate became disillusioned with Wilson, who lost narrowly to the Conservatives in the 1970 election. Sir Alec Douglas-Home, Conservative, 1963 - 1964 In 1963, a change in the law allowed hereditary peers to disclaim (or 'drop') their titles, which in turn meant they were able to become members of parliament (MPs). The only peer ever to do so and become prime minister was Douglas-Home, formerly the 14th Earl of Home, who assumed the office when Harold Macmillan retired due to ill health. He was the first prime minister in the post-war period not to win his own mandate (be elected or re-elected by popular vote). Harold Macmillan, Conservative, 1957 - 1963 Macmillan came to power at a time when Britain was confronting its loss of world-power status and facing mounting economic troubles. Nonetheless, he successfully associated the Conservatives with a new age of affluence and the burgeoning consumer revolution. But his oft-quoted assurance 'You've never had it so good' actually finishes 'What is beginning to worry some of us is, is it too good to be true?'. His government is principally remembered for the so-called 'Profumo Affair', a sex scandal that erupted in 1963 and contributed to the Conservatives' defeat at the general election the following year. Secretary of State for War John Profumo had been having an affair with a showgirl who was also seeing the Soviet naval attaché to London - a serious transgression at the height of the Cold War. After lying to the House of Commons, Profumo admitted the truth in June 1963 and resigned in disgrace. Macmillan resigned due to ill health in October the same year. Sir Anthony Eden, Conservative, 1955 - 1957 When Sir Winston Churchill retired due to ill health, Eden took over as prime minister. Many years before, Churchill had anointed Eden as his successor, but later acknowledged he had made 'a great mistake'. His opinion was born out as the new PM blundered into the Suez Crisis. Following Egypt's decision to nationalise the Suez canal, Britain (the principal shareholder), France and Israel invaded in October 1956 to near-universal condemnation and the threat of nuclear strikes by the Soviet Union. Within a week, Britain was forced into an embarrassing climb-down. Humiliated and in ill-health, Eden left the country for a holiday at the Jamaican home of James Bond author, Ian Fleming. He returned in mid-December to the sarcastic newspaper headline: 'Prime Minister Visits Britain'. He resigned on 9 January 1957. Sir Winston Churchill, Conservative, 1951 - 1955 Churchill's desire to return to power, despite his assured place in history, had much to do with his belligerent refusal to accept that the British public had rejected him in 1945. Now the electorate was seeking to put behind it the hardships and privations of the post-war years under Clement Atlee and return to a more traditional idea of society - so-called 'housing and red meat' issues. Churchill tried - and failed - to recreate the dynamism of his wartime administration, and he struggled to adjust to the political realities of the Cold War, preferring direct action and personal diplomacy to proxy wars and cabinet consensus. His refusal to retire, despite suffering a stroke, caused mounting frustrations among his colleagues. At the age of 80, he finally conceded to his failing health and stepped down, although he continued to serve as an MP. Clement Attlee, Labour, 1945 - 1951 World War Two had sharply exposed the imbalances in Britain's social, economic and political structures. For a population that had sacrificed so much, a return to the pre-war status quo was simply not an option. In 1942, a report by Sir William Beveridge, chairman of a Ministry of Health committee, had advocated a system of national insurance, comprehensive welfare for all and strategies to maintain full employment. The 'Beveridge Report' formed the basis of Labour pledges in the 1945 election and resulted in a landslide victory. Attlee's government successfully harnessed the wartime sense of unity to create the National Health Service, a national insurance scheme, a huge programme of nationalisation (including the Bank of England and most heavy industries) and a massive building programme. He also made Britain a nuclear-armed power. These sweeping reforms resulted in a parliamentary consensus on key social and economic policies that would last until 1979. But by 1951, a row over plans to charge for spectacles and false teeth had split the cabinet. Party disunity and a struggling economy contributed to Attlee - cruelly dubbed by Churchill 'a modest man with much to be modest about' - losing the next election. Winston Churchill, Conservative, 1940 - 1945 By the time Churchill was asked to lead the coalition government in 1940, he had already enjoyed colourful and controversial careers as a journalist, soldier and politician. He had twice 'crossed the floor' of the House of Commons, the first time defecting from Conservative to Liberal and serving as First Lord of the Admiralty during the early years of World War One. Demoted in the wake of the slaughter at Gallipoli, he preferred to resign and take up a commission fighting on the Western Front. Despite standing against the Conservatives in a 1924 by-election, Churchill was welcomed back into the party that same year and served as Chancellor of the Exchequer for five years under Stanley Baldwin. But personal disagreements and his vehement anti-Fascism would lead to nearly a decade in the political wilderness. Following Neville Chamberlain's resignation in 1940, Churchill finally realised his 'destiny' and accepted the office of prime minister. Promising nothing more than 'blood, toil, tears and sweat', he almost single-handedly restored Britain's desire to fight on in adversity. Despite Churchill's enormous personal popularity, by 1945 the electorate no longer wanted a war leader and the Conservatives lost by a landslide. Neville Chamberlain, Conservative, 1937 - 1940 Rarely has the hyperbole of politicians been as resoundingly exposed as when Neville Chamberlain returned from his 1938 negotiations with Adolf Hitler, brandishing his famous 'piece of paper' and declaring the agreement it represented to be 'peace for our time'. Within a year, Germany had invaded Poland and Britain was plunged into World War Two. With his policy of 'appeasement' towards Hitler utterly bankrupted, Chamberlain resigned in 1940. He was replaced by Winston Churchill. When the issue of honours was discussed, he stated that he wanted to die 'plain Mr Chamberlain, like my father'. His father, Joseph Chamberlain, was the politician who split the Conservatives in 1903 by pushing for tariffs on imported goods. It was this very issue that convinced Churchill to defect to the Liberals, with whom he first achieved high office. Chamberlain died six months after resigning. Stanley Baldwin, Conservative, 1935 - 1937 When Baldwin returned to power in 1935, the financial crisis sparked by the Wall Street Crash six years before appeared to be over. It was to be swiftly replaced by a constitutional crisis brought about by Edward VIII's desire to marry a twice-divorced American, Wallis Simpson. Baldwin advised Edward that Mrs Simpson would not be accepted as Queen by the public, and that the king could not condone divorce as head of the Church of England. The king proposed a 'morganatic' marriage, whereby Mrs Simpson would become his consort, but not Queen. The government rejected the idea and threatened to resign if the king forced the issue. The story then broke in the press, to general disapproval by the public. Rather than break the engagement, Edward abdicated on 11 December 1936. Credited with saving the monarchy, Baldwin is also condemned for failing to begin re-arming when it became clear that Nazi Germany was building up its armed forces. Ramsay MacDonald, Labour, 1929 - 1935 MacDonald began his second term at the head of a minority government (one that does not have an outright majority) and with the economy in deep crisis. Britain was still in the grip of the Great Depression and unemployment soon soared to two million. With fewer people able to pay tax, revenues had fallen as demand for unemployment benefits had soared. Unable to meet the deficit, by 1931 it was being proposed that benefits and salaries should be cut. Labour ministers rejected the plan as running counter to their core beliefs. MacDonald went to the king, George V, to proffer his resignation. George suggested MacDonald to try and form a 'national government' or coalition of all the parties. (This is the last recorded direct political intervention by a British monarch.) The National Government was formed, with MacDonald as prime minister, but Stanley Baldwin, leader of the Conservative Party, the de facto 'power behind the throne'. MacDonald is still considered by many in the Labour Party as their worst political traitor. Stanley Baldwin, Conservative, 1924 - 1929 In May 1926, the Trades Union Congress called for a general walkout in support of a coal miners' protest against threatened wage cuts. It was the first and, to date, only general strike in British history. The strike affected key industries, such as gas, electricity and the railways, but ended after just nine days due to lack of public backing and well-organised emergency measures by Baldwin's government. Far from succeeding in its aims, the General Strike actually led to a decline in trade union membership and the miners ended up accepting longer hours and less pay. It also gave impetus to the 1927 Trade Disputes Act, which curtailed workers' ability to take industrial action. Baldwin's government also extended the vote to women over 21 and passed the Pensions Act, but eventually fell as a result of the Wall Street Crash of 1929, and the Depression that followed. Ramsay MacDonald, Labour, 1924 In 1924, MacDonald briefly became the first Labour prime minister, ending two centuries of Conservative - Liberal domination of British politics. It was the first party to gain power with the express purpose of representing the voice of the 'working class'. An MP since 1906, MacDonald was respected as a thinker, but criticised by many within his own party as insufficiently radical (despite appointing the first female cabinet minister, Margaret Bondfield, in 1929). His opposition to World War One had made him deeply unpopular and he continually suffered a torrid time at the hands of the press. The publication by two newspapers of the 'Zinoviev letter' did much to damage his chances in the run up to the 1924 election. The letter (which he had seen but decided to keep secret) purported to be from Soviet intelligence and urged British communists to commit acts of sedition. He lost by a wide margin. The letter is now widely accepted to be a fraud. Stanley Baldwin, Conservative, 1923 During his very brief first term as prime minister, Stanley Baldwin bumped into an old school friend on a train. Asked what he was doing these days, Baldwin replied: 'I am the prime minister.' Having come to power following Andrew Bonar Law's resignation, he called an election in the hope of gaining his own mandate (election by popular vote), but lost. Andrew Bonar Law, Conservative, 1922 - 1923 Branded the 'unknown prime minister' by his bitter political rival HH Asquith, Canadian-born Bonar Law is principally remembered for a single speech he made in 1922. The Conservatives had been part of a coalition under the Liberal prime minister, David Lloyd George, since 1916. Many were considering joining Lloyd George permanently, but Bonar Law's speech changed their minds. Instead, the Conservatives withdrew from the coalition and Lloyd George was forced to resign. The king, George V, asked Bonar Law to form a new government. Reluctantly he accepted, despite still grieving two sons killed in World War One and - as it turned out - dying of throat cancer. He held office for 209 days before resigning due to ill health. He died six months later and was buried at Westminster Abbey, upon which Asquith commented: 'It is fitting that we should have buried the Unknown Prime Minister by the side of the Unknown Warrior.' David Lloyd George, Liberal, 1916 - 1922 Lloyd George guided Britain to victory in World War One and presided over the legislation that gave women the vote in 1918, but he is remembered as much for his private life as his public achievements. Nicknamed the 'Welsh Wizard', he was also less kindly known as 'The Goat' - a reference to his countless affairs. (Scandalously, he lived with his mistress and illegitimate daughter in London while his wife and other children lived in Wales.) The first 'working class' prime minister, Lloyd George had risen to prominence by solving the shortage of munitions on the Western Front. It was his desire to get to grips with the requirements of 'total war' that led to his split with then Liberal Prime Minister HH Asquith. It also brought him closer to the Conservatives, with whom he formed a new coalition government when Asquith resigned. That coalition would disintegrate six years later in the midst of a scandal. Serious allegations were made that peerages had been sold for as much as £40,000. (One list even included John Drughorn, who had been convicted for trading with the enemy in 1915.) Lloyd George resigned in October 1922. HH Asquith, Liberal, 1908 - 1916 Asquith's government had shown great longevity, but disintegrated in the face of the unequalled disasters of the Somme and Gallipoli. With World War One going badly, fellow Liberal David Lloyd George had seized his chance and ousted Asquith. But in the preceding eight years, the two politicians had together overseen one of the greatest constitutional upheavals of the 20th Century and ushered in some of the predecessors of the Welfare State. Old Age Pensions were introduced and Unemployment Exchanges (job centres) were set up by then Liberal minister Winston Churchill. But when Lloyd George attempted to introduce a budget with land and income taxes disadvantageous to the 'propertied' classes, it was thrown out by the House of Lords. Lloyd George branded the Lords 'Mr Balfour's poodle' (a reference to Conservative leader AJ Balfour's supposed control over the peers). The stand-off resulted in two general elections during 1910, the second of which the Liberals won with a 'peers against the people' campaign slogan. The budget was passed and, in 1911, the Parliament Act became law. The Act stated that the Lords could only veto a Commons bill twice, and instituted five-yearly general elections. Sir Henry Campbell-Bannerman, Liberal, 1905 - 1908 Arthur James Balfour, Conservative, 1902 - 1905 The nephew of the Marquess of Salisbury, Balfour had none of his uncle's political skills despite a long period of mentoring. He was instead something of a philosopher, publishing several weighty books, including 'A Defence of Philosophic Doubt', 'The Foundations of Belief', and 'Theism and Humanism'. Following a cabinet split Balfour resigned, gambling that the Liberals would be unable to form a government and that he would be returned to power. He was wrong. Marquess of Salisbury, 1895 - 1902, Conservative Salisbury came to power for the third and final time when the weak Liberal government of the Earl of Rosebery fell. The political climate was one of rising resentment among the lower and middle classes, who demanded better conditions, social reforms and proper political representation. Bitterly divided, the Liberals would nonetheless experience a revival as they sought reforms of the squalid, disease-ridden British 'concentration camps' used in the Boer War. But it was the founding of the Labour Representation Committee (LRC) on 27 February 1900 that signalled a quiet, yet highly significant sea-change in British politics. This coalition of socialist groups would win two seats in the 1900 general election and 29 seats in 1906. Later that same year, the LRC changed its name to the Labour Party. Despite failing health, Salisbury agreed to stay on to help Edward VII manage the transition following the death of his mother, Queen Victoria. He resigned in favour of his nephew, AJ Balfour, in the first months of the new King's reign. (Notably, he was the last serving prime minister to sit in the Lords.) Earl of Rosebery, Liberal, 1894 - 1895 Rosebury reluctantly became prime minister on the insistence of Queen Victoria, despite still mourning the loss of his wife. Desperate to have a minister she actually liked, Victoria had taken the unusual step of not consulting the outgoing PM, William Gladstone, about his successor. Rosebery, who always loved horseracing more than the 'evil smelling bog' of politics, was gratefully allowed to resign a year later. Notably, he is the only prime minister to have produced not one, but three Derby winners, in 1894, 1895 and 1905. (Despite his aversion to politics, Rosebery was no stranger to scandal. The Prince of Wales had reputedly once intervened to prevent him from being horsewhipped by the Marquess of Queensbury, with whose son Rosebery was believed to be having an affair. Queensbury's other son was Lord Alfred Douglas, Oscar Wilde's lover.) William Ewart Gladstone, Liberal, 1892 - 1894 Gladstone's fourth term as prime minister was completely overshadowed by his insistence on introducing a third bill on the subject of 'Home Rule' for Ireland. The Conservative-dominated House of Lords threw the bill out and generally obstructed Liberal attempts to pass legislation. With his cabinet split and his health failing, the 'Grand Old Man' stepped down for the last time. The public was, in any case, exhausted with Home Rule and instead wanted reforms to working conditions and electoral practices. (Meanwhile, out on the political fringe, the Independent Labour Party had been set up under Keir Hardie to represent the working class and 'secure the collective ownership of the means of production, distribution and exchange'. Leading figures in the party included George Bernard Shaw and Ramsay MacDonald.) Marquess of Salisbury, Conservative, 1886 - 1892 William Ewart Gladstone, Liberal, 1886 Gladstone came to power for the third time with 'Home Rule' (devolution) for Ireland still the dominant issue. A bitter election battle had seen the Conservative government fall after Irish Nationalist members of parliament sided with the Liberals to defeat them. Instead, the Liberals formed a government in coalition with the Irish Nationalists and Gladstone tried to push through his second attempt at a Home Rule bill. The bill split the Liberals and Gladstone resigned. He lost the general election when the 'Liberal Unionists' - those who wanted Ireland to be ruled from Westminster - broke away from Gladstone's Liberals to fight the next election as a separate party. Most Liberal Unionists were of the 'Whig' or propertied faction of the party, which meant that when they went, they took most of the money with them. Marquess of Salisbury, Conservative, 1885 - 1886 William Ewart Gladstone, Liberal, 1880 - 1885 Having failed to force Gladstone to serve under Lord Hartington, Queen Victoria reluctantly accepted 'that half-mad firebrand' as prime minister for the second time. He had only lately returned to politics from retirement after his so-called 'Midlothian Campaign', in which he spoke to large crowds - a practice considered by polite Victorian society to be 'undignified'. His campaign did much to discredit Disraeli's government and had clearly struck a chord with a public eager for social and electoral reform. The Ballot Act in 1872 had instituted secret ballots for local and general elections. Now came the Corrupt Practices Act, which set maximum election expenses, and the Reform and Redistribution Act, which effectively extended voting qualifications to another six million men. There were other burning issues. The United States had just overtaken Britain as the world's largest industrialised economy, and 'Home Rule' (devolution) for Ireland continued to dominate. In seeking support for Home Rule, James Parnell's Irish Nationalists sided with the Conservatives to defeat a Liberal budget measure. Gladstone resigned and was replaced by the 'caretaker government' of the Marquess of Salisbury. Benjamin Disraeli, Conservative, 1874 - 1880 After a brief taste of power in 1868, it had taken Disraeli six years to become prime minister again. He wasted no time in bringing about the social reforms he had envisaged in the 1840s as a member of the radical Young England group. His Acts included measures to provide suitable housing and sewerage, to protect the quality of food, to improve workers rights (including the Climbing Boys Act which banned the use of juveniles as chimney sweeps) and to implement basic standards of education. In 1876, Disraeli was made the Earl of Beaconsfield, but continued to run the government from the Lords. He persuaded Queen Victoria to take the title 'Empress of India' in 1877 and scored a diplomatic success in limiting Russian influence in the Balkans at the Congress of Berlin in 1878. He retired in 1880, hoping to spend his remaining years adding more novels to his already impressive bibliography, but died just one year later. William Ewart Gladstone, Liberal, 1868 - 1874 Upon taking office for the first time Gladstone declared it his 'mission' to 'pacify Ireland' - a prize that was always to elude him. Nonetheless, Gladstone was to become the dominant Liberal politician of the late 19th Century, serving as prime minister four times despite earning Queen Victoria's antipathy early in his career. (She famously complained that 'he always addresses me as if I were a public meeting'.) He had started his career as an ultra-conservative Tory, but would end it as a dedicated political reformer who did much to establish the Liberal Party's association with issues of freedom and justice. But Gladstone also had his idiosyncrasies. He made a regular habit of going to brothels and often brought prostitutes back to 10 Downing Street. In an era when politicians' private lives were very private, his embarrassed colleagues nonetheless felt it necessary to explain his behaviour as 'rescue work' to save 'fallen women'. Benjamin Disraeli, Conservative, 1868 On being asked to become prime minister following the resignation of the Earl of Derby, Disraeli announced: 'I have reached the top of the greasy pole'. He immediately struck up an excellent rapport with Queen Victoria, who approved of his imperialist ambitions and his belief that Britain should be the most powerful nation in the world. Unhappily for the Queen, Disraeli's first term ended almost immediately with an election victory for the Liberals. Despite serving as an MP since 1837 and twice being Chancellor of the Exchequer, Disraeli's journey to the top was not without scandal. In 1835, he was forced to apologise in court after being accused of bribing voters in Maidstone. He also accrued enormous debts in his twenties through speculation on the stock exchange. Disraeli suffered a nervous breakdown as a result, but eventually paid off his creditors by marrying a rich widow, Mary Anne Wyndam Lewis, in 1839. Earl of Derby, Conservative, 1866 - 1868 The introduction of the 1867 Reform Act made Derby's third term as prime minister a major step in the true democratisation of Britain. The Act extended the vote to all adult male householders (and lodgers paying £10 rental or more, resident for a year or more) living in a borough constituency. Simply put, it created more than 1.5 million new voters. Versions of the Reform Act had been under serious discussion since 1860, but had always foundered on Conservative fears. Many considered it a 'revolutionary' move that would create a majority of 'working class' voters for the first time. In proposing the Reform Act, Benjamin Disraeli, Conservative Leader of the House of Commons, had warned his colleagues that they would be labelled the 'anti-reform' party if they continued to resist. The legislation was passed, and also received the backing of the Liberals under their new leader, William Gladstone. Earl Russell, Whig, 1865 - 1866 Viscount Palmerston, Liberal, 1859 - 1865 Earl of Derby, Conservative, 1858 - 1859 The property qualification - the requirement that a man must own property in order to stand as a member of parliament - was finally abolished during Derby's second term as prime minister. It meant that members of parliament (MPs) were no longer drawn exclusively from the 'propertied' classes and could realistically be 'working class'. This fulfilled one of the six conditions set out by the Chartists - supporters of the Third Chartist Petition, written in 1838. It demanded universal male suffrage (votes for all adult men), secret ballots (rather than traditional open ballots), annual parliamentary elections, equal electoral districts (some had less than 500 voters, while others had many thousands), the abolition of a property qualification for MPs, and payment for MPs (which would allow non-independently wealthy men to sit in parliament). Viscount Palmerston, Liberal , 1855 - 1858 Earl of Aberdeen, Tory, 1852 - 1855 It was something of a cruel irony that Aberdeen came to be blamed for blundering into the dreadful Crimean War. As plain George Hamilton Gordon he had made a successful career as a diplomat and had done much to normalise Britain's relationships with its powerful neighbours. Vivid reports from the front by WH Russel of the Times have since led to the Crimean being styled the first 'media war'. His reports publicised the squalor and disease that were claiming more soldiers' lives than the fighting, and inspired Florence Nightingale to volunteer and take the first 38 nurses out to treat the wounded. In 1855, Aberdeen conceded to his critics and resigned. Earl of Derby, Conservative, 1852 Earl Russell, Whig, 1846 - 1851 Confronted by the Irish Potato Famine, declining trade and rising unemployment, Russell still managed to push through trade liberalisation measures and limits on women's working hours. A dedicated reformer, he nonetheless presided over the rejection of the Third Chartist Petition. Set out 1838, it demanded universal male suffrage (votes for all adult men), secret ballots (rather than traditional open ballots), annual parliamentary elections, equal electoral districts (some had less than 500 voters, while others had many thousands), the abolition of a property qualification for members of parliament (MPs), and payment for MPs (which would allow non-independently wealthy men to sit in parliament). Already rejected once by parliament in 1839, the petition had gathered 5 million signatures by 1848. Presented to parliament a second time, it was again rejected. The Chartist movement slowly petered out, even as revolutions blazed across Europe, but many of its aims were eventually realised. Sir Robert Peel, Tory, 1841 - 1846 Peel's second term as prime minister was nothing short of tumultuous. Economic depression, rising deficits, Chartist agitation, famine in Ireland and Anti-Corn League protests crowded in. A raft of legislation was created to stabilise the economy and improve working conditions. The Factory Act regulated work hours (and banned children under eight from the workplace), the Railway Act provided for cheap, regular train services, the Bank Charter Act capped the number of notes the Bank of England could issue and the Mines Act prevented women and children from working underground. But a failed harvest in 1845 provided Peel with his greatest challenge. There was an increasing clamour for repeal of the Corn Laws, which forbade the import of cheap grain from overseas. Powerful vested interests in the Tory Party opposed such a move, but in the end Peel confronted them and called for repeal. After nearly six months of debate, and with the Tories split in two, the Corn Laws were finally repealed. Defeated on a separate issue, Peel resigned the same day, but was cheered by crowds as he left the Commons. (The 'Peelite' faction of the Tories is widely recognised as the foundation of the modern Conservative.) Viscount Melbourne, Whig, 1835 - 1841 Sir Robert Peel, Tory, 1834 - 1835 Invited by William IV to form a new government, Peel immediately called a general election to strengthen his party. Campaigning on his so-called 'Tamworth Manifesto', Peel promised a respectful approach to traditional politics, combined with measured, controlled reform. He thereby signalled a significant shift from staunch, reactionary 'Tory' to progressive 'Conservative' politics. Crucially, he pledged to accept the 1832 Reform Act, which had recently increased the number of people eligible to vote. Peel won the election, but only narrowly. He resigned the following year after several parliamentary defeats. (Peel is probably best remembered for creating the Metropolitan Police in 1829 while Home Secretary in the Duke of Wellington's first government. The nickname 'bobbies' for policemen is derived from his first name.) Duke of Wellington, Tory, 1834 Viscount Melbourne, Whig, 1834 In a bid to repress trade unions, Melbourne's government introduced legislation against 'illegal oaths'. As a result, the Grand National Consolidated Trades' Union failed. In March of the same year, six labourers were transported to Australia for seven years for attempting to provide a fund for workers in need. They became known as the 'Tolpuddle Martyrs'. Melbourne himself was notoriously laid back. When first asked to become prime minister he declared it 'a damned bore'. Having accepted, he would often refuse to allow his cabinet colleagues to leave the room, insisting 'I'm damned if I know what we agreed on. We must all say the same thing.' Earl Grey, Whig, 1830 - 1834 In June 1832, the Reform Act finally passed into law after 15 torrid months of debate. It extended the vote to just 7% of the adult male population, based on a series of lowered property qualifications. Introduced in March 1831, the bill scraped through the Commons by a single vote, but was thrown out at the committee stage (when the bill is debated in detail - sometimes called the 'second reading'). Parliament was dissolved and the general election was fought on the single issue of the Reform Act - an unprecedented event in British political history. The Whigs won the election and passed the bill, but the House of Lords (with a majority of Tories) threw it out, sparking riots and civil disobedience across the country. With the spectre of France's bloody revolution clearly in mind, William IV eventually agreed to create 50 Whig peers to redress the balance in the Lords if the bill was rejected again. The Lords conceded and the Act was finally passed into law. After all his efforts, Earl Grey is principally remembered for giving his name to a fragrant blend of tea. Duke of Wellington, Tory, 1828 - 1830 Wellington's first term in office was dominated by the thorny subject of Catholic emancipation. Catholics were permitted to vote, but were not allowed to sit as members of parliament (MPs) and had restrictions on the property they could own. Initially, the 'Iron Duke' was staunchly in favour of the status quo, but soon came to realise that emancipation might be the only way to end conflict arising from the Act of Union between Britain and Ireland in 1801. He became such an advocate that he even fought a duel with the 10th Earl of Winchilsea over the issue. The Earl had accused him of plotting the downfall of the 'Protestant constitution', but then backed down and apologised. They still had to go through the ritual of the duel at Battersea Fields, with both men deliberately firing high and wide. Wellington eventually drove the legislation through, opening the way for Catholic MPs. Viscount Goderich, Tory, 1827 - 1828 George Canning, Tory, 1827 Canning finally became prime minister after a long career in politics, only to die of pneumonia 119 days later. He had famously fought a duel in 1809 with his bitterest political rival, Lord Castlereagh, and was shot in the thigh. Castlereagh committed suicide with a penknife in 1822, after becoming depressed about his falling popularity. Earl of Liverpool, Tory, 1812 - 1827 Liverpool is the second longest serving prime minister in British history (after Robert Walpole), winning four general elections and clinging on to power despite a massive stroke that incapacitated him for his last two years in office. Liverpool became PM at a time when Britain was emerging from the Napoleonic Wars and the first rumblings of 'working class' unrest were just beginning to be felt. Staunchly undemocratic in his outlook, Liverpool suppressed efforts to give the wider populace a voice. He was unrepentant when, in 1819, troops fired on a pro-reform mass meeting at St Peter's Fields in Manchester, killing eleven - the so-called 'Peterloo Massacre'. Trade unions were legalised by the 1825 Combination Act, but were so narrowly defined that members were forced to bargain over wages and conditions amid a minefield of heavy penalties for transgressions. (Liverpool's one concession to popular sentiment was in the trial of Queen Caroline on trumped up adultery charges. The legal victimisation of George IV's estranged wife, who was tried in parliament in 1820, brought her mass sympathy. Mindful not to provoke the mob in the wake of Peterloo, the charges were eventually dropped.) Spencer Perceval, Tory, 1809 - 1812 Perceval bears a dubious distinction as the only British prime minister to be assassinated. As chancellor of the exchequer he moved in to 10 Downing Street in 1807, before rising to the office of prime minister two years later. His 12 young children - some born while he was in office - also lived in the PM's crowded residence. Against expectations, he had skilfully kept his government afloat for three years despite a severe economic downturn and continuing war with Napoleon. He was shot dead in the lobby of the House of Commons on 11 May 1812 by a merchant called John Bellingham who was seeking government compensation for his business debts. Perceval's body lay in 10 Downing Street for five days before burial. Bellingham gave himself up immediately. Tried for murder, he was found guilty and hanged a week later. Duke of Portland, Tory, 1807 - 1809 Lord Grenville, Whig, 1806 - 1807 William Pitt 'the Younger', Tory, 1804 - 1806 Faced by a fresh invasion threat from Napoleon, George III once again turned to Pitt. A shadow of his former self due to failing health and suspected alcoholism, Pitt nonetheless accepted. He made alliances with Napoleon's continental rivals - Russia, Austria and Sweden - then, in 1805, Admiral Lord Nelson shattered French invasion hopes at the Battle of Trafalgar. Pitt did not have long to savour victory before Napoleon defeated both Russia and Austria to stand astride the whole of Europe. Heartsick, utterly exhausted, penniless and unmarried, Pitt died on 23 January 1806 at the age of 46. Henry Addington, Tory, 1801 - 1804 Addington secured the Peace of Amiens with France in 1802, but would see Britain plunge into war with Napoleon again just two years later. He also passed the first Factory Act into law. The Act was the earliest attempt to reform working conditions in factories. It set a maximum 12 hour working day for children and addressed issues like proper ventilation, basic education and sleeping conditions. (Notably, his government also awarded Edward Jenner £10,000 to continue his pioneering work on a vaccine for smallpox.) But he was generally poorly regarded, prompting the satirical rhyme 'Pitt is to Addington, as London is to Paddington' - a reference to his distinguished predecessor as prime minister, William Pitt. William Pitt 'the Younger', Tory, 1783-1801 Pitt 'the Younger' was the youngest prime minister in British history, taking office at the tender age of just 24. But his youth did not seem to disadvantage him as he threw himself into the manifold problems of government, holding on to the top office for 17 years - fifteen years longer than his father, Pitt 'the Elder'. His first priority was to reduce the National Debt, which had doubled with the loss of the American colonies in 1783. George III's mental illness then threw up the spectre of a constitutional crisis, with the transfer of sovereignty to the erratic Prince of Wales only narrowly averted by the king's recovery. Further threats to the monarchy emanated from across the Channel, with the bloody French Revolution of 1789 and subsequent war with France in 1793. War increased taxes and caused food shortages, damaging Pitt's popularity to the extent that he employed bodyguards out of fear for his safety. In a bid to resolve at least one intractable conflict, he pushed through the Act of Union with Ireland in 1800, but the related Emancipation of Catholics Bill was rejected by the king a year later. Having lost George III's confidence, Pitt was left with no option but to resign. Duke of Portland, Tory, 1783 Earl Shelburne, Whig, 1782 - 1783 Marquess of Rockingham, Whig, 1782 Lord North, Tory, 1770 - 1782 North is chiefly somewhat unfairly remembered as the prime minister who lost the American colonies. Groomed by George III to lead his parliamentary supporters, North was fiercely loyal to his king, whose policy it had been to 'punish' the American colonials. The American War of Independence, reluctantly entered into by both sides, had been prosecuted at the king's behest in retaliation for their refusal to pay more towards their own defence. As hostilities progressed, North's blundering and indecision worsened an already difficult situation, and by 1782 it was clear that the outcome was likely to be a disaster. He begged George III to be allowed to resign, but the king refused to release him until the war was over. North has since become the yardstick for prime ministerial mediocrity, with later PMs being criticised as 'the worst since Lord North'. Duke of Grafton, Whig, 1768 - 1770 An unremarkable prime minister, Grafton had a quite remarkable appetite for extra-marital affairs and openly kept several mistresses. He scandalised polite society in 1764 by leaving his wife and going to live with his mistress, Anne Parsons, also known as 'Mrs Houghton'. (Horace Walpole referred to her derisively as 'everybody's Mrs Houghton'.) Popular opinion had disapproved of Grafton's behaviour, until his wife did something even more shocking. She eloped with the Earl of Upper Ossory and had a child by him. Grafton divorced her in 1769, then abandoned Mrs Houghton and married Elizabeth Wrottesley, with whom he had 13 children. The Mrs Houghton ended up marrying the king's brother. This unsuitable union gave impetus to the Royal Marriages Act of 1772, which decreed that the monarch had to give permission for all royal weddings. Earl of Chatham, Pitt 'The Elder', Whig, 1766 - 1768 Pitt 'the Elder' is widely credited as the man who built the British Empire, although much of this was done in the role of secretary of state under the governments of the Duke of Newcastle. He chose his fights carefully, conducting military campaigns where conditions were best suited to British merchants. Pitt added India, West Africa, the West Indies and the American colonies to Britain's overseas possessions, and was persistently belligerent towards colonial rivals like France and Spain. His relentless imperialism kept the merchants happy but infuriated men like Newcastle who counted the financial cost of his wars. Pitt was a superb public speaker and a master of the devastating put-down, but his career was dogged with recurrent mental illness and gout. Ironically, it was during his term as prime minister that he was at his least effective, often struggling to build support. He collapsed in the House of Lords in October 1768 and died four days later. (Pitt was the MP for a 'burgage borough' - an empty piece of land with no-one living on it. His constituency, Old Sarum, was a mound in Wiltshire. On polling day, seven voters met in a tent to cast their votes.) Marquess of Rockingham, Whig, 1765 - 1766 George Grenville, Whig, 1763 - 1765 Grenville is one of the few prime ministers to have been sacked by the monarch. He was fired after a row with George III over who should rule in his place if his mental health continued to deteriorate. Earl of Bute, Tory, 1762 - 1763 Bute was one of Britain's more unpopular prime ministers. Things came to a head when he failed to lower the taxes he had raised to fight France in the American colonies. Rioting erupted, his effigies were burnt and the windows in his house were smashed. Bute was generally disliked by colleagues and public, and was lampooned for his 'fine pair of legs', of which he was reputed to be extremely proud. His close relationship with the Prince of Wales's widow, the Dowager Princess Augusta, was also the subject of much scurrilous gossip. The nickname 'Sir Pertinax MacSycophant' was a contemptuous reference to the Roman Emperor Publius Helvius Pertinax, who was murdered three months after his meteoric assent by his own bodyguard. Unable to muster support in parliament, Bute resigned in 1763. Duke of Newcastle, Whig, 1757 - 1762 Newcastle healed his rift with Pitt 'the Elder' by inviting him to serve in his government as secretary of state. Effectively a power-sharing coalition of two powerful men, the relationship gave birth to the British Empire. Their government eventually fell as a result of the new king, George III's hostility to Pitt, who had sought to restrict the influence of the monarch in political matters. Duke of Devonshire, Whig, 1756-1757 Duke of Newcastle, Whig, 1754 - 1756 Newcastle became PM after his brother, Henry Pelham, died in office. It is the only instance of two brothers serving as prime minister. Newcastle enraged Pitt 'the Elder' by refusing to promote him in the new government, then compounded the insult by sacking him. Henry Pelham, Whig, 1743 - 1754 Earl of Wilmington, Whig, 1742 - 1743 Sir Robert Walpole, Whig, 1721 - 1742 Walpole is widely acknowledged as the first prime minister, although he never actually held the title. He was also the longest serving, lasting 21 years. But Walpole's first stint in government, as secretary of war, had ended inauspiciously with a six month spell in the Tower of London for receiving an illegal payment. Undeterred, he rose to power again on the back of a collapsed financial scheme in which many prominent individuals had invested. Walpole had the foresight (or luck) to get out early, and as a result was credited with great financial acumen. George I invited him to become chancellor and gave him the powers that came to be associated with the office of prime minister. His owed his longevity in office (and the incredible wealth he accumulated) to a combination of great personal charm, enduring popularity, sharp practice and startling sycophancy. The accession of George II saw him temporarily eclipsed, but he worked hard to win over the new monarch. He was rewarded with both the new King's trust and 10 Downing Street, which remains the official residence of the prime minister to this day. Walpole was eventually brought down by an election loss at Chippenham and died just three years later.
James Callaghan
Which Spanish king sent the armada to conquer England?
BBC - History - British History in depth: Prime Ministers and Politics Timeline On This Day Prime Ministers and Politics Timeline Do you know which prime minister brought 'fallen women' to 10 Downing Street? Or which one fought a duel? Or who was known as 'the Goat'? Take a political journey through nearly 300 years of high ideals and low cunning, from Gordon Brown to the first man to hold prime ministerial powers, Robert Walpole. Margaret Thatcher Conservative, 1979 - 1990 Britain's first female prime minister came to power with the country descending into industrial and economic chaos. A relatively inexperienced politician, she nonetheless adopted a personal style of indomitable self-confidence and brooked no weakness in herself or her colleagues. Derisively dubbed the 'Iron Lady' by the Soviet press, she wore the moniker with pride. Her government's free-market policies included trade liberalisation, deregulation, sweeping privatisation, breaking the power of the unions, focus on the individual and the creation of an 'enterprise culture'. 'Thatcherism' has had a profound and lasting economic and social impact on Britain, and still sharply divides opinion to this day. The first PM to serve three consecutive terms (including two 'landslide' victories) she was eventually toppled by her own party following the disastrous imposition of a 'poll tax'. Nonetheless, she is generally considered to be one of the best peace time prime ministers of the 20th Century. James Callaghan Labour, 1976 - 1979 Callaghan inherited the office of prime minister following the surprise resignation of Harold Wilson. With only a tiny parliamentary majority to support him, he faced an increasingly one-sided confrontation with organised labour in the form of rampant strike action. Things came to a head in the so-called 'Winter of Discontent', a phrase from Shakespeare borrowed by Callaghan himself to describe the events leading up to February 1979. Britain was 'strikebound', with public servants staging mass walk outs, leaving food and fuel supplies undelivered, rubbish uncollected and - most notoriously - bodies unburied. Things became so bad in Hull it was dubbed 'the second Stalingrad'. The tabloid press has since been accused of overstating the severity of the situation (and wrongly quoting him as saying 'Crisis? What Crisis?') but it was enough at the time to sound the death knell for Callaghan's government later in the same year. Harold Wilson Labour, 1974 - 1976 In March 1974, Wilson became prime minister for the third time at the head of a minority government, following the first hung parliament (one where no party holds a majority) for 45 years. Often described as a wily fixer and negotiator, it took all of his skills to hold on to power in the face of economic and industrial turmoil. His party was also sharply divided, with many Labour members of parliament (MPs) bitter about Wilson's manoeuvring against his colleagues. He called another general election in October 1974, thereby ending the shortest parliament since 1681, and was returned to office with a majority of just three seats. He presided over a referendum on Britain's membership of the European Economic Community (EEC), and a collapse in the value of the pound which prompted a humiliating 'rescue operation' by the International Monetary Fund (IMF). Exhausted, Wilson resigned saying 'politicians should not go on and on'. Edward Heath Conservative, 1970 - 1974 Heath succeeded in taking Britain into the European Economic Community (EEC), the precursor to the European Union, despite two previous failed attempts by Britain to gain entry, in 1961 and 1967. But his government was dogged by torrid industrial relations and recurrent economic crises. Things came to a head in January 1974, when industry was put on a 'three-day week' to conserve fuel. Fuel was in dangerously short supply following a combination of domestic industrial action (coal miners on 'work-to-rule') and a quadrupling of prices by Middle Eastern oil exporting nations in the wake of Israel's victory in the Yom Kippur War. In March 1974, Heath called a general election on the question of 'who governs Britain?' - the unions, or the elected representatives of the people. To his surprise the result was a hung parliament (one where no party holds a majority) and he was ousted. Harold Wilson Labour, 1964 - 1970 In 1964, 'Good old Mr Wilson' - an avuncular, pipe-smoking figure - came to power amid much excitement and optimism. He had promised a 'new Britain' forged in 'the white heat of a second industrial revolution'. In reality, his administration never escaped from a cycle of economic crises, vainly battling against further devaluations of the pound. Wilson won a second general election in 1966 (the year England lifted the football World Cup) making him the first Labour PM to serve consecutive terms. In 1967, the government failed in its application for membership of the European Economic Community (EEC) and was also finally forced to devalue sterling. The electorate became disillusioned with Wilson, who lost narrowly to the Conservatives in the 1970 election. Sir Alec Douglas-Home, Conservative, 1963 - 1964 In 1963, a change in the law allowed hereditary peers to disclaim (or 'drop') their titles, which in turn meant they were able to become members of parliament (MPs). The only peer ever to do so and become prime minister was Douglas-Home, formerly the 14th Earl of Home, who assumed the office when Harold Macmillan retired due to ill health. He was the first prime minister in the post-war period not to win his own mandate (be elected or re-elected by popular vote). Harold Macmillan, Conservative, 1957 - 1963 Macmillan came to power at a time when Britain was confronting its loss of world-power status and facing mounting economic troubles. Nonetheless, he successfully associated the Conservatives with a new age of affluence and the burgeoning consumer revolution. But his oft-quoted assurance 'You've never had it so good' actually finishes 'What is beginning to worry some of us is, is it too good to be true?'. His government is principally remembered for the so-called 'Profumo Affair', a sex scandal that erupted in 1963 and contributed to the Conservatives' defeat at the general election the following year. Secretary of State for War John Profumo had been having an affair with a showgirl who was also seeing the Soviet naval attaché to London - a serious transgression at the height of the Cold War. After lying to the House of Commons, Profumo admitted the truth in June 1963 and resigned in disgrace. Macmillan resigned due to ill health in October the same year. Sir Anthony Eden, Conservative, 1955 - 1957 When Sir Winston Churchill retired due to ill health, Eden took over as prime minister. Many years before, Churchill had anointed Eden as his successor, but later acknowledged he had made 'a great mistake'. His opinion was born out as the new PM blundered into the Suez Crisis. Following Egypt's decision to nationalise the Suez canal, Britain (the principal shareholder), France and Israel invaded in October 1956 to near-universal condemnation and the threat of nuclear strikes by the Soviet Union. Within a week, Britain was forced into an embarrassing climb-down. Humiliated and in ill-health, Eden left the country for a holiday at the Jamaican home of James Bond author, Ian Fleming. He returned in mid-December to the sarcastic newspaper headline: 'Prime Minister Visits Britain'. He resigned on 9 January 1957. Sir Winston Churchill, Conservative, 1951 - 1955 Churchill's desire to return to power, despite his assured place in history, had much to do with his belligerent refusal to accept that the British public had rejected him in 1945. Now the electorate was seeking to put behind it the hardships and privations of the post-war years under Clement Atlee and return to a more traditional idea of society - so-called 'housing and red meat' issues. Churchill tried - and failed - to recreate the dynamism of his wartime administration, and he struggled to adjust to the political realities of the Cold War, preferring direct action and personal diplomacy to proxy wars and cabinet consensus. His refusal to retire, despite suffering a stroke, caused mounting frustrations among his colleagues. At the age of 80, he finally conceded to his failing health and stepped down, although he continued to serve as an MP. Clement Attlee, Labour, 1945 - 1951 World War Two had sharply exposed the imbalances in Britain's social, economic and political structures. For a population that had sacrificed so much, a return to the pre-war status quo was simply not an option. In 1942, a report by Sir William Beveridge, chairman of a Ministry of Health committee, had advocated a system of national insurance, comprehensive welfare for all and strategies to maintain full employment. The 'Beveridge Report' formed the basis of Labour pledges in the 1945 election and resulted in a landslide victory. Attlee's government successfully harnessed the wartime sense of unity to create the National Health Service, a national insurance scheme, a huge programme of nationalisation (including the Bank of England and most heavy industries) and a massive building programme. He also made Britain a nuclear-armed power. These sweeping reforms resulted in a parliamentary consensus on key social and economic policies that would last until 1979. But by 1951, a row over plans to charge for spectacles and false teeth had split the cabinet. Party disunity and a struggling economy contributed to Attlee - cruelly dubbed by Churchill 'a modest man with much to be modest about' - losing the next election. Winston Churchill, Conservative, 1940 - 1945 By the time Churchill was asked to lead the coalition government in 1940, he had already enjoyed colourful and controversial careers as a journalist, soldier and politician. He had twice 'crossed the floor' of the House of Commons, the first time defecting from Conservative to Liberal and serving as First Lord of the Admiralty during the early years of World War One. Demoted in the wake of the slaughter at Gallipoli, he preferred to resign and take up a commission fighting on the Western Front. Despite standing against the Conservatives in a 1924 by-election, Churchill was welcomed back into the party that same year and served as Chancellor of the Exchequer for five years under Stanley Baldwin. But personal disagreements and his vehement anti-Fascism would lead to nearly a decade in the political wilderness. Following Neville Chamberlain's resignation in 1940, Churchill finally realised his 'destiny' and accepted the office of prime minister. Promising nothing more than 'blood, toil, tears and sweat', he almost single-handedly restored Britain's desire to fight on in adversity. Despite Churchill's enormous personal popularity, by 1945 the electorate no longer wanted a war leader and the Conservatives lost by a landslide. Neville Chamberlain, Conservative, 1937 - 1940 Rarely has the hyperbole of politicians been as resoundingly exposed as when Neville Chamberlain returned from his 1938 negotiations with Adolf Hitler, brandishing his famous 'piece of paper' and declaring the agreement it represented to be 'peace for our time'. Within a year, Germany had invaded Poland and Britain was plunged into World War Two. With his policy of 'appeasement' towards Hitler utterly bankrupted, Chamberlain resigned in 1940. He was replaced by Winston Churchill. When the issue of honours was discussed, he stated that he wanted to die 'plain Mr Chamberlain, like my father'. His father, Joseph Chamberlain, was the politician who split the Conservatives in 1903 by pushing for tariffs on imported goods. It was this very issue that convinced Churchill to defect to the Liberals, with whom he first achieved high office. Chamberlain died six months after resigning. Stanley Baldwin, Conservative, 1935 - 1937 When Baldwin returned to power in 1935, the financial crisis sparked by the Wall Street Crash six years before appeared to be over. It was to be swiftly replaced by a constitutional crisis brought about by Edward VIII's desire to marry a twice-divorced American, Wallis Simpson. Baldwin advised Edward that Mrs Simpson would not be accepted as Queen by the public, and that the king could not condone divorce as head of the Church of England. The king proposed a 'morganatic' marriage, whereby Mrs Simpson would become his consort, but not Queen. The government rejected the idea and threatened to resign if the king forced the issue. The story then broke in the press, to general disapproval by the public. Rather than break the engagement, Edward abdicated on 11 December 1936. Credited with saving the monarchy, Baldwin is also condemned for failing to begin re-arming when it became clear that Nazi Germany was building up its armed forces. Ramsay MacDonald, Labour, 1929 - 1935 MacDonald began his second term at the head of a minority government (one that does not have an outright majority) and with the economy in deep crisis. Britain was still in the grip of the Great Depression and unemployment soon soared to two million. With fewer people able to pay tax, revenues had fallen as demand for unemployment benefits had soared. Unable to meet the deficit, by 1931 it was being proposed that benefits and salaries should be cut. Labour ministers rejected the plan as running counter to their core beliefs. MacDonald went to the king, George V, to proffer his resignation. George suggested MacDonald to try and form a 'national government' or coalition of all the parties. (This is the last recorded direct political intervention by a British monarch.) The National Government was formed, with MacDonald as prime minister, but Stanley Baldwin, leader of the Conservative Party, the de facto 'power behind the throne'. MacDonald is still considered by many in the Labour Party as their worst political traitor. Stanley Baldwin, Conservative, 1924 - 1929 In May 1926, the Trades Union Congress called for a general walkout in support of a coal miners' protest against threatened wage cuts. It was the first and, to date, only general strike in British history. The strike affected key industries, such as gas, electricity and the railways, but ended after just nine days due to lack of public backing and well-organised emergency measures by Baldwin's government. Far from succeeding in its aims, the General Strike actually led to a decline in trade union membership and the miners ended up accepting longer hours and less pay. It also gave impetus to the 1927 Trade Disputes Act, which curtailed workers' ability to take industrial action. Baldwin's government also extended the vote to women over 21 and passed the Pensions Act, but eventually fell as a result of the Wall Street Crash of 1929, and the Depression that followed. Ramsay MacDonald, Labour, 1924 In 1924, MacDonald briefly became the first Labour prime minister, ending two centuries of Conservative - Liberal domination of British politics. It was the first party to gain power with the express purpose of representing the voice of the 'working class'. An MP since 1906, MacDonald was respected as a thinker, but criticised by many within his own party as insufficiently radical (despite appointing the first female cabinet minister, Margaret Bondfield, in 1929). His opposition to World War One had made him deeply unpopular and he continually suffered a torrid time at the hands of the press. The publication by two newspapers of the 'Zinoviev letter' did much to damage his chances in the run up to the 1924 election. The letter (which he had seen but decided to keep secret) purported to be from Soviet intelligence and urged British communists to commit acts of sedition. He lost by a wide margin. The letter is now widely accepted to be a fraud. Stanley Baldwin, Conservative, 1923 During his very brief first term as prime minister, Stanley Baldwin bumped into an old school friend on a train. Asked what he was doing these days, Baldwin replied: 'I am the prime minister.' Having come to power following Andrew Bonar Law's resignation, he called an election in the hope of gaining his own mandate (election by popular vote), but lost. Andrew Bonar Law, Conservative, 1922 - 1923 Branded the 'unknown prime minister' by his bitter political rival HH Asquith, Canadian-born Bonar Law is principally remembered for a single speech he made in 1922. The Conservatives had been part of a coalition under the Liberal prime minister, David Lloyd George, since 1916. Many were considering joining Lloyd George permanently, but Bonar Law's speech changed their minds. Instead, the Conservatives withdrew from the coalition and Lloyd George was forced to resign. The king, George V, asked Bonar Law to form a new government. Reluctantly he accepted, despite still grieving two sons killed in World War One and - as it turned out - dying of throat cancer. He held office for 209 days before resigning due to ill health. He died six months later and was buried at Westminster Abbey, upon which Asquith commented: 'It is fitting that we should have buried the Unknown Prime Minister by the side of the Unknown Warrior.' David Lloyd George, Liberal, 1916 - 1922 Lloyd George guided Britain to victory in World War One and presided over the legislation that gave women the vote in 1918, but he is remembered as much for his private life as his public achievements. Nicknamed the 'Welsh Wizard', he was also less kindly known as 'The Goat' - a reference to his countless affairs. (Scandalously, he lived with his mistress and illegitimate daughter in London while his wife and other children lived in Wales.) The first 'working class' prime minister, Lloyd George had risen to prominence by solving the shortage of munitions on the Western Front. It was his desire to get to grips with the requirements of 'total war' that led to his split with then Liberal Prime Minister HH Asquith. It also brought him closer to the Conservatives, with whom he formed a new coalition government when Asquith resigned. That coalition would disintegrate six years later in the midst of a scandal. Serious allegations were made that peerages had been sold for as much as £40,000. (One list even included John Drughorn, who had been convicted for trading with the enemy in 1915.) Lloyd George resigned in October 1922. HH Asquith, Liberal, 1908 - 1916 Asquith's government had shown great longevity, but disintegrated in the face of the unequalled disasters of the Somme and Gallipoli. With World War One going badly, fellow Liberal David Lloyd George had seized his chance and ousted Asquith. But in the preceding eight years, the two politicians had together overseen one of the greatest constitutional upheavals of the 20th Century and ushered in some of the predecessors of the Welfare State. Old Age Pensions were introduced and Unemployment Exchanges (job centres) were set up by then Liberal minister Winston Churchill. But when Lloyd George attempted to introduce a budget with land and income taxes disadvantageous to the 'propertied' classes, it was thrown out by the House of Lords. Lloyd George branded the Lords 'Mr Balfour's poodle' (a reference to Conservative leader AJ Balfour's supposed control over the peers). The stand-off resulted in two general elections during 1910, the second of which the Liberals won with a 'peers against the people' campaign slogan. The budget was passed and, in 1911, the Parliament Act became law. The Act stated that the Lords could only veto a Commons bill twice, and instituted five-yearly general elections. Sir Henry Campbell-Bannerman, Liberal, 1905 - 1908 Arthur James Balfour, Conservative, 1902 - 1905 The nephew of the Marquess of Salisbury, Balfour had none of his uncle's political skills despite a long period of mentoring. He was instead something of a philosopher, publishing several weighty books, including 'A Defence of Philosophic Doubt', 'The Foundations of Belief', and 'Theism and Humanism'. Following a cabinet split Balfour resigned, gambling that the Liberals would be unable to form a government and that he would be returned to power. He was wrong. Marquess of Salisbury, 1895 - 1902, Conservative Salisbury came to power for the third and final time when the weak Liberal government of the Earl of Rosebery fell. The political climate was one of rising resentment among the lower and middle classes, who demanded better conditions, social reforms and proper political representation. Bitterly divided, the Liberals would nonetheless experience a revival as they sought reforms of the squalid, disease-ridden British 'concentration camps' used in the Boer War. But it was the founding of the Labour Representation Committee (LRC) on 27 February 1900 that signalled a quiet, yet highly significant sea-change in British politics. This coalition of socialist groups would win two seats in the 1900 general election and 29 seats in 1906. Later that same year, the LRC changed its name to the Labour Party. Despite failing health, Salisbury agreed to stay on to help Edward VII manage the transition following the death of his mother, Queen Victoria. He resigned in favour of his nephew, AJ Balfour, in the first months of the new King's reign. (Notably, he was the last serving prime minister to sit in the Lords.) Earl of Rosebery, Liberal, 1894 - 1895 Rosebury reluctantly became prime minister on the insistence of Queen Victoria, despite still mourning the loss of his wife. Desperate to have a minister she actually liked, Victoria had taken the unusual step of not consulting the outgoing PM, William Gladstone, about his successor. Rosebery, who always loved horseracing more than the 'evil smelling bog' of politics, was gratefully allowed to resign a year later. Notably, he is the only prime minister to have produced not one, but three Derby winners, in 1894, 1895 and 1905. (Despite his aversion to politics, Rosebery was no stranger to scandal. The Prince of Wales had reputedly once intervened to prevent him from being horsewhipped by the Marquess of Queensbury, with whose son Rosebery was believed to be having an affair. Queensbury's other son was Lord Alfred Douglas, Oscar Wilde's lover.) William Ewart Gladstone, Liberal, 1892 - 1894 Gladstone's fourth term as prime minister was completely overshadowed by his insistence on introducing a third bill on the subject of 'Home Rule' for Ireland. The Conservative-dominated House of Lords threw the bill out and generally obstructed Liberal attempts to pass legislation. With his cabinet split and his health failing, the 'Grand Old Man' stepped down for the last time. The public was, in any case, exhausted with Home Rule and instead wanted reforms to working conditions and electoral practices. (Meanwhile, out on the political fringe, the Independent Labour Party had been set up under Keir Hardie to represent the working class and 'secure the collective ownership of the means of production, distribution and exchange'. Leading figures in the party included George Bernard Shaw and Ramsay MacDonald.) Marquess of Salisbury, Conservative, 1886 - 1892 William Ewart Gladstone, Liberal, 1886 Gladstone came to power for the third time with 'Home Rule' (devolution) for Ireland still the dominant issue. A bitter election battle had seen the Conservative government fall after Irish Nationalist members of parliament sided with the Liberals to defeat them. Instead, the Liberals formed a government in coalition with the Irish Nationalists and Gladstone tried to push through his second attempt at a Home Rule bill. The bill split the Liberals and Gladstone resigned. He lost the general election when the 'Liberal Unionists' - those who wanted Ireland to be ruled from Westminster - broke away from Gladstone's Liberals to fight the next election as a separate party. Most Liberal Unionists were of the 'Whig' or propertied faction of the party, which meant that when they went, they took most of the money with them. Marquess of Salisbury, Conservative, 1885 - 1886 William Ewart Gladstone, Liberal, 1880 - 1885 Having failed to force Gladstone to serve under Lord Hartington, Queen Victoria reluctantly accepted 'that half-mad firebrand' as prime minister for the second time. He had only lately returned to politics from retirement after his so-called 'Midlothian Campaign', in which he spoke to large crowds - a practice considered by polite Victorian society to be 'undignified'. His campaign did much to discredit Disraeli's government and had clearly struck a chord with a public eager for social and electoral reform. The Ballot Act in 1872 had instituted secret ballots for local and general elections. Now came the Corrupt Practices Act, which set maximum election expenses, and the Reform and Redistribution Act, which effectively extended voting qualifications to another six million men. There were other burning issues. The United States had just overtaken Britain as the world's largest industrialised economy, and 'Home Rule' (devolution) for Ireland continued to dominate. In seeking support for Home Rule, James Parnell's Irish Nationalists sided with the Conservatives to defeat a Liberal budget measure. Gladstone resigned and was replaced by the 'caretaker government' of the Marquess of Salisbury. Benjamin Disraeli, Conservative, 1874 - 1880 After a brief taste of power in 1868, it had taken Disraeli six years to become prime minister again. He wasted no time in bringing about the social reforms he had envisaged in the 1840s as a member of the radical Young England group. His Acts included measures to provide suitable housing and sewerage, to protect the quality of food, to improve workers rights (including the Climbing Boys Act which banned the use of juveniles as chimney sweeps) and to implement basic standards of education. In 1876, Disraeli was made the Earl of Beaconsfield, but continued to run the government from the Lords. He persuaded Queen Victoria to take the title 'Empress of India' in 1877 and scored a diplomatic success in limiting Russian influence in the Balkans at the Congress of Berlin in 1878. He retired in 1880, hoping to spend his remaining years adding more novels to his already impressive bibliography, but died just one year later. William Ewart Gladstone, Liberal, 1868 - 1874 Upon taking office for the first time Gladstone declared it his 'mission' to 'pacify Ireland' - a prize that was always to elude him. Nonetheless, Gladstone was to become the dominant Liberal politician of the late 19th Century, serving as prime minister four times despite earning Queen Victoria's antipathy early in his career. (She famously complained that 'he always addresses me as if I were a public meeting'.) He had started his career as an ultra-conservative Tory, but would end it as a dedicated political reformer who did much to establish the Liberal Party's association with issues of freedom and justice. But Gladstone also had his idiosyncrasies. He made a regular habit of going to brothels and often brought prostitutes back to 10 Downing Street. In an era when politicians' private lives were very private, his embarrassed colleagues nonetheless felt it necessary to explain his behaviour as 'rescue work' to save 'fallen women'. Benjamin Disraeli, Conservative, 1868 On being asked to become prime minister following the resignation of the Earl of Derby, Disraeli announced: 'I have reached the top of the greasy pole'. He immediately struck up an excellent rapport with Queen Victoria, who approved of his imperialist ambitions and his belief that Britain should be the most powerful nation in the world. Unhappily for the Queen, Disraeli's first term ended almost immediately with an election victory for the Liberals. Despite serving as an MP since 1837 and twice being Chancellor of the Exchequer, Disraeli's journey to the top was not without scandal. In 1835, he was forced to apologise in court after being accused of bribing voters in Maidstone. He also accrued enormous debts in his twenties through speculation on the stock exchange. Disraeli suffered a nervous breakdown as a result, but eventually paid off his creditors by marrying a rich widow, Mary Anne Wyndam Lewis, in 1839. Earl of Derby, Conservative, 1866 - 1868 The introduction of the 1867 Reform Act made Derby's third term as prime minister a major step in the true democratisation of Britain. The Act extended the vote to all adult male householders (and lodgers paying £10 rental or more, resident for a year or more) living in a borough constituency. Simply put, it created more than 1.5 million new voters. Versions of the Reform Act had been under serious discussion since 1860, but had always foundered on Conservative fears. Many considered it a 'revolutionary' move that would create a majority of 'working class' voters for the first time. In proposing the Reform Act, Benjamin Disraeli, Conservative Leader of the House of Commons, had warned his colleagues that they would be labelled the 'anti-reform' party if they continued to resist. The legislation was passed, and also received the backing of the Liberals under their new leader, William Gladstone. Earl Russell, Whig, 1865 - 1866 Viscount Palmerston, Liberal, 1859 - 1865 Earl of Derby, Conservative, 1858 - 1859 The property qualification - the requirement that a man must own property in order to stand as a member of parliament - was finally abolished during Derby's second term as prime minister. It meant that members of parliament (MPs) were no longer drawn exclusively from the 'propertied' classes and could realistically be 'working class'. This fulfilled one of the six conditions set out by the Chartists - supporters of the Third Chartist Petition, written in 1838. It demanded universal male suffrage (votes for all adult men), secret ballots (rather than traditional open ballots), annual parliamentary elections, equal electoral districts (some had less than 500 voters, while others had many thousands), the abolition of a property qualification for MPs, and payment for MPs (which would allow non-independently wealthy men to sit in parliament). Viscount Palmerston, Liberal , 1855 - 1858 Earl of Aberdeen, Tory, 1852 - 1855 It was something of a cruel irony that Aberdeen came to be blamed for blundering into the dreadful Crimean War. As plain George Hamilton Gordon he had made a successful career as a diplomat and had done much to normalise Britain's relationships with its powerful neighbours. Vivid reports from the front by WH Russel of the Times have since led to the Crimean being styled the first 'media war'. His reports publicised the squalor and disease that were claiming more soldiers' lives than the fighting, and inspired Florence Nightingale to volunteer and take the first 38 nurses out to treat the wounded. In 1855, Aberdeen conceded to his critics and resigned. Earl of Derby, Conservative, 1852 Earl Russell, Whig, 1846 - 1851 Confronted by the Irish Potato Famine, declining trade and rising unemployment, Russell still managed to push through trade liberalisation measures and limits on women's working hours. A dedicated reformer, he nonetheless presided over the rejection of the Third Chartist Petition. Set out 1838, it demanded universal male suffrage (votes for all adult men), secret ballots (rather than traditional open ballots), annual parliamentary elections, equal electoral districts (some had less than 500 voters, while others had many thousands), the abolition of a property qualification for members of parliament (MPs), and payment for MPs (which would allow non-independently wealthy men to sit in parliament). Already rejected once by parliament in 1839, the petition had gathered 5 million signatures by 1848. Presented to parliament a second time, it was again rejected. The Chartist movement slowly petered out, even as revolutions blazed across Europe, but many of its aims were eventually realised. Sir Robert Peel, Tory, 1841 - 1846 Peel's second term as prime minister was nothing short of tumultuous. Economic depression, rising deficits, Chartist agitation, famine in Ireland and Anti-Corn League protests crowded in. A raft of legislation was created to stabilise the economy and improve working conditions. The Factory Act regulated work hours (and banned children under eight from the workplace), the Railway Act provided for cheap, regular train services, the Bank Charter Act capped the number of notes the Bank of England could issue and the Mines Act prevented women and children from working underground. But a failed harvest in 1845 provided Peel with his greatest challenge. There was an increasing clamour for repeal of the Corn Laws, which forbade the import of cheap grain from overseas. Powerful vested interests in the Tory Party opposed such a move, but in the end Peel confronted them and called for repeal. After nearly six months of debate, and with the Tories split in two, the Corn Laws were finally repealed. Defeated on a separate issue, Peel resigned the same day, but was cheered by crowds as he left the Commons. (The 'Peelite' faction of the Tories is widely recognised as the foundation of the modern Conservative.) Viscount Melbourne, Whig, 1835 - 1841 Sir Robert Peel, Tory, 1834 - 1835 Invited by William IV to form a new government, Peel immediately called a general election to strengthen his party. Campaigning on his so-called 'Tamworth Manifesto', Peel promised a respectful approach to traditional politics, combined with measured, controlled reform. He thereby signalled a significant shift from staunch, reactionary 'Tory' to progressive 'Conservative' politics. Crucially, he pledged to accept the 1832 Reform Act, which had recently increased the number of people eligible to vote. Peel won the election, but only narrowly. He resigned the following year after several parliamentary defeats. (Peel is probably best remembered for creating the Metropolitan Police in 1829 while Home Secretary in the Duke of Wellington's first government. The nickname 'bobbies' for policemen is derived from his first name.) Duke of Wellington, Tory, 1834 Viscount Melbourne, Whig, 1834 In a bid to repress trade unions, Melbourne's government introduced legislation against 'illegal oaths'. As a result, the Grand National Consolidated Trades' Union failed. In March of the same year, six labourers were transported to Australia for seven years for attempting to provide a fund for workers in need. They became known as the 'Tolpuddle Martyrs'. Melbourne himself was notoriously laid back. When first asked to become prime minister he declared it 'a damned bore'. Having accepted, he would often refuse to allow his cabinet colleagues to leave the room, insisting 'I'm damned if I know what we agreed on. We must all say the same thing.' Earl Grey, Whig, 1830 - 1834 In June 1832, the Reform Act finally passed into law after 15 torrid months of debate. It extended the vote to just 7% of the adult male population, based on a series of lowered property qualifications. Introduced in March 1831, the bill scraped through the Commons by a single vote, but was thrown out at the committee stage (when the bill is debated in detail - sometimes called the 'second reading'). Parliament was dissolved and the general election was fought on the single issue of the Reform Act - an unprecedented event in British political history. The Whigs won the election and passed the bill, but the House of Lords (with a majority of Tories) threw it out, sparking riots and civil disobedience across the country. With the spectre of France's bloody revolution clearly in mind, William IV eventually agreed to create 50 Whig peers to redress the balance in the Lords if the bill was rejected again. The Lords conceded and the Act was finally passed into law. After all his efforts, Earl Grey is principally remembered for giving his name to a fragrant blend of tea. Duke of Wellington, Tory, 1828 - 1830 Wellington's first term in office was dominated by the thorny subject of Catholic emancipation. Catholics were permitted to vote, but were not allowed to sit as members of parliament (MPs) and had restrictions on the property they could own. Initially, the 'Iron Duke' was staunchly in favour of the status quo, but soon came to realise that emancipation might be the only way to end conflict arising from the Act of Union between Britain and Ireland in 1801. He became such an advocate that he even fought a duel with the 10th Earl of Winchilsea over the issue. The Earl had accused him of plotting the downfall of the 'Protestant constitution', but then backed down and apologised. They still had to go through the ritual of the duel at Battersea Fields, with both men deliberately firing high and wide. Wellington eventually drove the legislation through, opening the way for Catholic MPs. Viscount Goderich, Tory, 1827 - 1828 George Canning, Tory, 1827 Canning finally became prime minister after a long career in politics, only to die of pneumonia 119 days later. He had famously fought a duel in 1809 with his bitterest political rival, Lord Castlereagh, and was shot in the thigh. Castlereagh committed suicide with a penknife in 1822, after becoming depressed about his falling popularity. Earl of Liverpool, Tory, 1812 - 1827 Liverpool is the second longest serving prime minister in British history (after Robert Walpole), winning four general elections and clinging on to power despite a massive stroke that incapacitated him for his last two years in office. Liverpool became PM at a time when Britain was emerging from the Napoleonic Wars and the first rumblings of 'working class' unrest were just beginning to be felt. Staunchly undemocratic in his outlook, Liverpool suppressed efforts to give the wider populace a voice. He was unrepentant when, in 1819, troops fired on a pro-reform mass meeting at St Peter's Fields in Manchester, killing eleven - the so-called 'Peterloo Massacre'. Trade unions were legalised by the 1825 Combination Act, but were so narrowly defined that members were forced to bargain over wages and conditions amid a minefield of heavy penalties for transgressions. (Liverpool's one concession to popular sentiment was in the trial of Queen Caroline on trumped up adultery charges. The legal victimisation of George IV's estranged wife, who was tried in parliament in 1820, brought her mass sympathy. Mindful not to provoke the mob in the wake of Peterloo, the charges were eventually dropped.) Spencer Perceval, Tory, 1809 - 1812 Perceval bears a dubious distinction as the only British prime minister to be assassinated. As chancellor of the exchequer he moved in to 10 Downing Street in 1807, before rising to the office of prime minister two years later. His 12 young children - some born while he was in office - also lived in the PM's crowded residence. Against expectations, he had skilfully kept his government afloat for three years despite a severe economic downturn and continuing war with Napoleon. He was shot dead in the lobby of the House of Commons on 11 May 1812 by a merchant called John Bellingham who was seeking government compensation for his business debts. Perceval's body lay in 10 Downing Street for five days before burial. Bellingham gave himself up immediately. Tried for murder, he was found guilty and hanged a week later. Duke of Portland, Tory, 1807 - 1809 Lord Grenville, Whig, 1806 - 1807 William Pitt 'the Younger', Tory, 1804 - 1806 Faced by a fresh invasion threat from Napoleon, George III once again turned to Pitt. A shadow of his former self due to failing health and suspected alcoholism, Pitt nonetheless accepted. He made alliances with Napoleon's continental rivals - Russia, Austria and Sweden - then, in 1805, Admiral Lord Nelson shattered French invasion hopes at the Battle of Trafalgar. Pitt did not have long to savour victory before Napoleon defeated both Russia and Austria to stand astride the whole of Europe. Heartsick, utterly exhausted, penniless and unmarried, Pitt died on 23 January 1806 at the age of 46. Henry Addington, Tory, 1801 - 1804 Addington secured the Peace of Amiens with France in 1802, but would see Britain plunge into war with Napoleon again just two years later. He also passed the first Factory Act into law. The Act was the earliest attempt to reform working conditions in factories. It set a maximum 12 hour working day for children and addressed issues like proper ventilation, basic education and sleeping conditions. (Notably, his government also awarded Edward Jenner £10,000 to continue his pioneering work on a vaccine for smallpox.) But he was generally poorly regarded, prompting the satirical rhyme 'Pitt is to Addington, as London is to Paddington' - a reference to his distinguished predecessor as prime minister, William Pitt. William Pitt 'the Younger', Tory, 1783-1801 Pitt 'the Younger' was the youngest prime minister in British history, taking office at the tender age of just 24. But his youth did not seem to disadvantage him as he threw himself into the manifold problems of government, holding on to the top office for 17 years - fifteen years longer than his father, Pitt 'the Elder'. His first priority was to reduce the National Debt, which had doubled with the loss of the American colonies in 1783. George III's mental illness then threw up the spectre of a constitutional crisis, with the transfer of sovereignty to the erratic Prince of Wales only narrowly averted by the king's recovery. Further threats to the monarchy emanated from across the Channel, with the bloody French Revolution of 1789 and subsequent war with France in 1793. War increased taxes and caused food shortages, damaging Pitt's popularity to the extent that he employed bodyguards out of fear for his safety. In a bid to resolve at least one intractable conflict, he pushed through the Act of Union with Ireland in 1800, but the related Emancipation of Catholics Bill was rejected by the king a year later. Having lost George III's confidence, Pitt was left with no option but to resign. Duke of Portland, Tory, 1783 Earl Shelburne, Whig, 1782 - 1783 Marquess of Rockingham, Whig, 1782 Lord North, Tory, 1770 - 1782 North is chiefly somewhat unfairly remembered as the prime minister who lost the American colonies. Groomed by George III to lead his parliamentary supporters, North was fiercely loyal to his king, whose policy it had been to 'punish' the American colonials. The American War of Independence, reluctantly entered into by both sides, had been prosecuted at the king's behest in retaliation for their refusal to pay more towards their own defence. As hostilities progressed, North's blundering and indecision worsened an already difficult situation, and by 1782 it was clear that the outcome was likely to be a disaster. He begged George III to be allowed to resign, but the king refused to release him until the war was over. North has since become the yardstick for prime ministerial mediocrity, with later PMs being criticised as 'the worst since Lord North'. Duke of Grafton, Whig, 1768 - 1770 An unremarkable prime minister, Grafton had a quite remarkable appetite for extra-marital affairs and openly kept several mistresses. He scandalised polite society in 1764 by leaving his wife and going to live with his mistress, Anne Parsons, also known as 'Mrs Houghton'. (Horace Walpole referred to her derisively as 'everybody's Mrs Houghton'.) Popular opinion had disapproved of Grafton's behaviour, until his wife did something even more shocking. She eloped with the Earl of Upper Ossory and had a child by him. Grafton divorced her in 1769, then abandoned Mrs Houghton and married Elizabeth Wrottesley, with whom he had 13 children. The Mrs Houghton ended up marrying the king's brother. This unsuitable union gave impetus to the Royal Marriages Act of 1772, which decreed that the monarch had to give permission for all royal weddings. Earl of Chatham, Pitt 'The Elder', Whig, 1766 - 1768 Pitt 'the Elder' is widely credited as the man who built the British Empire, although much of this was done in the role of secretary of state under the governments of the Duke of Newcastle. He chose his fights carefully, conducting military campaigns where conditions were best suited to British merchants. Pitt added India, West Africa, the West Indies and the American colonies to Britain's overseas possessions, and was persistently belligerent towards colonial rivals like France and Spain. His relentless imperialism kept the merchants happy but infuriated men like Newcastle who counted the financial cost of his wars. Pitt was a superb public speaker and a master of the devastating put-down, but his career was dogged with recurrent mental illness and gout. Ironically, it was during his term as prime minister that he was at his least effective, often struggling to build support. He collapsed in the House of Lords in October 1768 and died four days later. (Pitt was the MP for a 'burgage borough' - an empty piece of land with no-one living on it. His constituency, Old Sarum, was a mound in Wiltshire. On polling day, seven voters met in a tent to cast their votes.) Marquess of Rockingham, Whig, 1765 - 1766 George Grenville, Whig, 1763 - 1765 Grenville is one of the few prime ministers to have been sacked by the monarch. He was fired after a row with George III over who should rule in his place if his mental health continued to deteriorate. Earl of Bute, Tory, 1762 - 1763 Bute was one of Britain's more unpopular prime ministers. Things came to a head when he failed to lower the taxes he had raised to fight France in the American colonies. Rioting erupted, his effigies were burnt and the windows in his house were smashed. Bute was generally disliked by colleagues and public, and was lampooned for his 'fine pair of legs', of which he was reputed to be extremely proud. His close relationship with the Prince of Wales's widow, the Dowager Princess Augusta, was also the subject of much scurrilous gossip. The nickname 'Sir Pertinax MacSycophant' was a contemptuous reference to the Roman Emperor Publius Helvius Pertinax, who was murdered three months after his meteoric assent by his own bodyguard. Unable to muster support in parliament, Bute resigned in 1763. Duke of Newcastle, Whig, 1757 - 1762 Newcastle healed his rift with Pitt 'the Elder' by inviting him to serve in his government as secretary of state. Effectively a power-sharing coalition of two powerful men, the relationship gave birth to the British Empire. Their government eventually fell as a result of the new king, George III's hostility to Pitt, who had sought to restrict the influence of the monarch in political matters. Duke of Devonshire, Whig, 1756-1757 Duke of Newcastle, Whig, 1754 - 1756 Newcastle became PM after his brother, Henry Pelham, died in office. It is the only instance of two brothers serving as prime minister. Newcastle enraged Pitt 'the Elder' by refusing to promote him in the new government, then compounded the insult by sacking him. Henry Pelham, Whig, 1743 - 1754 Earl of Wilmington, Whig, 1742 - 1743 Sir Robert Walpole, Whig, 1721 - 1742 Walpole is widely acknowledged as the first prime minister, although he never actually held the title. He was also the longest serving, lasting 21 years. But Walpole's first stint in government, as secretary of war, had ended inauspiciously with a six month spell in the Tower of London for receiving an illegal payment. Undeterred, he rose to power again on the back of a collapsed financial scheme in which many prominent individuals had invested. Walpole had the foresight (or luck) to get out early, and as a result was credited with great financial acumen. George I invited him to become chancellor and gave him the powers that came to be associated with the office of prime minister. His owed his longevity in office (and the incredible wealth he accumulated) to a combination of great personal charm, enduring popularity, sharp practice and startling sycophancy. The accession of George II saw him temporarily eclipsed, but he worked hard to win over the new monarch. He was rewarded with both the new King's trust and 10 Downing Street, which remains the official residence of the prime minister to this day. Walpole was eventually brought down by an election loss at Chippenham and died just three years later.
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What is the chemical symbol for manganese?
Chemical Elements.com - Manganese (Mn) Bentor, Yinon. Chemical Element.com - Manganese. <http://www.chemicalelements.com/elements/mn.html>. For more information about citing online sources, please visit the MLA's Website . This page was created by Yinon Bentor. Use of this web site is restricted by this site's license agreement . Copyright © 1996-2012 Yinon Bentor. All Rights Reserved.
MN
What was the surname of the central family in the tv series ‘Bread’?
View clinical references for this vitamin or supplement References: Mena, I., Court, J., Fuenzalida, S., Papavasiliou, P. S., and Cotzias, G. C. Modification of chronic manganese poisoning. Treatment with L-dopa or 5-OH tryptophane. N Engl.J Med 1-1-1970;282(1):5-10. View abstract. Menezes-Filho, J. A., Bouchard, M., Sarcinelli, Pde N., and Moreira, J. C. Manganese exposure and the neuropsychological effect on children and adolescents: a review. Rev Panam.Salud Publica 2009;26(6):541-548. View abstract. Mergler, D., Belanger, S., Larribe, F., Panisset, M., Bowler, R., Baldwin, M., Lebel, J., and Hudnell, K. Preliminary evidence of neurotoxicity associated with eating fish from the Upper St. Lawrence River Lakes. Neurotoxicology 1998;19(4-5):691-702. View abstract. Miller, S. T., Cotzias, G. C., and Evert, H. A. Control of tissue manganese: initial absence and sudden emergence of excretion in the neonatal mouse. Am J Physiol 1975;229(4):1080-1084. View abstract. Milner, J. A. Trace minerals in the nutrition of children. J Pediatr 1990;117(2 Pt 2):S147-S155. View abstract. Misiewicz, A., Jelen, B., Radwan, K., Karmolinski, M., and Dziewit, T. [The influence of occupational exposure to manganese on levels of serum lysozyme]. Przegl.Lek. 1995;52(11):535-537. View abstract. Misselwitz, B., Muhler, A., and Weinmann, H. J. A toxicologic risk for using manganese complexes? A literature survey of existing data through several medical specialties. Invest Radiol. 1995;30(10):611-620. View abstract. Montastruc, J. L., Llau, M. E., Rascol, O., and Senard, J. M. Drug-induced parkinsonism: a review. Fundam.Clin Pharmacol 1994;8(4):293-306. View abstract. Moreno, M. E., Acosta-Saavedra, L. C., Meza-Figueroa, D., Vera, E., Cebrian, M. E., Ostrosky-Wegman, P., and Calderon-Aranda, E. S. Biomonitoring of metal in children living in a mine tailings zone in Southern Mexico: A pilot study. Int J Hyg.Environ.Health 2010;213(4):252-258. View abstract. Morgan, M. Y. Noninvasive neuroinvestigation in liver disease. Semin.Liver Dis 1996;16(3):293-314. View abstract. Morita, T., Saito, K., Takemura, M., Maekawa, N., Fujigaki, S., Fujii, H., Wada, H., Takeuchi, S., Noma, A., and Seishima, M. L-tryptophan-kynurenine pathway metabolite 3-hydroxyanthranilic acid induces apoptosis in macrophage-derived cells under pathophysiological conditions. Adv Exp Med Biol 1999;467:559-563. View abstract. Mulholland, C. A. and Benford, D. J. What is known about the safety of multivitamin-multimineral supplements for the generally healthy population? Theoretical basis for harm. Am J Clin Nutr 2007;85(1):318S-322S. View abstract. Nagatomo, S., Umehara, F., Hanada, K., Nobuhara, Y., Takenaga, S., Arimura, K., and Osame, M. Manganese intoxication during total parenteral nutrition: report of two cases and review of the literature. J Neurol.Sci 1-1-1999;162(1):102-105. View abstract. Naito, Y. and Kuzuhara, S. 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Effects from environmental Mn exposures: a review of the evidence from non-occupational exposure studies. Neurotoxicology 1999;20(2-3):379-397. View abstract. Iavicoli, I., Falcone, G., Alessandrelli, M., Cresti, R., De, Santis, V, Salvatori, S., Alimonti, A., and Carelli, G. The release of metals from metal-on-metal surface arthroplasty of the hip. J Trace Elem.Med Biol 2006;20(1):25-31. View abstract. See 3 Reviews for this Treatment - OR - Related to MANGANESE Learn about User Reviews and read IMPORTANT information about user generated content Conditions of Use and Important Information: This information is meant to supplement, not replace advice from your doctor or healthcare provider and is not meant to cover all possible uses, precautions, interactions or adverse effects. This information may not fit your specific health circumstances. 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