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What was the name of the family who lived at no.42 in a post-2000 tv series?	BBC - Comedy - The Kumars at No. 42 The Kumars at No. 42 The Kumars at No. 42 Bringing friends home to meet the family is always a worry. ...but when the "friends" include Jerry Hall, Melvyn Bragg, Donnie Osmond and Stephen Fry and your family includes overprotective mother Madhuri, pompous paterfamilias Ashwin and mischief-making, lustpot grandma Sushila it's a total nightmare. The Kumars was an indirect spin-off from Goodness, Gracious Me devised by its star Sanjeev Bhaskar, along with partner Meera Syal and executive producer Anil Gupta, as a way of adding life to the increasingly tired chat-show by placing it in the heart of a family sitcom. The "sit" of the show saw Bhaskar cast as Sanjeev Kumar, stay-at-home scion of the Kumar family, which has decided to get one-up on the neighbours by turning the front room into a TV studio, allowing Sanjeev to invite leading celebs over to be interviewed. Unfortunately, the Kumars refuse to leave Sanjeev to his task, with the result that guests found themselves having to field his questions while at the same time fending off vast plates of pakoras from mum, "good advice" from dad and (in the case of the male guests) forceful sexual advances from granny. A mix of sitcom, scripted chat, genuine interview and occasional improvisation (particularly from Syal who played her role with obvious relish), on paper the Kumars should never have worked. Luckily it was played out in a studio, rather than on paper, and was an immediate success. The format also spawned several adaptations overseas, including Greeks on the Roof in Australia, The Ortegas on Fox in the US, Ghaffar at Doraji in Pakistan and Batiwalla House No 43 in India. Without the creators of the original format, however, many of these series proved very short-lived, though repeats of the original are still shown across the globe.	The Kumars at No. 42
To within two years either way, when did Rupert Bear first appear in the Daily Express?	Acropolis Now (TV Series 1989- ) — The Movie Database (TMDb) 0.0 Overview Acropolis Now was an Australian sitcom set in a Greek cafe in Melbourne of the same name that ran for 63 episodes from 1989 to 1992 on the Seven Network. It was created by Nick Giannopoulos, George Kapiniaris and Simon Palomares, who also starred in the series. They were already quite well known for their comedy stage show, Wogs out of Work. The title is a play on the film Apocalypse Now. Each episode was 30 minutes in length and filmed in front of a live audience. Jim's father asks him to run the family business, the Acropolis café, when he suddenly leaves Australia to return to his homeland Greece. The series centres around the activities of the cafe staff. Greek Jim Stephanidis, is the immature owner and his best friend, Spaniard Ricky Martinez is the sensible manager. Memo is the traditional Greek waiter, Liz is the liberated Australian waitress. Skip is the naïve new cook from the bush and Manolis is the stubborn cook from the old cafe. 'Hilarity' prevails from the clash of cultures and beliefs. Jim's hairdresser cousin Effie, played by Mary Coustas, became a hugely popular and enduring character during the run of the show. Coustas later reprised the role for several TV specials and series including Effie, Just Quietly, an SBS comedy / interview show, and Greeks on the Roof, a short-lived Greek-Australian version of the British talk show The Kumars at No. 42. Find out where to watch this on Featured Crew	i don't know
The Lech, Enns, Ipel and Nera are all tributaries of which major river?	Danube Danube This article is about the river. For other uses of "Danube", see Danube (disambiguation). Danube The 2850 kmDanube at Budapest Origin Black Forest ( Schwarzwald-Baar, Baden-Württemberg, Germany ) Mouth Black Sea ( Romania and Ukraine ) Basin countries Romania (28.9%), Hungary (11.7%), Austria (10.3%), Serbia (10.3% combined), Germany (7.5%), Slovakia (5.8%), Bulgaria (5.2%), Bosnia and Herzegovina (4.8%), Croatia (4.5%), Ukraine (3.8%), Czech Republic (2.6%), Slovenia (2.2%), Moldova (1.7%), Switzerland (0.32%), Italy (0.15%), Poland (0.09%), Albania (0.03%) Length 30 km before Passau: 580 m³/s Vienna : 1,900 m³/s just before Delta: 6,500 m³/s [Peak discharge at Iron Gate Dam 15,400 m³/s on 13 April 2006.] Basin area 801,463 km² The Danube (ancient Danuvius, ancient Greek Ἴστρος Istros) is the longest river of the European Union and Europe 's second-longest (after the Volga ). It originates in the Black Forest in Germany as two smaller rivers—the Brigach and the Breg—which join at Donaueschingen, and it is from here that it is known as the Danube, flowing generally eastwards for a distance of some 2850 km (1771 miles), passing through several Central and Eastern European capitals, before emptying into the Black Sea via the Danube Delta in Romania . The Danube has been an important international waterway for centuries, as it remains today. Known to history as one of the long-standing frontiers of the Roman Empire , the river flows through—or forms a part of the borders of—ten countries: Germany , Austria , Slovakia , Hungary , Croatia , Serbia , Bulgaria , Romania , Moldova , and Ukraine ; in addition, the drainage basin includes parts of ten more countries: Italy , Poland , Switzerland , Czech Republic , Slovenia , Bosnia and Herzegovina , Montenegro , Republic of Macedonia , Moldova , and Albania . The names of the river ( German : Donau, Slovak: Dunaj, Albanian: Danubi, Polish: Dunaj, Hungarian: Duna, Croatian: Dunav, Serbian: Дунав / Dunav, Bulgarian: Дунав (Dunav), Romanian: Dunăre, Ukrainian: Дунай (Dunay), Italian: Danubio, Latin: Danuvius, modern Greek: Δούναβης, Turkish: Tuna, Slovene: Donava, local Yiddish: Duner - דונער and Tine - טינע) are all ultimately derived from the Proto-Indo-European *dānu, meaning "river" or "stream". Still nowadays don in Ossetic language means both "water" and "river". Other major European river names with this Indo-European root for "stream" include the Donets, Dnieper, Dniester, the Don River, Russia and the River Don, England. Geography Tributaries The confluence of the Sava into the Danube at Belgrade. The river to the left is Sava. The land to the right of the picture is the "Veliko Ratno Ostrvo" island in the Danube. The Danube's tributary rivers reach into ten other countries. Some Danubian tributaries are important rivers in their own right, navigable by barges and river boats of shallow draught. Ordered from source to mouth, the main tributaries are: Iller - Lech - Regen (entering at Regensburg) - Isar - Inn (entering at Passau) - Enns - Morava - Leitha - Váh (entering at Komárno) - Hron - Ipel - Sió - Drava - Vuka - Tisza - Sava (entering at Belgrade) - Tamiš - Velika Morava - Caraş - Jiu - Iskar - Olt - Vedea - Argeş - Ialomiţa - Siret - Prut Cities The Danube Bend at Visegrád ( Hungary) is a popular destination of tourists The Danube flows through the following major cities: Regensburg - Germany, capital of Upper Palatinate Passau - Germany Linz - Austria , capital of Upper Austria Krems - Austria Bačka Palanka - city in Serbian province of Vojvodina Novi Sad - capital of the Serbian province of Vojvodina Belgrade - the capital of Serbia Smederevo - Serbia Izmail - Ukraine Modern navigation The Danube is navigable by ocean ships from the Black Sea to Brăila in Romania and by river ships to Kelheim, Bavaria; smaller craft can navigate further upstream to Ulm, in Germany. About 60 of its tributaries are also navigable. The Iron Gate, on the Romanian-Serbian border Since the construction of the German Rhine-Main-Danube Canal in 1992, the river has been part of a trans-European waterway from Rotterdam on the North Sea to Sulina on the Black Sea (3500 km). In 1994 the Danube was declared one of ten Pan-European transport corridors, routes in Central and Eastern Europe that required major investment over the following ten to fifteen years. The amount of goods transported on the Danube increased to about 100 million tons in 1987. In 1999, transport on the river was made difficult by the NATO bombing of 3 bridges in Serbia . The clearance of the debris was finished in 2002. The temporary pontoon bridge that hampered navigation was finally removed in 2005. At the Iron Gate, the Danube flows through a gorge that forms part of the boundary between Serbia and Romania ; it contains the hydroelectric Iron Gate I dam , followed at about 60 km downstream (outside the gorge) by the Iron Gate ll dam. There are three artificial waterways built on the Danube: the Danube-Tisa-Danube Canal (DTD) in the Banat and Bačka regions ( Vojvodina, northern province of Serbia ); the 64 km Danube-Black Sea Canal, between Cernavodă and Constanţa (Romania) finished in 1984, shortens the distance to the Black Sea by 400 km; the Rhine-Main-Danube Canal (about 171 km), finished in 1992, linking the North Sea to the Black Sea . The Danube delta The Danube Delta has been a UNESCO World Heritage Site since 1991. Its wetlands (on the Ramsar list of wetlands of international importance) support vast flocks of migratory birds, including the endangered Pygmy Cormorant (Phalacrocorax pygmaeus). Rival canalization and drainage scheme threaten the delta: see Bastroe Channel. Geology A map showing the Danube Although the headwaters of the Danube are relatively small today, geologically, the Danube is much older than the Rhine , with which its catchment area competes in today's southern Germany. This has a few interesting geological complications. Since the Rhine is the only river rising in the Alps mountains which flows north towards the North Sea , an invisible line divides large parts of southern Germany, which is sometimes referred to as the European Watershed. However, before the last ice age in the Pleistocene, the Rhine started at the southwestern tip of the Black Forest, while the waters from the Alps that today feed the Rhine were carried east by the so-called Urdonau (original Danube). Parts of this ancient river's bed, which was much larger than today's Danube, can still be seen in (now waterless) canyons in today's landscape of the Swabian Alb. After the Upper Rhine Valley had been eroded, most waters from the Alps changed their direction and began feeding the Rhine. Today's upper Danube is but a meek reflection of the ancient one. Since the Swabian Alb is largely shaped of porous limestone, and since the Rhine's level is much lower than the Danube's, today subsurface rivers carry much water from the Danube to the Rhine. On many days in the summer, when the Danube carries little water, it completely oozes away noisily into these underground channels at two locations in the Swabian Alp, which are referred to as the Donauversickerung ( Danube Sink). Most of this water resurfaces only 12 km south at the Aachtopf, Germany's wellspring with the highest flow, an average of 8500 liters per second, north of Lake Constance—thus feeding the Rhine. The European Water Divide thus in fact only applies for those waters that pass beyond this point, and only during the days of the year when the Danube carries enough water to survive the sink holes in the Donauversickerung. Since this enormous amount of underground water erodes much of its surrounding limestone, it is estimated that the Danube upper course will one day disappear entirely in favour of the Rhine, an event called stream capturing. Human history Danube in Ulm, where it separates Ulm in Baden-Württemberg and Neu-Ulm in Bavaria. At Esztergom and Štúrovo, the Danube separates Hungary from Slovakia . River Danube in Vienna . The Danube between Belene and Belene Island, Bulgaria A look upstream from the Donauinsel in Vienna , Austria during an unusually cold winter (February 2006). A frozen Danube is a phenomenon experienced only once or twice in a lifetime. ( Details ) Bratislava doesn't usually experience major floods, but the Danube sometimes overflows its right bank. The Danube basin contains sites of the earliest human cultures: the Danubian Neolithic cultures include the Linear Pottery Cultures of the mid-Danube basin (see also Linear Ceramic culture) The Vucedol culture (from site Vucedol near Vukovar, Croatia ) of the third millennium BC is famous for their ceramics. Later, many sites of the Vinca culture are sited along the Danube. The river was part of the Roman empire's Limes Germanicus. Of importance for the Danube is also the International Commission for the Protection of the Danube River (ICPDR). The ICPDR is an international organisation consisting of 13 member states (Germany, Austria, Czech Republic , Slovakia , Slovenia , Hungary , Croatia , Bosnia and Herzegovina , Serbia, Bulgaria, Romania, Moldova, Ukraine) and the European Union . ICPDR, established in 1998, deals not only with the Danube itself, but with the whole Danube River Basin, which includes also its tributaries and the ground water resources. The goal of the ICPDR is to implement the Danube River Protection Convention, promoting and coordinating sustainable and equitable water management, including conservation, improvement and rational use of waters for the benefit of the Danube River Basin countries and their people. Noted horror writer Algernon Blackwood's most famous short story, "The Willows" concerned a trip down the Danube. Cultural significance The Danube is mentioned in the title of a famous waltz by Austrian composer Johann Strauss, An der schönen, blauen Donau (By the Beautiful Blue Danube). This song was composed as Strauss was travelling down the Danube River. This song is well known across the world and is also used widely as a lullaby. Another famous waltz about the Danube is The Waves of the Danube ( Romanian: Valurile Dunării) by the Romanian composer Ion Ivanovici (1845–1902), and the work took the audience by storm when performed at the 1889 Paris Exposition. The German tradition of landscape painting, the Danube school, was developed in the Danube valley in the 16th century. The most famous book describing the Danube might be Claudio Magris's masterpiece Danube ( ISBN 1-86046-823-3). The river is the subject of the film The Ister (official site here). Parts of the German road movie Im Juli take place along the Danube. Economics of the Danube Drinking water Along its path, the Danube is a source of drinking water for about ten million people. In Baden-Württemberg, Germany , almost thirty percent ( as of 2004) of the water for the area between Stuttgart , Bad Mergentheim, Aalen and Alb-Donau (district) comes from purified water of the Danube. Other cities like Ulm and Passau also use some water from the Danube. In Austria and Hungary , most water comes from ground and spring sources, and only in rare cases is water from the Danube used. Most states also find it too difficult to clean the water because of extensive pollution; only parts of Romania where the water is cleaner still use a lot of drinking water from the Danube. Navigation and transport As "Corridor VII" of the European Union , the Danube is an important transport route. Since the opening of the Rhine-Main-Danube Canal, the river connects the Black Sea with the industrial centers of Western Europe and with the Port of Rotterdam . The waterway is designed for large scale inland vessels (110 by 11,45 meters) but it can carry much larger vessels on most of its course. The Danube has been partly canalized in Germany (5 locks) and Austria (10 locks). Further proposals to build a number of new locks in order to improve navigation have not progressed, due in part to environmental concerns. Downstream from the Freudenau Locks in Vienna, canalization of the Danube was limited to the Gabčíkovo dam and locks near Bratislava and the two double Iron Gate locks in the border stretch of the Danube between Serbia and Romania. These locks have larger dimensions (similar to the locks in the Russian Volga river, some 300 by over 30 meters). Downstream of the Iron Gate, the river is free flowing all the way to the Black Sea, a distance of more than 860 kilometers. The Danube connects with the Rhine-Main-Danube Canal at Kelheim, and with the Wiener Donaukanal in Vienna. Apart from a couple of secondary navigable branches, the only major navigable rivers linked to the Danube are the Drava, Sava and Tisza. In Serbia, a canal network also connects to the river; the network, known as the Dunav-Tisa-Dunav canals, links sections downstream. Fishing The importance of fishing on the Danube, which used to be critical in the Middle Ages , has declined dramatically. Some fishermen are still active at certain points on the river, and the Danube Delta still has an important industry. Important tourist and natural spots along the Danube, including the Wachau valley, the Nationalpark Donau-Auen in Austria, the Naturpark Obere Donau in Germany , Kopački rit in Croatia , Iron Gates (Danube Gorge) and Danube Delta in Romania . Retrieved from " http://en.wikipedia.org/wiki/Danube" This reference article is mainly selected from the English Wikipedia with only minor checks and changes (see www.wikipedia.org for details of authors and sources) and is available under the	Danube
What river flows through the Welsh city of Newport?	Map of List of tributaries of the Danube - The Full Wiki The Full Wiki List of tributaries of the Danube: Map Advertisements Map showing all locations mentioned on Wikipedia article: Map of most important tributaries of the Danube This is a list of tributaries of the Danube by order of entrance. The Danube is Europe 's second-longest river . It originates in the Black Forest and the Breg —which join at Donaueschingen , and it is from here that it is known as the Danube, flowing generally eastwards for a distance of some 2850 km (1771 miles), passing through several Central and Eastern European capitals, before emptying into the Black Sea via the Danube Delta in Romania . The Rába flows into the Mosoni-Duna, a branch of the Danube The Rába flows into the Mosoni-Duna, a branch of the Danube The Sió is 121 km long. As it flows out from the Balaton lake, measured from the source of the lake's longest tributary, the Zala river, it is 360 km long. The Sava is 945 km long, but as it originates from two shorter rivers, Sava Dolinka and Sava Bohinjka , with the longer headwater of Sava Dolinka it measures 990 km. The Velika Morava is created by the confluence of the Južna Morava and the Zapadna Morava . The Velika Morava proper is 185 km long, but also counting its longer branch, Zapadna Morava, it is 493 km long. The most distant water source in the Morava watershed is the source of the river Ibar , the longest tributary of the Zapadna Morava, which gives the Ibar-Zapadna Morava-Velika Morava river system a length of 550 km. The Rusenski Lom is formed by the confluence of the Beli Lom and the Cherni Lom . The Rusenski Lom proper is about 45 km long, but counting its longer branch, the Beli Lom, it is 196.9 km long. References	i don't know
After the Nile, what is the next-longest river in Africa?	10 Longest Rivers In The World - 10 Most Today 10 Longest Rivers In The World Nature If you’ve always been wondering what’s the longest river in the world? Well, we’re here to help. Here’s a comprehensive list of the all the longest rivers in the world including the longest of them all, the Nile River. The Longest River in the World 1. Nile River, North-East Africa – 6,650 km (4,132 miles). Its water resources are shared by eleven countries, namely, Tanzania, Uganda, Rwanda, Burundi, Democratic Republic of the Congo, Kenya, Ethiopia, Eritrea, South Sudan, Sudan and Egypt.In particular, the Nile is the primary water resource and life artery for Egypt and Sudan Nile river at Cairo, Egypt 2. Amazon River, South America – 6,400 km (3,976 miles). Its the second longest river in the world and is by far the largest by waterflow with an average discharge greater than the next seven largest rivers combined. The Amazon flows in the following countries: Brazil, Peru, Bolivia, Colombia, Ecuador, Venezuela, Guyana 10 Longest Rivers In The World: The Amazon 3. Yangtze River, China – 6,300 km (3,917 miles). The longest river in Asia 10 Longest Rivers In The World: Yangtze River 4. Mississippi – Missouri – Jefferson, North America – 6,275 km (3,902 miles). The Mississippi flows mainly in the United States (98.5%) and the rest in Canada (1.5%). It flows towards the Gulf of Mexico 10 Longest Rivers In The World: Mississippi River 5. Yenisei – Angara – Selenge, Asia – 5,539km (3,445 miles). Flows mainly in Russia (97%) and the rest in Mongolia. The largest river system flowing to the Arctic Ocean. Rising in Mongolia, it follows into Russia and drains in Kara Sea 10 Longest Rivers In The World: Yenisei River 6. Yellow River, China – 5,464km (3,395 miles) Also known as Huang He, it is the second-longest river in Asia after the Yangtze 10 Longest Rivers In The World: Yellow River, China 7. Ob – Irtysh, Asia – 5,410km (3,364 miles), It flows in the following countries: Russia, Kazakhstan, China, Mongolia 10 Longest Rivers In The World: Ob River, China 8. Paraná – Río de la Plata, South America – 4,880km (3,030 miles). Flows in Brazil, Argentina, Paraguay, Bolivia and Uruguay 10 Longest Rivers In The World:Parana River 9. Congo – Chambeshi, Africa – 4,700km (2,922 miles) – The world’s deepest river with measured depths in excess of 220 m (720 ft). It is the third largest river in the world by volume of water discharged 10 Longest Rivers In The World: Congo River 10. Amur – Argun, Asia – 4,444km (2,763 miles). The river forms the border between the Russian Far East and Northeastern China 10 Longest Rivers In The World: Amur River	Conference of NGOs
Andrei Lugovoy and Dmitry Kovtun are suspects in the murder of whom?	The River Nile for Kids Homework What else did the Nile provide for the Ancient Egyptians? Reeds, called papyrus, grew along side the Nile. The Egyptians made paper and boats from the reeds. Find out about Egyptian Writing The Nile also gave the ancient Egyptians food. They used spears and nets to catch fish. They would also use the nets to catch birds that flew close to the surface of the water. Another way the Nile helped the ancient Egyptians was in trade. The Nile was the quickest and easiest way to travel from place to place. What was the area next to the River Nile Called? This area was known as the Black Land. Further away from the river was the Red Land, a region of inhospitable desert. When did the Nile flood? The River Nile flooded every year between June and September, in a season the Egyptians called akhet - the inundation . Why did the Nile Flood? Melting snow and heavy summer rain in the Ethiopian Mountains sent a torrent of water causing the banks of the River Nile in Egypt to overflow on the flat dessert land. Why does the Nile not flood now ? The construction of the Aswan Dam in the 1960's meant that from 1970 the annual flood was controlled. Who was the Nile God? Hapi was the Nile god . Honouring a god was very important, so when a flood came the Egyptians would thank Hapi for bringing fertility to the land. Interesting Facts about the River Nile: The Nile River is the longest river in the world. The Nile flows into the Mediterranean Sea. The largest source of the Nile is Lake Victoria. The Nile has a length of about 4,160 miles (6,695 kilometres). Its average discharge is 3.1 million litres (680,000 gallons) per second. The Nile basin is huge and includes parts of Tanzania, Burundi, Rwanda, Congo (Kinshasa), Kenya. The Nile receives its name from the Greek Neilos, which means a valley or river valley.	i don't know
What play was Abraham Lincoln watching when he was assassinated?	What Play Was Lincoln Watching? What Play Was Lincoln Watching? Plays/Drama Expert By Wade Bradford Most of us probably know that Abraham Lincoln was assassinated by John Wilkes Booth . And many of us even know the name of the playhouse: the Ford Theater. However, I don't bump into too many people who are familiar with the play Lincoln was watching that fateful night on April 14th, 1865. Our American Cousin by Tom Taylor was the play Lincoln watched the night of his assassination. John Wilkes Booth, in addition to being a conspirator, was a working actor, so he knew that the light hearted comedy would garner loud belly laughs from the audience, providing the ideal moment in which to muffle the blast of a pistol. (He also anticipated a large crowd because special fliers had been made to announce that the president would be in attendance -- not the best security measure in retrospect.) Our American Cousin is a silly tale in three acts about a "uncivilized" American who arrives in England to claim a old British manor. Romantic subplots and jokes at the expense of both lower and upper ecominc classes ensue. continue reading below our video 10 Facts About the Titanic That You Don't Know When the play was first performed in the 1850s, one of the supporting characters (the ridiculous Lord Dundreary) became so popular, that the actor who originated the role, E. A. Sothern, began creating a string of ad libs to meet the demands of the humor-craving audience. According to many historians, Booth knew the play well, and knew that a certain line of dialogue in Act Three would propel the audience into its loudest burst of laughter. When the leading actor chastised another character with the line, "you sockdologizing old man-trap!" that is when Booth attacked, and sadly, the rest is history.	Our American Cousin
What is the correct term for a period of play in polo?	Lincoln is shot - Apr 14, 1865 - HISTORY.com Lincoln is shot Publisher A+E Networks On this day in 1865, John Wilkes Booth, an actor and Confederate sympathizer, fatally shoots President Abraham Lincoln at a play at Ford’s Theater in Washington, D.C. The attack came only five days after Confederate General Robert E. Lee surrendered his massive army at Appomattox Court House, Virginia, effectively ending the American Civil War. Booth, a Maryland native born in 1838, who remained in the North during the war despite his Confederate sympathies, initially plotted to capture President Lincoln and take him to Richmond, the Confederate capital. However, on March 20, 1865, the day of the planned kidnapping, the president failed to appear at the spot where Booth and his six fellow conspirators lay in wait. Two weeks later, Richmond fell to Union forces. In April, with Confederate armies near collapse across the South, Booth hatched a desperate plan to save the Confederacy. Learning that Lincoln was to attend a performance of “Our American Cousin” at Ford’s Theater on April 14, Booth masterminded the simultaneous assassination of Lincoln, Vice President Andrew Johnson and Secretary of State William H. Seward. By murdering the president and two of his possible successors, Booth and his conspirators hoped to throw the U.S. government into disarray. On the evening of April 14, conspirator Lewis T. Powell burst into Secretary of State Seward’s home, seriously wounding him and three others, while George A. Atzerodt, assigned to Vice President Johnson, lost his nerve and fled. Meanwhile, just after 10 p.m., Booth entered Lincoln’s private theater box unnoticed and shot the president with a single bullet in the back of his head. Slashing an army officer who rushed at him, Booth leapt to the stage and shouted “Sic semper tyrannis! [Thus always to tyrants]–the South is avenged!” Although Booth broke his leg jumping from Lincoln’s box, he managed to escape Washington on horseback. The president, mortally wounded, was carried to a lodging house opposite Ford’s Theater. About 7:22 a.m. the next morning, Lincoln, age 56, died–the first U.S. president to be assassinated. Booth, pursued by the army and other secret forces, was finally cornered in a barn near Bowling Green, Virginia, and died from a possibly self-inflicted bullet wound as the barn was burned to the ground. Of the eight other people eventually charged with the conspiracy, four were hanged and four were jailed. Lincoln, the 16th U.S. president, was buried on May 4, 1865, in Springfield, Illinois. Related Videos	i don't know
When washing clothes, what does a triangle with a cross through it represent?	Washing & Laundry Symbols: Washing Instruction Symbols & Fabric Labels Tips Washing Symbols Understanding the washing instructions on your clothing labels can be confusing. We are here to help you get it right with some top tips that will help you remember the meaning of washing symbols. Washing Instruction Symbols Do not bleach! A triangle with an X through it simply means that you should not bleach this item. The hand gives it away with this one. Bring hand and wash together and what do you get? Hand wash any clothes with this symbol. A double line represents a wool wash that needs a gentle cycle. Think of the double line as ‘double the thickness’ for the material and you should be able to remember this one. One single line means a synthetic wash, which should be on a medium cycle. The temperature should match the label. Stay clear of the dry cleaners and your clothes will thank you for it – a washing symbol that saves you money! This is a cotton wash on the hottest temperature your washing machine has. The double line earlier represented thick wool, no line should remind you of a ‘thin’ material cotton. Drying Laundry Symbols You can throw your clothes in the dryer if they have this symbol. A clear circle in a box means all clear for the tumble dryer, it even looks like a tumble dryer! Bringing us to the opposite symbol, same with a cross means don’t use the tumble dryer. The best way to remember this one is that it looks like a tumble dryer and the cross means “No”. Think of the line as your clothing flat on a table. This square symbol is asking you to dry your clothes flat if you can. Ironing Instruction Symbols A symbol that needs no explanation, iron and an X means ‘no ironing’. So if you are struggling with getting rid of any kinks then check for the other drying laundry symbols listed above. Good news for some. You can use a cool iron to keep this item of clothing looking hot. Bad news for anyone that doesn’t like ironing! The dots represent the temperature of the iron. Two dots means that you should keep the iron warm but not too hot for this garment. Stepping it up to three dots means it is time to make your iron hot hot hot! Just remember to keep the iron moving, you don’t want an iron shaped hole in your favourite item of clothing. We hope our washing symbols guide will help you to avoid any washing faux pas in the future. Please also take a moment to read our stain removal guide and top tips for banishing odours.	do not bleach
Launched in 2000, which website announced on Jan. 20th 2016 that it was soon to close?	Laundry Symbols and What They Mean Follow Us Laundry Symbols and What They Mean Seldom do we take interest in laundry symbols and their meaning, which is surprising considering that they drop hints which have a crucial role to play in the maintenance of clothes. Advertisement Laundry symbols, also referred to as 'care symbols', are graphic symbols in the form of pictures, which represent a particular concept related to the maintenance of clothes. These symbols are printed on labels attached to the clothes, known as the 'care labels'. Basically, they indicate the best way of cleaning clothes without harming the material. At times, these symbols are complemented by a set of written instructions. Universal Laundry Symbols Though they exist on almost all the clothes we wear, we are hardly aware of the presence of these symbols, or their meaning for that matter. These symbols are used to depict particular cleaning instructions. General symbols which are used on care labels universally include ... Washing instructions, depicted by a bucket Bleaching instructions, depicted by a triangle Drying instructions, depicted by a square Ironing instructions, depicted by the symbol of an iron Dry cleaning instructions, depicted by a circle Grasping these symbols will definitely make your laundry work less intricate. The general symbols are further modified in order to depict the different methods of cleaning clothes. For instance, a bucket with a single black dot in the center means 'wash in cold water', while a bucket with three black dots means 'wash in hot water.' Washing Instructions Washing is symbolized by a 'bucket'. The dots in the bucket indicate the temperature of water, i.e., 1 dot indicates 30 °C, 2 dots indicate 40 °C, and 3 dots indicate 50 °C. At times, these dots are replaced by numbers which represent the temperature of water to wash that particular linen. A bucket with the number 50 would mean wash it in 50 °C water. Bucket with 1 dot - Machine wash with cold water Bucket with 2 dots - Machine wash with warm water Bucket with 3 dots - Machine wash with hot water Bucket with 1 dot and a horizontal line - Machine wash, cold water, permanent press Bucket with 2 dots and a horizontal line - Machine wash, warm water, permanent press Bucket with 3 dots and a horizontal line - Machine wash, hot water, permanent press Bucket with 1 dot and 2 horizontal lines - Machine wash with cold water and gentle cycle Bucket with 2 dots and 2 horizontal lines - Machine wash with warm water and gentle cycle Bucket with 3 dots and 2 horizontal lines - Machine wash with hot water and gentle cycle Bucket with a hand - Hand wash Bucket with a cross - Do not wash Bleaching Instructions A 'triangle' is used to symbolize bleaching. It makes dull and gray textiles more lively, but it has to be used carefully. There are basically three laundry symbols for bleaching. Triangle - Bleaching necessary Triangle with slanting lines within - Use only non-chlorine bleach Black triangle with cross - Do not bleach Drying Instructions Generally, a 'square' is used to show the correct method of drying. There are four methods of drying and hence, you will come across many drying symbols on care label. Square with a black circle - Tumble dry without heat Square with a circle and 1 dot - Tumble dry with low heat Square with a circle and 2 dots - Tumble dry with medium heat Square with a circle and 3 dots - Tumble dry with high heat Square with a black circle and a horizontal line below - Tumble dry and permanent press without heat Square with a circle, 1 dot and a horizontal line below - Tumble dry and permanent press with low heat Square with a circle, 2 dots and a horizontal line below - Tumble dry and permanent press with medium heat Square with a black circle and 2 horizontal lines below - Tumble dry and gentle cycle without heat Square with a circle, 1 dot and 2 horizontal lines below - Tumble dry and gentle cycle with low heat Square with a circle, 2 dots and 2 horizontal lines below - Tumble dry and gentle cycle with medium heat Square with circle within and a cross - Do not tumble dry Square resembling an envelope - Line dry Square with 3 vertical lines within - Drip dry Square with 1 horizontal line within - Flat dry Ironing Instructions Yet another significant part, ironing is symbolized by an 'iron'. The dots in the ironing symbol represents the temperature at which the material can be ironed. One has to be careful though, as not all the cloth materials can be ironed. Iron with a cross - Do not iron Iron with 1 dot - Iron, steam, or dry with low heat Iron with 2 dots - Iron, steam, or dry with medium heat Iron with 3 dots - Iron, steam, or dry with high heat Iron with protruding line beneath and a cross on these lines - Do not iron with steam Dry Cleaning Instructions Dry cleaning is represented by a 'circle' on the care label. One should check the label before sending it to dry cleaners. Circle - Dry clean (You will have to take it to professional dry cleaners.) Circle with a cross - Do not dry clean Being well-versed with these laundry symbols is of a great help when it comes to maintenance of your clothes. At the same time, you need to note that the treatment indicated by these care labels is 'the maximum permitted treatment' and not a necessarily a compulsion. Treatment forms milder than the ones recommended on the care labels can be used. For instance, if the symbol says wash with hot water, you can also wash it in cold water. Abhijit Naik	i don't know
With which series of films do you associate the character Emmett Brown, Ph.D.?	Emmett Brown \| Total Movies Wiki \| Fandom powered by Wikia Back to the Future Dr. Emmett Lathrop "Doc" Brown, Ph.D., is a fictional character in the Back to the Future trilogy. He is the inventor of the first time machine, which he builds out of a DeLorean sports car. The character is portrayed by Christopher Lloyd in all three films, as well as in the live action sequences of the animated series. He is voiced by Dan Castellaneta in the animated series. The character's appearance and mannerisms are loosely inspired by Leopold Stokowski and Albert Einstein. In 2008, Dr. Emmett Brown was selected by Empire magazine as one of The 100 Greatest Movie Characters of All Time, ranking at #76. Character background Emmett refers to himself as "a student of all sciences" and is depicted as a passionate inventor. His homes in 1985 and 1955 are shown to contain various labour-saving gadgets, and he tests an intended mind-reading device on Marty McFly, during the scene in Back to the Future when the latter visits him in 1955. He appears to be heavily influenced by scientists of previous eras, naming successive pet dogs Copernicus and Einstein, and having portraits of Isaac Newton, Benjamin Franklin, Thomas Edison and Albert Einstein in his laboratory. He also states in Back to the Future Part III that his favorite author is Jules Verne, and reveals to Marty that his family name was originally von Braun before World War I, possibly an allusion to the real-life and contemporary rocket scientist Wernher von Braun. Emmett's family moved to Hill Valley, the fictional setting of the series, in 1908. Although initially wealthy because of his family's savings, Emmett states in Back to the Future that he spent his "entire family fortune" on his time travel project. Newspaper clippings at the beginning of the film show the Brown mansion was destroyed by fire in 1962, and the property sold to developers; Doc subsequently resided in the mansion's garage. Once broke, Doc established a privately owned business to offer 24-hour scientific services, building ingenious devices for his customers. Emmett's work appears to be highly regarded; a scene from Back to the Future Part II shows a newspaper article describing his winning an award for his work. However, he is shown as absent-minded at times, and various statements by other characters inhabiting Hill Valley indicate that he is generally regarded as strange, eccentric, or insane. He often speaks with wide-eyed expressions and broad gestures—"Great Scott!" being one of the character's well-known catchphrases—and tends to be overly verbose in his delivery, referring in one case to a school dance as a "rhythmic ceremonial ritual". No film in the trilogy shows Emmett having any friends besides Marty and Jennifer, Marty's girlfriend. The films do not depict how Doc and Marty originally met, but production notes and comments by franchise creators Bob Zemeckis and Bob Gale have stated that Doc and Marty met several years prior to the events of Back to the Future, when Marty sneaked into Doc's lab after being warned by his parents to stay away from him. Happy to be revered as 'cool', Doc hired Marty as his part-time lab assistant. In the original timeline, in contrast with Marty's unassertive father, George McFly, Doc is an encouraging and supportive mentor figure for Marty. Doc's positive influence in turn allows Marty to mentor George in 1955, which appears to encourage his later success as a novelist, and help him become a better husband and father. One line in particular, "If you put your mind to it, you can accomplish anything," originates from Doc. Marty repeats it to George in 1955, who repeats it back to Marty in the "improved" 1985 shown at the end of Back to the Future. Back to the Future alludes to Doc being involved with illegal and criminal enterprises—albeit as a means to obtain items for his inventions he could not purchase legally—but he is naïve and flippant about the consequences of his actions. In an early scene, he excitedly tells Marty how he cheated Libyan terrorists out of stolen plutonium: "they wanted me to build them a bomb, so I took their plutonium and, in turn, gave them a shiny bomb casing full of used pinball machine parts!" Doc Brown begins the trilogy somewhat innocent, and very enthusiastic about the possible uses of his time machine, initially actively trying to alter the past or future of the principal characters to improve their lives. However, events throughout the story, particularly in Back to the Future Part II , lead him to conclude that time travel is too hazardous for humankind, and that the time machine should be destroyed. His conviction is strengthened in Back to the Future Part III , when he realizes that he has unwittingly altered history by preventing the death of Clara Clayton in 1885; he concludes that the time machine has "caused nothing but disaster." However, after having been left behind in 1885 when Marty departs in the DeLorean for 1985, Doc starts a family with Clara. He eventually creates another time machine and builds it into a steam locomotive, which he uses to return to 1985 with the intent of collecting his dog, Einstein. It is clear that he traveled to an unspecified point further in the future, as his locomotive time machine is shown at the end of Back to the Future Part III with a "hover conversion" akin to that of the DeLorean at the end of the first movie. The trilogy ends with Doc and his family departing 1985 to an unspecified destination that is not in the future, as seen from 1985.	Back to the Future
Born in 1964, which model is nicknamed The Body?	Doc Brown - The Full Wiki The Full Wiki More info on Doc Brown Wikis Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles . Related top topics (Redirected to Emmett Brown article) From Wikipedia, the free encyclopedia "Doc Brown" redirects here. For British rapper, see Doc Brown (rapper) . Emmett Lathrop Brown Christopher Lloyd as Emmett Brown Portrayed by Years visited 1885, 1955, 1985A , 2015, perhaps others Doctor Emmett Lathrop "Doc" Brown, Ph.D. is a fictional character and one of the lead characters in the Back to the Future motion picture trilogy , in which he is the inventor of the first time machine , which he builds out of a DeLorean sports car. The character is memorably played by actor Christopher Lloyd in all three films, as well as in the live action sequences of the animated series. He is voiced by Dan Castellaneta in the animated series. The character's appearance and mannerisms are loosely inspired by Leopold Stokowski and Albert Einstein .[citation needed] The character was born in the early 1920s, although the animated series and novelization disagree as to the exact year. He refers to himself as a "student of all sciences", and is shown to be a passionate inventor. Scientists are his role models, as evidenced by the names of his pet dogs ( Copernicus in 1955, and Einstein in 1985) and the portraits of Isaac Newton , Benjamin Franklin , Thomas Edison , and Albert Einstein found in his laboratory (which were on a wall in his home in 1955), and his favourite author is Jules Verne . Doc can be absent-minded at times, and despite being seen around Hill Valley, the setting for all three films, he is regarded by many of the residents as strange, eccentric, or crazy. He often enunciates his words with wide-eyed expressions and broad gestures (" Great Scott !" being one of the character's well-known catchphrases), and tends to use large words or phrases over short ones: for instance, referring to a dance as a "rhythmic ceremonial ritual" in the first film . The only friends the character is shown to have are Marty, and Marty's girlfriend, Jennifer . The films do not depict how Doc originally met Marty, although after the events of the first film they meet in 1955, before Marty is born. Doc keeps this secret from Marty until the latter's return from 1955 to 1985. Doc has been involved in illegal and criminal enterprises within the scope of the films—albeit as a means to obtain items he could not purchase legally—but shows naïveté over the repercussions of his actions, excitedly telling Marty how he cheated Libyan terrorists out of stolen plutonium , saying "they wanted me to build them a bomb, so I took their plutonium and, in turn, gave them a shoddy bomb casing full of used pinball machine parts!" The character begins the trilogy somewhat innocent and very enthusiastic over the possible applications of his discovery, and actively tries to alter the past or future of various principal characters, in efforts to improve their lives. However, events throughout the story, particularly in the second film , bring him to the conclusion that time travel should not be used because of the hazards involved, and that the time machine should be destroyed. In the third film , after realizing he has unwittingly altered history by preventing the death of Clara Clayton in 1885, Doc expresses regret for inventing the time machine at all, remarking that it has "caused nothing but disaster." However, after being left behind in 1885 when Marty departs in the DeLorean for 1985, Doc starts a family with Clara. He creates another time machine and builds it into a steam locomotive, which he uses to transport his family to 1985 (to collect his dog, Einstein) after having traveled to an unspecified point further in the future. The trilogy ends with Doc and his family departing 1985, presumably returning to 1885, or according to the ride , to 1991. Contents Fictional biography Pre-Back to the Future Doc's back story and early life have been considerably elucidated by looking at draft scripts and spin-off series. One draft script suggests that his mother was called Sarah Lathrop, which would explain his middle initial "L" in the films (Doc's middle name, "Lathrop", is revealed in the animated series). She also has a brother named Abraham and carries a rag doll she named Emma, suggesting she named her son after her doll. Doc's mother's side of the family have lived in Hill Valley since around the 1880s, while his father's side of the family arrived in Hill Valley in 1908, when they were known as the Von Brauns – they changed their name to Brown during World War I , possibly due to the anti-German sentiment at the time . It has been speculated that the fictional Doc is supposed to be a relative of the real scientist Wernher von Braun . Doc's family was presumably from the German Empire or Austria–Hungary . According to the animated series, Doc has an uncle Oliver who lived in Milwaukee , Wisconsin and young Emmett would go to visit him in the summer. The animated series also showed that Doc Brown was a wrestler briefly in the 50s, but never really competed, and that his college roommate was Mr. Wisdom, a man who stole his science fair project, and won first prize for it. At age 11, Doc discovered the works of his favorite author, Jules Verne . From that point, he decided to dedicate his life to science. A draft script suggests he got into science when he stuck his finger in an electrical socket. Around 1932, one year later, Doc tried digging to the center of the Earth, inspired by the 1864 novel Journey to the Center of the Earth . Robert Zemeckis , co-writer/director of the films, has suggested that during the early 1940s Doc worked on the Manhattan Project , though this is never mentioned on screen (but it would give credence to his knowledge of nuclear physics and plutonium). Zemeckis also mentions that Doc had attended the University of California, Berkeley and MIT . During the 1950s, Doc worked as a professor of physics at Hill Valley University. [1] Through unspecified means, Doc's family had amassed a large fortune that Doc had inherited by the 1950s. It allowed him to finance his projects and afford the lavish Brown Mansion, played by the real life historic landmark Gamble House in Pasadena, CA for exterior shots on Riverside Drive (later renamed John F. Kennedy drive), which is one block past Maple street, in Hill Valley, CA, in the movies. In the opening sequence of the first movie, a framed Hill Valley Telegraph newspaper dated Thursday, August 2, 1962 can be seen with the headline, "Brown Mansion Destroyed." It burnt to the ground, presumably on Wednesday, August 1, 1962, the day before the article was printed, and Doc sold it along with a large amount of surrounding land to developers, explaining why he lived in the remaining lab/garage, next to the Burger King in 1985. By this time, having lost his home and having spent most of his fortune to build his time machine, he has a " day job " as something of quasi repair man. As pointed out in DVD commentary to the first Back to the Future film, the van he is seen using to bring the DeLorean to the mall for its first test is marked "Dr. E. Brown Enterprises: 24 Hr. Scientific Services." Writer/producer Bob Gale explains "our thinking was that the folks in Hill Valley, if they needed a scientist day or night, could simply call Doc Brown and he'd be there in his truck to do whatever service a scientist would be required for." Doc may have played the alto saxophone at some point in his life, as evidenced by the instrument lying next to the phone in his garage in Back to the Future . Events from Back to the Future series Back to the Future Main article: Back to the Future On Saturday, November 5, 1955, Doc came up with the idea of the flux capacitor (which is what makes time travel possible) after slipping off his toilet while standing on it to hang a clock and bumping his head on the edge of the sink. The idea came to him in a vision he had after being knocked out. The time machine project suffered a setback on Wednesday, August 1, 1962 when Doc's mansion at 1640 Riverside (later John F. Kennedy ) Drive burnt down. In the original movie, after the fire Doc moved into his former garage (which had been detached from the mansion and so had survived the blaze). There were rumors that he had deliberately burnt it down to claim the insurance money to fund the time machine. Whether or not that was the case, Doc still had to use up most of his family's fortune to fund the creation of his time machine. Doc moved to his garage and sold the rest of his estate to developers, but he was soon back on track. On Monday, May 23, 1983, he was commended and given a civic award for unspecified reasons. Doc finally finished installing his time machine into a DeLorean sports car in 1985, using plutonium to power the time circuits and the flux capacitor, and was apparently killed by the group of Libyan terrorists who had given it to him (they had wanted a nuclear weapon in return, but Doc, in an act of either extreme courage or extreme foolhardiness, merely gave them "a shoddy bomb casing full of used pinball machine parts." - a reference to the overly elaborate and colorful nuclear bomb interior seen at the climax of Goldfinger )[citation needed]. Marty, who had witnessed the first time travel experiment, was accidentally sent back to 1955, where he tried to warn the 1955 version of Doc about the terrorists. Doc did not want to know too much about his own future and ripped up the warning letter Marty had written him. Doc successfully sent Marty back to the future by harnessing the energy from a bolt of lightning as it struck the Hill Valley clocktower on Saturday, November 12, 1955 at 10:04 pm. Sometime after these events, one can surmise, Doc decided to take the risk, taped together Marty's warning letter, and discovered the truth about that night in 1985. When 1985 rolled around again, it turned out the Doc wore a bulletproof vest for protection, apparently modified to resist rifle fire. After dropping Marty home, Doc went 30 years into the future. While it is known that he visited October 2015, it is not known exactly how long or during which days he was there – it is known, however, that he had skipped ahead far enough after 2015 to observe a chain of disastrous incidents that destroy Marty's life and then skipped back in time to find the origin, tying it to a specific incident in 2015 that occurred between Marty's son, Marty Jr. and Biff's grandson, Griff. While there, he got an "all natural overhaul" to his body which added 30 or 40 years to his life, and made him look younger (this had little effect on his appearance, and was written into the script to allow the actor not wear "old" makeup through the second and third films). He also got the DeLorean hover-converted and installed a "Mr. Fusion". The Mr Fusion reactor eliminated the need for plutonium, and allowed the time machine to operate off of ordinary household garbage. Afterward, Doc returned to 1985 to pick up Marty (and Jennifer, who happened to be there) to take them to 2015. Back to the Future Part II Main article: Back to the Future Part II Doc had discovered that Marty's son, Marty Jr , was to go to jail for committing a crime, an event which would end up destroying the McFly family. Doc devises a plan for Marty to pose as Marty, Jr. (since the father-son resemblance was uncanny), as well as to prevent the crime from occurring. Doc then discovered that Marty had bought a sports almanac to take back to 1985 with him. Doc lectured Marty about how he had not invented the time machine for financial gain (though, ironically, he had mentioned in the first movie that he would go ahead in time 25 years and one of the things he would do is find out the next 25 World Series winners. Even so, it is never said that he would use it for gambling, or any other profitable trick.) Unknown to Doc or Marty, a now-elderly Biff Tannen overheard the conversation and later stole the DeLorean and the Almanac while Doc and Marty were rescuing 1985 Jennifer from the future McFly family house. Later in the film, it is revealed that Biff went back to November 12, 1955 and gave the Almanac to his 1955 teenaged self. On their way back to the DeLorean Doc had becomed convinced of the profound hazards involved in time travel and decided once they return to 1985, he would destroy the time machine, as time travel is just too dangerous to be used. Doc, Marty, and Jennifer arrived back in 1985 only to discover that history had been altered. Biff's wealth had led to a total alteration of Hill Valley to Biff's wishes and supposed alterations to the entire world's history (such as Richard Nixon still being in office and the Vietnam War still being fought in 1985). In this version of history, Doc has been committed to an insane asylum since 1983 (he was committed on the same day he won his award in the "proper" history). It is speculated that since Biff was warned by his older self upon delivery of the almanac that a "crazy, wild-eyed old man who claims to be a scientist" would ask about it someday, Biff was the one who had Doc committed, but no concrete evidence is provided in the film. It is also possible that Doc actually went insane due to the changes in the timeline, which only he would be aware of and be unable to reconcile with how he knew history should have unfolded. Doc and Marty headed back to 1955 to correct the timeline, and while Marty tracked down Biff to get the almanac from him, Doc attempted to make repairs to the time circuits, which had developed a fault and kept re-setting the Destination Time setting to January 1, 1885. When Doc discovered Marty had got the Almanac, he went to the roof of Hill Valley High School, but accidentally switched on the time circuits, which was set at 1885. Their mission of stealing the almanac and setting history straight was accomplished. However this success was quickly followed by Doc, in the DeLorean, being sent back to 1885 when a bolt of lightning struck the DeLorean, causing a gigawatt overload. Once in 1885, Doc set himself up as a blacksmith while trying to fix the DeLorean, but had to give up as suitable parts to repair the DeLorean's destroyed microchip would not be invented until 1947 (the actual date of the invention of the transistor .) He buried the DeLorean in the abandoned Delgado Mine on the outskirts of town and wrote a letter to Marty to be delivered just minutes after the DeLorean was struck by lightning. The letter was held by Western Union for the next 70 years, given to Marty in 1955. It also appears that Doc has made other travels to different time periods before coming back for Marty in 1985 because he has a suitcase full of money for, as he calls it, "all monetary possibilities." Back to the Future Part III Main article: Back to the Future Part III Marty received the letter and ran to the 1955 Doc, who had just sent the younger Marty back to the future. He initially disbelieved that Marty had returned, but eventually came to his senses. Marty and Doc uncovered the DeLorean and repaired it, but Marty discovered that in 1885, Doc would be murdered by Buford "Mad Dog" Tannen , ancestor of Biff. Marty headed back to September 2, 1885, the day after Doc wrote the letter and five days before Doc's death, to save his friend. Marty located Doc, and once again Doc had to make repairs to the time machine after it ran out of gas (hard to come by in 1885 since cars didn't exist yet) when its fuel line was ruptured. While making a plan to use a train to push the DeLorean to 88 mph, Doc saved a teacher, Clara Clayton , from falling into a ravine after a snake spooked her horses. The ravine was, in the proper timeline, called Clayton Ravine after Clara fell into it. They fell in love at first sight, much to the despair of Marty who saw Clara as a distraction. Doc and Clara danced at the town festival on September 5, where Marty managed to save Doc from being shot early by Buford Tannen. Doc and Clara also had their first kiss that night. Later, Doc realized he would have to leave Clara behind when he went back to the future with Marty on Monday. He said goodbye to her and told her the truth about where he came from. Naturally, she did not believe him and slapped him. Broken-hearted, Doc went to have a glass of whisky at the Palace Saloon , where Marty found him next morning (Monday) with the same glass of whisky. After drinking the whisky, he immediately fell down drunk. Marty and Chester the bartender managed to revive Doc with an extremely spicy concoction called "wake-up juice" which included tabasco sauce , and afterwards Doc and Marty hijacked a train to use to push the DeLorean up to 88 miles per hour (141 km/h). Clara reappeared, having seen everything and realized Doc was telling the truth, but nearly fell off the train. Doc managed to save her, with help from Marty's hoverboard (a piece of technology from 2015), but got left behind with Clara in 1885. Marty managed to get home, but the time machine was destroyed less than a minute after his arrival by a modern locomotive plowing through it, meaning he could not go back to rescue Doc and Clara from the past. Over the next 10 years, Doc and Clara married (they marry on December 15, 1885 according to the animated series episode, "Solar Sailors") and had two sons, Jules and Verne , named after their favorite author. Doc also built a new time machine, this time using a steam locomotive . The Brown family take off to visit the future (to get the train hover-converted) and then back to 1985 to visit Marty and Jennifer (when and where Marty thought he would never see Doc again due to the time machine being destroyed), before heading off to times unknown. Back to the Future: The Ride Main article: Back to the Future: The Ride Although the ride is not taken as canon by some, it reveals that the Brown family eventually moved back to the 20th century and that by 1991, Doc had set up the Institute of Future Technology. He modified a "time-traveling" DeLorean to be an 8-seater, which comes in handy after Biff steals the time machine again and the audience, sitting in one of these 8-seaters, has to help Doc chase Biff through time. The ride was at Universal Studios Hollywood , and Universal Studios Japan. One half of the ride at Universal Studios Florida closed on September 10, 2006. The Universal Studios Florida version had a confirmed close on March 30, 2007 to make way for the new Simpsons ride, planned to open in 2008. The Hollywood version closed on September 3 , 2007, also to be replaced by the Simpsons ride. Back to the Future: The Animated Series Main article: Back to the Future: The Animated Series This series starts in 1991 after the events from Part III and the Ride, where Doc, Clara, Jules and Verne now live in a farmhouse outside Hill Valley with Einstein the dog. The family, along with Marty, have traveled through time in both the train time machine and a rebuilt and improved DeLorean (which looks the same externally as before it was rebuilt, but is drastically different inside). The Simpsons Ride Doc Brown's appearance in The Simpsons Ride . In The Simpsons Ride , in a tribute to the ride it replaced, Back to the Future: The Ride, Emmett Brown has a brief cameo voiced over by Christopher Lloyd . It should be noted that in the animated series of Back to the Future, Brown was voiced by Dan Castellaneta , also the voice of the Simpson family patriarch Homer Simpson . In the cameo, Professor Frink , Doc's colleague as it is revealed in the ride, is shocked to discover that Doc's Institute has been turned into Krustyland, a theme park built by Krusty the Clown . So, he drives a DeLorean time machine back in time to save the institute, where, two years earlier, Doc is about to sign a contract with a banker, named Mr. Freidman, to save the Institute. However, as Doc is about to sign, Frink drives the DeLorean into the banker. Doc becomes upset at Frink, and complains that he has to sell his Institute to "that mercenary clown", who happens to be Krusty. Krusty then appears and puts a Krustyland sign in front of the Institute, and Frink complains that he created a time paradox. Doc asks Krusty if there's anything he can do for him, to which Krusty responds he can sell tickets at the front gate if he "gets a haircut". Doc says it takes him three hours a day "Just to get it like this!". It is then presumed that the Institute of Future Technology became Krustyland. Appearances in popular culture Universal Studios Florida promo In 1988, Doc Brown (again portrayed by Christopher Lloyd ) appeared as an assistant to Universal corporate employees who are in charge of plans for the future Universal Studios Florida park. They request that Brown travel to 1990 via DeLorean in order to videotape and document how the future park will appear. Brown follows instructions and soon finds himself experiencing and comically interacting with various characters and components from an array of attractions, such as dressing in drag as Norma Bates , blasting the Stay Puft Marshmallow Man , overreacting during an 8.5 earthquake and getting attacked by the shark from Jaws in the park's epicenter lake. At the end of the promo, he recaps his journey and soon realizes that he has seen every attraction except the upcoming Back to the Future: The Ride, in which he evidently stars. Brown then departs back to his present-day. The video is available on YouTube . [2] DirecTV television commercial After 17 years since his last visual appearance as the character, Christopher Lloyd briefly reprised his role as Doc Brown in a 2007 DirecTV television commercial. In the ad, Lloyd filmed a new scene that was incorporated with pre-existing clips from the first BTTF film. In the newly filmed scene, Lloyd promotes the DirecTV product, exclaiming that it is "TV from outer space." There is a continuity error in the commercial where the mark on Doc's forehead was on the left side of his head, but the mark in the trilogy was on the right side of his head. However, the footage was later found out to be horizontally flipped. Microsoft TechEd Doc Brown's next appearance would be as a guest performer during the opening keynote of Microsoft TechEd on June 4, 2007. He mainly served as a comic foil for Bob Muglia, Microsoft's Senior Vice President, Server and Tools Business. Doc carried with him a squeeze-operated horn touted as his "Vision Speak" disruption device, threatening to interrupt Muglia if he should slip into corporate cliché language. O'Neal McKnight Doc Brown and the DeLorean make an appearance in O'Neal McKnight's video for "Check Your Coat" featuring Greg Nice . [3] References	i don't know
Which actor links the films ‘Mrs. Doubtfire’, ‘Dante’s Peak’, and ‘Mamma Mia!’?	Pierce Brosnan - IMDb IMDb Actor \| Producer \| Soundtrack Pierce Brendan Brosnan was born in Drogheda, County Louth, Ireland, to May (Smith), a nurse, and Thomas Brosnan, a carpenter. He lived in Navan, County Meath, until he moved to England, UK, at an early age (thus explaining his ability to play men from both backgrounds convincingly). His father left the household when Pierce was a child and although... See full bio » Born: Share this page: Related News a list of 27 people created 06 Dec 2010 a list of 32 people created 20 Feb 2011 a list of 22 people created 13 Mar 2011 a list of 25 people created 04 May 2012 a list of 25 people created 14 Oct 2014 Do you have a demo reel? Add it to your IMDbPage How much of Pierce Brosnan's work have you seen? User Polls Nominated for 2 Golden Globes. Another 18 wins & 18 nominations. See more awards » Known For 2017 The Son (TV Series) ( announced ) Eli McCullough 1991 Victim of Love (TV Movie) Paul Tomlinson 1991 Murder 101 (TV Movie) Charles Lattimore 1982 Nancy Astor (TV Mini-Series) Robert Gould Shaw 1980 Murphy's Stroke (TV Movie) Donnelly / Edward O'Grady Soundtrack (2 credits) 2008 Mamma Mia! (performer: "Our Last Summer", "SOS", "I Do, I Do, I Do, I Do, I Do", "When All Is Said And Done", "Waterloo") 2002 Evelyn (performer: "On the Banks of the Roses", "The Parting Glass") Hide 1993 The Myth, the Magic, the Man (TV Movie) (special thanks) Hide 2017 The 74th Golden Globe Awards (TV Special documentary) Himself - Presenter 2015 No Escape: Behind the Scenes (Video documentary short) Himself 2010-2015 Jimmy Kimmel Live! (TV Series) Himself - Guest - Episode #8.116 (2010) ... Himself - Guest 2015 Prominent! (TV Series) 2014 Evening Urgant (TV Series) Himself 2014 Reel Junkie (TV Series) Himself 2014 Weekend Ticket (TV Series short) Himself 2011-2014 Good Morning America (TV Series) Himself - Guest 2010-2014 Made in Hollywood (TV Series) Himself 2008-2014 Entertainment Tonight (TV Series) Himself 2014 Inside Edition (TV Series documentary) Himself 2010-2014 The Insider (TV Series) Himself / Himself - Mrs. Doubtfire 2014 CBS News Sunday Morning (TV Series documentary) Himself - Guest 2004-2014 Live! with Kelly (TV Series) Himself - Guest 2010-2014 Cinema 3 (TV Series) Himself 2004-2013 Tavis Smiley (TV Series) Himself - Guest 2013 Larry King Now (TV Series) Himself - Guest 2012 MSN Exclusives (TV Series) Himself (2013) 2011 Elizabeth Taylor: A Tribute (TV Movie documentary) Himself 2010 Días de cine (TV Series) Himself 2010 Janela Indiscreta (TV Series) Himself 2010 Le grand journal de Canal+ (TV Series documentary) Himself 2009 The Movie Loft (TV Series) Himself 2008 Mama Mia!: Becoming a Singer (Video documentary short) Himself 1999-2008 The Daily Show (TV Series) Himself - Guest 2008 Mamma Mia: Outtakes (Video short) Himself / Sam (uncredited) 2007 Balls of Steel (TV Series) Himself 2007 2007 Britannia Awards (TV Special) Himself 2006 Close Up (TV Series) Himself - Interviewee 2006 La rentadora (TV Series) Himself 2006 Creating an Icon (Video documentary short) Himself 2006 Directing Bond: The Martin Chronicles (Video documentary short) Himself 2006 Driven to Bond: Remy Julienne (Video documentary short) Himself 2006 GoldenEye: Building a Better Bond (Video documentary short) Himself 2006 Just Another Day (TV Special documentary short) Himself 2006 The Hong Kong Press Conference (Video documentary short) Himself 2006 The Making of The Matador (Video documentary short) Himself 2006 Bloody Business (Video documentary) Himself 1997-2006 Film 2016 (TV Series) Himself 1999-2006 The View (TV Series) Himself - Guest 2006 Jean-Michel Cousteau: Ocean Adventures (TV Series documentary) Narrator 2005 Young Hollywood Awards (TV Special) Himself 2004-2005 Richard & Judy (TV Series) Himself - Guest 1999-2004 Charlie Rose (TV Series) Himself - Guest Himself - Outstanding Irish Contribution to Cinema Award Winner 2004 T4 (TV Series) 2004 This Morning (TV Series) Himself - Guest 2004 Biography (TV Series documentary) Himself 2003 Morten og Peter i Dublin (TV Series documentary) Himself 2003 Inside 'Die Another Day' (Video documentary short) Himself 2003 Evelyn: Behind the Scenes (Video documentary short) Himself 1997-2003 Lo + plus (TV Series) Himself - Guest 2002 James Bond: A BAFTA Tribute (TV Movie documentary) Himself 2002 Best Ever Bond (TV Movie documentary) Himself 2002 Premiere Bond: Die Another Day (TV Movie documentary) Himself 2002 E! True Hollywood Story (TV Series documentary) Himself 2002 Leute heute (TV Series documentary) Himself 2002 Judi Dench: A BAFTA Tribute (TV Movie documentary) Himself 2002 Hollywood, Inc. (TV Series documentary) Himself 2002 The Bond Essentials (Video documentary short) Himself 2001 The Perfect Fit (Video documentary short) Himself 2001 The Simpsons (TV Series) Himself 2001 Saturday Night Live (TV Series) Himself - Host 2001 The Human Face (TV Mini-Series documentary) Himself 2001 The Blue Planet (TV Mini-Series documentary) Himself - Narrator (US version) - Tidal Seas (2001) ... Himself - Narrator (US version) - Open Ocean (2001) ... Himself - Narrator (US version) - Frozen Seas (2001) ... Himself - Narrator (US version) - Coral Seas (2001) ... Himself - Narrator (US version) - The Deep (2001) ... Himself - Narrator (US version) 2000 Inside 'The Living Daylights' (Video documentary short) Himself 2000 2000 Blockbuster Entertainment Awards (TV Special documentary) Himself (uncredited) 2000 Down River (TV Special documentary) Himself 1997-1999 Mundo VIP (TV Series) Himself 1999 And the Word Was Bond (TV Movie documentary) Himself 1999 Exclusive (TV Series documentary) Himself - Interviewee 1999 The Bond Cocktail (TV Movie documentary) Himself 1999 Comme au cinéma (TV Series documentary) Himself 1999 The Directors (TV Series documentary) Himself 1998 Bravo Profiles: The Entertainment Business (TV Mini-Series documentary) Himself 1997 James Bond: Shaken and Stirred (TV Movie documentary) Himself 1997 Sammy the Screenplay (Video short) Himself - at 'Nine Months' premiere (uncredited) 1996 Showbiz Today (TV Series) Himself 1996 Corazón, corazón (TV Series) Himself 1996 Muppets Tonight (TV Series) Himself 1996 Very Important Pennis (TV Series) Himself 1996 1996 Blockbuster Entertainment Awards (TV Movie documentary) Himself 1995 GoldenEye: Behind the Scenes (Video documentary short) Himself 1995 GoldenEye: The Secret Files (TV Short documentary) Himself 1995 Primer plano (TV Series) Himself 1995 This Is Your Life (TV Series documentary) Himself - Guest 1995 The World of James Bond (TV Movie documentary) Himself 1995 The Goldfinger Phenomenon (Video documentary short) Himself 1995 Behind the Scenes with 'Goldfinger' (Video documentary short) Himself 1990 After Hours (TV Series) Himself Himself - Presenter: Favourite Female Television Performer 1987 Moonlighting (TV Series) 1986 NBC 60th Anniversary Celebration (TV Special documentary) Himself 1983-1985 Hour Magazine (TV Series) Himself 2015 Timeshift (TV Series documentary) Himself 2015 The Making of 'Survivor' (Video documentary short) Himself 2015 Inside Edition (TV Series documentary) Himself 2014 Lennon or McCartney (Documentary short) Himself 2012 Hallo Hessen (TV Series) Himself 2010 Maintower (TV Series documentary) Himself 2010 Z Hit-Paraden (TV Series) Himself 2009 30 for 30 (TV Series documentary) Himself 2009 Raiders of the Lost Archive (TV Series documentary) Professionals 2007 La rentadora (TV Series) Himself 2006 Premiere Bond: Opening Nights (Video documentary short) Himself 2005 Cinema mil (TV Series) Himself 2003 Celebrities Uncensored (TV Series) Himself 2003 Christmas from Hollywood (Video documentary) Himself 2002 Intimate Portrait (TV Series documentary) Himself 1997 Muppets Tonight (TV Series) Himself Print ad (Germany): Omega Watches, as James Bond in Die Another Day (2002). See more » Publicity Listings: 3 Print Biographies \| 29 Interviews \| 25 Articles \| 19 Pictorials \| 55 Magazine Cover Photos \| See more » Official Sites: Did You Know? Personal Quote: [on Spectre (2015)] The story was kind of weak - it could have been condensed. It kind of went on too long. It really did. It is neither fish nor fowl. It's neither Bond nor Bourne. Am I in a Bond movie? Not in a Bond movie? See more » Trivia: Director Chris Columbus is a big James Bond fan and he was crushed when Brosnan didn't get cast when he was offered the part during the making of Remington Steele (1982) but they wouldn't release him from his contract. When they worked together in Mrs. Doubtfire (1993), Columbus told Brosnan he'd make a great James Bond but he thought that ship had sailed. In 1995, MGM called Columbus telling him... See more » Trademark: Has a scar on the right side above his top lip. He was hit by a stunt man on the making of Tomorrow Never Dies (1997). Star Sign:	Pierce Brosnan
Which ‘Carry On’ actor was married to Janet Brown from 1947 until his death in 1979?	Pierce Brosnan \| Expendables Wiki \| Fandom powered by Wikia [view] • [talk] Pierce Brendan Brosnan (born May 16, 1953) is an Irish-American actor who's rumored to be set to appear in The Expendables 4 . Brosnon is best known internationally as the fifth official actor to portray the title role in the successful James Bond movie franchise as well as playing the title character on the acclaimed 80s television series "Remington Steele". Brosnon's other select film credits include The Long Good Friday, Taffin, The Lawnmower Man, Mrs. Doubtfire, Mars Attacks, Dante's Peak, the 1999 remake of The Thomas Crown Affair, Evelyn, The Matador, Seraphim Falls, Mamma Mia!, The Ghost Writer, The World's End and The November Man.	i don't know
Michael Scofield was the protagonist in which popular US tv series?	Michael Scofield is the best TV series character yet. Is he the same in real life? - Quora Quora Watch some more TV series other than Prison Break,you will find much better TV series character. Watch Flash and see Wentworth Miller aka Michael Scofield doing chutiyapa. And in real life neither he or his brother went to prison which he has designed to break out. He is not even a civil engineer. Nah the person that plays Micheal scofield which is wentworth miller is cooler in real life not only not only is he gay but his humble and down to earth! His brave. 407 Views More Related Questions If you could live the life of one character on your favorite TV series, who would that be? Related Questions Written Sep 14 My roommate and I went to the campus dining hall for dinner tonight. It’s a buffet, so you can go through as many times and get as much as you want. The dining hall has a ton of choices, with the best being their ice cream. It’s fantastic soft-serve, and they have it at every meal. I’d finished my pizza and soda and had my head propped on one hand. “I want ice cream.” “Go get some ice cream.” “But I ...	Prison Break
Who played the part of Captain Renault in the classic film ‘Casablanca’?	Prison Break Season 5: Release date update; Michael Scofield’s look for the series released - Sportsrageous Sportsrageous Email Prison Break Season 5 release date has been revealed and it looks like the fans of the super hit TV show will get to see their favorite characters sooner than expected. Leaving all speculations aside, Faran Tahir, who will play the character “Jamil” in the upcoming series has revealed the release date. “I will be playing the recurring role of Jamil on ‘Prison Break; Sequel’ (Mini TV Series) Season 5 which is expected to air from September 2016” Tahir tweeted . Despite being rumored to be released on early 2017, we now know that the show is slated for release in 2016 itself. This will be an exciting year for the Prison Break admirers. The release date is not the only exciting news for the fans of the series. A recent post by Dominic Purcell on his Instagram account shows the new look of Michael Scofield and his older brother Lincoln Burrows. For the newcomers, Michael Scofield is played by actor Wentworth Miller while Purcell plays the role of his older brother Lincoln Burrows. https://www.instagram.com/p/BFDDIWxnAee/ Both the characters seem to have an intense look which could define the creative direction the show is trying to adapt. The pic shows bruised faces of both Miller and Purcell and the duo seems to be in the middle of a powerful moment. It has been 9 years since the original Prison Break series ended in 2009. The shooting for the spin-off has already begun in Vancouver and other actors of the show have teased their looks as well on social media. Rockmond Dunbar, who plays the character C-Note has posted a photo on Instagram which defines his look on the upcoming show. The new look Dunbar is hardly recognizable as the C-Note we know off. He is now sporting a full grown beard and has an Islamic look. A photo posted by rockmonddunbar (@rockmonddunbar) on Apr 8, 2016 at 3:52pm PDT Apart from Vancouver, the show will also be filmed in various locations of Morocco. The shooting will take place in Casablanca, Ouarzazate and Rabat, as reported by Moroccan Times . According to rumors, the story of the show will hover around Michael Scofield being held captive in a prison in the Middle East. The star cast of the original Prison Break will move there to plot the biggest prison escape in the series’ history. Photo courtesy: watchwithkristin/Wikipedia.org	i don't know
Who is credited with commercializing jigsaw puzzles around 1760?	Jigsaw Puzzles \| 187 pieces jigsaw puzzle Bookmark A jigsaw puzzle is a tiling puzzle that requires the assembly of often oddly shaped interlocking and tessellating pieces. Each piece usually has a small part of a picture on it; when complete, a jigsaw puzzle produces a complete picture. Jigsaw puzzles were originally created by painting a picture on a flat, rectangular piece of wood, and then cutting that picture into small pieces with a jigsaw, hence the name. John Spilsbury, a London cartographer and engraver, is credited with commercializing jigsaw puzzles around 1760. Created by puzzles4u Published	John Spilsbury
Born in 1921, who connects ‘Are You Being Served?’ with ‘Last of the Summer Wine’?	Quintasential Searching Find All Quintasential Searching Find All "JACK'S BACK, AN SAYS MATE?, GO FOR IT, FREEWARE, GAMES, JIGSAWS FREE" ‎ > ‎ Jigsaw puzzles some companies offer to turn personal photographs into puzzles. Jigsaw puzzles were originally created by painting a picture on a flat, rectangular piece of wood, and then cutting that picture into small pieces with a jigsaw, hence the name. John Spilsbury, a London cartographer and engraver, is credited with commercializing jigsaw puzzles around 1760. Jigsaw puzzles have since come to be made primarily of cardboard. Typical images found on jigsaw puzzles that also include scenes from nature, buildings, and repetitive designs. Castles and mountains are two traditional subjects. However, any kind of picture can be used to make a jigsaw puzzle; some companies offer to turn personal photographs into puzzles. Completed puzzles can also be attached to a backing with adhesive to be used as artwork. During recent years, a range of jigsaw puzzle accessories including boards, cases, frames and roll-up mats has become available that are designed to assist jigsaw puzzle enthusiasts. According to the Alzheimer Society of Canada, doing jigsaw puzzles is one of many activities that can help keep the brain active and may contribute to reducing the risk of developing Alzheimer's disease. the best setting is 48 piece classic on your left (were it says change cut ) when you get there. Or play it at the settings it's on up to you a! Pick a pic it's a Jigsaws Cats are similar in anatomy to the other fields, with strong, flexible bodies, quick reflexes, sharp retractable claws that flaming well hurt. Teeth adapted to killing small prey and laving their dead birds or mice on your doorstep. Cat senses fit a crepuscular and predatory ecological niche ( how's them for big words mate hahaha ). Cats can hear sounds too faint or too high in frequency for human ears, such as those made by mice and other small animals. They can see in near darkness and don't move unless you trod on their tail, then you'll find they do really have sharp Teeth. Like most other mammals, cats have poorer color vision and a better sense of smell than we mere humans. Despite being solitary hunters, cats are a social lot,their communication includes the use of a variety of vocalizations [big word huh!!] (mewing, purring, trilling, hissing, growling, and grunting), as well as cat pheromones, and types of cat-specific body language. Cats have a high breeding rate. Under controlled breeding, they can be bred and shown as registered pedigree pets, a hobby known as cat fancy. Failure to control the breeding of pet cats by neutering, and the abandonment of former household pets, has resulted in large numbers of feral cats worldwide, requiring population control. Since cats were cult animals in ancient Egypt, they were commonly believed to have been domesticated there, but there may have been instances of domestication as early as the Neolithic from around 9500 years ago (7500 BC). A genetic study in 2007 concluded that domestic cats are descended from African wildcats (Felis silvestris lybica), ( Say that with your teeth out ) having diverged around 8000 BC in West Asia. Cats are the most popular pet in the world, and are now found in almost every place where humans live, except the moon and around Huge snakes.	i don't know
On May 23rd, Ireland voted in favour of what?	Irish voters back gay marriage in 'social revolution' \| Reuters Sat May 23, 2015 \| 6:12 PM EDT Irish voters back gay marriage in 'social revolution' By Padraic Halpin and Conor Humphries \| DUBLIN DUBLIN The people of Ireland backed same-sex marriage by a landslide in a referendum that marked a dramatic social shift in a traditionally Catholic country that only decriminalized homosexuality two decades ago. After one of the largest turnouts in a referendum there, 62 percent of voters said 'Yes', making Ireland the first country to adopt same-sex marriage via a popular vote. 'Yes' supporters crowded into the courtyard of Dublin Castle to watch in blistering sunshine as results trickled in from around the country were shown on a large screen. They cheered with joy as the final tally was announced and then burst into a rendition of the national anthem. "We woke up today to a new Ireland. The real Irish Republic that I have dreamed of my whole life," said Jean Webster, a 54-year-old administrator who came out as a lesbian eight years ago after separating from her husband. Government ministers waved a rainbow flag from the stage in front of the crowd and one lesbian senator proposed to her partner live on national television. "The answer is yes to their future, yes to their love, yes to equal marriage. That 'Yes' is heard loudly across the world as a sound of pioneering leadership from our people," Prime Minister Enda Kenny told a news conference. "Ireland, thank you." The Catholic Church, which teaches that homosexual activity is a sin, saw its dominance of Irish politics collapse after a series of child sex abuse scandals in the early 1990s and limited its 'No' campaigning to sermons to its remaining flock. The archbishop of Dublin said the result presented a challenge. "It is a social revolution. It's very clear that if this referendum is an affirmation of the views of young people, then the Church has a huge task ahead of it," Archbishop Diarmuid Martin told national broadcaster RTE. "The Church needs to do a reality check." TABOO Ireland follows several Western European countries including Britain, France and Spain in allowing gay marriage, which is also legal in South Africa, Brazil, Canada and some U.S. states, while homosexuality remains taboo and often illegal in many parts of Africa and Asia. U.S. Vice President Joe Biden tweeted: "We welcome Ireland's support for equality. #LoveWins" After Irish expatriates flocked home to vote, 60 percent of registered voters cast their ballot, the highest in two decades. "This is a big placard from the people of Ireland to the rest of the world saying this is the way forward," said David Norris, who began a campaign for gay rights in the late 1970s. The proposal was backed by all political parties, championed by big employers and endorsed by celebrities, all hoping it would mark a transformation in a country that was long regarded as one of the most socially conservative in Western Europe. Only a third of the country backed the decriminalization of gay sex for men over 17 in 1993, according to a poll at the time. When voters narrowly legalized divorce in 1995, only five of the 30 constituencies outside Dublin backed the proposal. This time, all bar one of the 43 voting areas approved the marriage measure. "It changes everything, the worries and fears I had as a young gay kid in Ireland, they're all gone," said Ger O'Keefe, 27, a 'Yes' campaigner from Waterford. "This will tell kids now that you don't need to be afraid." (Editing by Robin Pomeroy) ADVERTISEMENT 1/17 Children wave rainbow flags as they stand with their same-sex marriage supporting parents at Dublin Castle in Dublin, Ireland May 23, 2015. Reuters/Cathal McNaughton + 2/17 Same-sex marriage supporter Panti Bliss reacts at Dublin Castle in Dublin, Ireland May 23, 2015. Irish voters appear to have voted heavily in favour of allowing same-sex marriage in a historic referendum in the traditionally Catholic country, government ministers and opponents of the bill said on Saturday. Reuters/Cathal McNaughton +	Same-sex marriage
Appointed head of OFSTED in 1994, he died on June 23rd. Who was he?	Ireland votes for gay marriage - CBBC Newsround Ireland votes for gay marriage 24 May 2015 Ayshah explains what the vote means for Ireland People living in the Republic of Ireland have voted in favour of same sex marriage. It's the first country in the world to let the people vote on the issue. Up until now two men or two women were not allowed to marry each other but now that's changed. Almost two million people voted, with 62% voting yes. But lots of people disagreed, including the Catholic Church. Those against it say marriage has been between a man and a woman for hundreds of years and shouldn't be altered. Around the world Attitudes towards gay people vary across the world. Currently 20 countries allow same sex marriage. But in some others it is illegal just to be openly gay - more than 70 countries have laws against same-sex couples including Iran and Nigeria. In India being gay was decriminalised in 2009 but changed back to a crime again in 2013. In 2012 Russia banned gay pride events for 100 years. In the UK, gay marriage is allowed in Scotland, and England and Wales, but there are no plans to bring a law to allow it in Northern Ireland.	i don't know
What type of rock is formed when lava or magma cools?	Three Types of Rocks That Form When Lava Cools \| Sciencing Three Types of Rocks That Form When Lava Cools By Hanna Lee Tidd Jupiterimages/Photos.com/Getty Images Lava rock, also known as igneous rock, is formed when volcanic lava or magma cools and solidifies. It is one of the three main rock types found on Earth, along with metamorphic and sedimentary. Typically, eruption occurs when there is an increase in temperature, a decrease in pressure or a change in composition. There are over 700 types of igneous rocks, all of which have diverse properties; however, they can all be classified into three categories. Extrusive Extrusive, also known as volcanic, rocks are a type of igneous rock that form at the crust's surface as a result of volcanic activity. This type of rock occurs when lava flows on or above the Earth's surface and cools down rapidly. The lava comes from the upper mantle layer, 30 to 90 miles beneath the surface, and cools within a few weeks. Because the magma cools and solidifies quickly, the crystals that form do not have time to grow very large, and therefore most extrusive rocks are finely grained. The most common type of extrusive rock is basalt. Intrusive Intrusive, or plutonic, igneous rocks form underneath the Earth's surface when magma flows into underground chambers or tunnels. The rock is not exposed to the atmosphere above surface, so the magma cools slowly which allows large mineral crystals to form within the rock. It takes thousands of years for Intrusive rocks to form. A mass of this rock type is called an “intrusion.” Granite is the most common type of intrusive igneous rock. Hypabassal Hypabassal, or subvolcanic, rock derives from magma that has solidified at a shallow depth of the volcano, mainly in dykes and sills. This type of rock is formed in between extrusive and intrusive rock, and similarly has a texture in between that of intrusive and extrusive rock. This type of rock is rarer than extrusive and intrusive varieties, and often occurs at continental boundaries and oceanic crusts. Andesite is the most common type of hypabassal rock. Other Types Over 700 different types of igneous rocks have been discovered to date. These vary in terms of appearance, grain size and amount of time that it takes for the lava to cool. A common igneous rock rule is that if lava cools at a faster rate, the rock formed will have finer grains and have a glassy appearance; if rock cools at a slower rate, the grains will be larger and more coarse. Porphyritic rock is a type that has a combination of large and small grains; this occurs when a rock has a mixed cooling history. References	Igneous rock
What is the name of Tintin’s fox terrier dog?	BBC - KS3 Bitesize Science - The rock cycle : Revision, Page 4 The second type of rock we'll look at is igneous rock. Formation The inside of the Earth is very hot - hot enough to melt rocks. Molten (liquid) rock forms when rocks melt. The molten rock is called magma. When the magma cools and solidifies, a type of rock called igneous rock forms. What are they like? Igneous rocks contain randomly arranged interlocking crystals. The size of the crystals depends on how quickly the molten magma solidified. The more slowly the magma cools, the bigger the crystals. You may have done an experiment at school with a substance called salol. If molten salol cools slowly, you get big crystals. If it cools quickly, you get small crystals. Obsidian and basalt If the magma cools quickly, small crystals form in the rock. This can happen if the magma erupts from a volcano. Obsidian and basalt are examples of this type of rock. They are called extrusive igneous rocks because they form from eruptions of magma. Granite and gabbro Granite has large crystals. If the magma cools slowly, large crystals form in the rock. This can happen if the magma cools deep underground. Granite and gabbro are examples of this type of rock. They are intrusive igneous rocks because they form from magma underground. Unlike sedimentary rocks, igneous rocks do not contain any fossils. This is because any fossils in the original rock will have melted when the magma formed. Page	i don't know
What is the name of the second book in ‘The Lord of the Rings’ trilogy?	Lord of the Rings film trilogy \| The One Wiki to Rule Them All \| Fandom powered by Wikia Lord of the Rings film trilogy 6,117pages on Share The Lord of the Rings trilogy The poster for the whole trilogy is a montage that features a whole range of characters and scenes from all three movies. Directed by "The trilogy will not soon, if ever, find its equal." — The Lord of the Rings film trilogy comprises three live action fantasy epic films ; The Lord of the Rings: The Fellowship of the Ring ( 2001 ), The Lord of the Rings: The Two Towers ( 2002 ) and The Lord of the Rings: The Return of the King ( 2003 ). For simplicity, the titles are often abbreviated to 'LotR', with 'FotR', 'TTT' and 'RotK' for each of the respective films. Set in Middle-earth , the three films follow the young Hobbit Frodo Baggins as he and the Fellowship embark on a quest to destroy the One Ring , and thus ensure the destruction of the Dark Lord Sauron , but the Fellowship becomes broken, and Frodo continues the quest together with his loyal companion Sam and the treacherous Gollum . Meanwhile the Wizard Gandalf and Aragorn , heir in exile to the throne of Gondor , unite and rally the Free Peoples of Middle-earth in several battles cumulating in the War of the Ring . The Wizard Saruman is defeated, the Ring is destroyed, and Sauron and his forces are vanquished. The movies were directed by Peter Jackson and released by New Line Cinema . The trilogy is based on the book The Lord of the Rings by J. R. R. Tolkien and follows its general storyline, despite some deviations. Considered to be one of the biggest movie projects ever undertaken with an overall budget of $280 million, the entire project took eight years, with the filming for all three films done simultaneously and entirely in Jackson's native New Zealand . The trilogy was a large financial success, with the films being the 25th, 17th and 5th highest grossing films of alltime respectively, unadjusted for inflation. The films were critically acclaimed, winning 17 Academy Awards in total, as well as wide praise for the cast and innovative practical and digital special effects. Each film in the trilogy also had Special Extended Editions, released a year after the theatrical release on DVD . Contents Edit The Lord of the Rings: The Fellowship of the Ring movie poster (2001) Director Peter Jackson first came into contact with The Lord of the Rings when he saw Ralph Bakshi 's 1978 film , which he found confusing. Afterwards, he read a tie-in edition of the book during a twelve-hour train journey from Wellington to Auckland when he was seventeen. Jackson's reaction was, "I can't wait until somebody makes a movie of this book because I'd like to see it! In 1995, Jackson was finishing The Frighteners and considered The Lord of the Rings as a new project, wondering "why nobody else seemed to be doing anything about it". With the new developments in computer generated imagery following Jurassic Park , Jackson set about planning a fantasy film that would be relatively serious and feel "real". By October, he and his partner Fran Walsh teamed up with Miramax boss Harvey Weinstein to negotiate with Saul Zaentz who had held the rights to the book since the early 1970s, pitching an adaptation of The Hobbit and two films based on The Lord of the Rings. Negotiations then stalled when Universal Studios offered Jackson a remake of King Kong . Weinstein was furious, and further problems arose when it turned out Zaentz did not have distribution rights to The Hobbit; United Artists , which was in the market, did. By April 1996 the rights question was still not resolved. Jackson decided to move ahead with King Kong before filming The Lord of the Rings, prompting Universal to enter a deal with Miramax to receive foreign earnings from The Lord of the Rings whilst Miramax received foreign earnings from King Kong. When Universal cancelled King Kong in 1997, Jackson and Walsh immediately received support from Weinstein and began a six-week process of sorting out the rights. Jackson and Walsh asked Costa Botes to write a synopsis of the book and they began to re-read the book. Two to three months later, they had written their treatment. The first film would have dealt with what would become The Fellowship of the Ring , The Two Towers and the beginning of The Return of the King , ending with the death of Saruman , and Gandalf and Pippin going to Minas Tirith . In this treatment Gwaihir and Gandalf visit Edoras after escaping Saruman, Gollum attacks Frodo when the Fellowship is still united, and Farmer Maggot , Glorfindel , Radagast , Elladan and Elrohir are present. Bilbo attends the Council of Elrond, Sam looks into Galadriel's mirror, Saruman is redeemed before he dies and the Nazgûl just make it into Mount Doom before they fall. They presented their treatment to Harvey and Bob Weinstein , the latter of whom they focused on impressing with their screenwriting as he had not read the book. They agreed upon two films and a total budget of $75 million. During mid-1997, Jackson and Walsh began writing with Stephen Sinclair. Sinclair's partner, Philippa Boyens , was a major fan of the book and joined the writing team after reading their treatment. It took 13–14 months to write the two film scripts, which were 147 and 144 pages respectively. Sinclair left the project due to theatrical obligations. Amongst their revisions, Sam, Merry and Pippin are caught eavesdropping and forced to go along with Frodo. Gandalf's account of his time at Orthanc was pulled out of flashback and Lothlórien was cut with Galadriel attending the Council of Elrond. Denethor , Boromir's father, also attends the Council, and other changes included having Arwen rescue Frodo, and the action sequence involving the cave troll. Arwen was even going to kill the Witch-king . Most significantly, there was an all-new sequence. A Ringwraith kills Saruman and attacks Gandalf at Orthanc. Seeing this from the Seeing Seat, now at Emyn Muil rather than Amon Hen , Frodo puts on the Ring and draws him all the way to the Seat on his Fell beast . Frodo manages to save Sam and stabs the wraith in his heart. Trouble struck when Marty Katz was sent to New Zealand. Spending four months there, he told Miramax that the films were more likely to cost $150 million, and with Miramax unable to finance this, and with $15 million already spent, they decided to merge the two films into one. On June 17 , 1998 , Bob Weinstein presented a treatment of a single two-hour film version of the book. He suggested cutting Bree and the Battle of Helm's Deep, "losing or using" Saruman , merging Rohan and Gondor with Éowyn as Boromir 's sister, shortening Rivendell and Moria as well as having Ents prevent the Uruk-hai kidnapping Merry and Pippin. Upset by the idea of "cutting out half the good stuff" Jackson balked, and Miramax declared that any script or Weta Workshop 's work was theirs. Jackson went around Hollywood for four weeks, showing a thirty-five minute video of their work, before meeting with Mark Ordesky of New Line Cinema . At New Line Cinema, Robert Shaye viewed the video, and then asked why they were making two films when the book was published as three volumes; he wanted to make a film trilogy. Now Jackson, Walsh and Boyens had to write three new scripts. The expansion to three films allowed a lot more creative freedom, and Jackson, Walsh and Boyens had to restructure their script accordingly. Each film is not exactly based on each volume of the book, but rather they represent a three-part adaptation, as Jackson takes a more chronological approach to the story, whilst Tolkien retold chunks of his fictional history. Frodo's quest is the main focus, and Aragorn is the main subplot, and many sequences (such as Tom Bombadil and the Scouring of the Shire ) that do not contribute directly to those two plots were left out. Much effort was put into creating satisfactory conclusions and making sure exposition did not bog down the pacing. Amongst new sequences, there are also expansions on elements Tolkien kept ambiguous, such as the battles and the creatures. Above all, most characters have been altered for extra drama. Aragorn , Théoden and Treebeard have added or modified elements of self-doubt, whilst Galadriel , Elrond and Faramir have been darkened. Boromir and Gollum are (arguably) relatively more sympathetic, whilst some characters such as Legolas , Gimli , Saruman and Denethor have been simplified. Some characters, such as Arwen and Éomer , are given actions from minor characters such as Glorfindel and Erkenbrand , and generally lines of dialogue are somewhat preserved or switched around between locations or characters depending on suitability of the scenes. New scenes were also added to expand on characterization. In the meantime, during shooting, the screenplays would undergo many daily transformations, due to contributions from cast looking to further explore their characters. Most notable amongst these rewrites was the character Arwen , who was originally planned as a warrior princess, but reverted to her book counterpart, who remains physically inactive in the story (though she sends moral and military support). Production design Edit Jackson began storyboarding the trilogy with Christian Rivers in August 1997 and assigned his crew to begin designing Middle-earth at the same time. Jackson hired longtime collaborator Richard Taylor to lead Weta Workshop on five major design elements: armour, weapons, prosthetics/make-up, creatures and miniatures. In November 1997, famed Tolkien illustrators Alan Lee and John Howe joined the project. Most of the imagery in the films is based on their various illustrations. Grant Major was charged with the task of converting Lee and Howe's designs into architecture, creating models of the sets, whilst Dan Hennah worked as art director, scouting locations and organizing the building of sets. Jackson's vision of Middle-earth was described as being " Ray Harryhausen meets David Lean " by Randy Cook. Jackson wanted a gritty realism and historical regard for the fantasy, and attempted to make the world rational and believable. For example, the New Zealand army helped build Hobbiton months before filming began so the plants could really grow. Creatures were designed to be biologically believable, such as the enormous wings of the Fell beast to help it fly. In total, Weta Workshop created 48,000 pieces of armour, 500 bows and 10,000 arrows. They also created many prosthetics, such as 1800 pairs of Hobbit feet for the lead actors, as well as many ears, noses and heads for the cast, and around 19,000 costumes were woven and aged. Every prop was specially designed by the Art Department, taking the different scales into account. Filming Edit Principal photography for all three films was conducted concurrently in New Zealand from October 11 , 1999 through to December 22 , 2000 for 274 days. Pick-up shoots were conducted annually from 2001 to 2004. The trilogy was shot at over 150 different locations, with seven different units shooting, as well as soundstages around Wellington and Queenstown . As well as Jackson directing the whole production, other unit directors included John Mahaffie, Geoff Murphy, Fran Walsh , Barrie Osbourne, Rick Porras and any other assistant director, producer or writer available. Jackson monitored these units with live satellite feeds, and with the added pressure of constant script re-writes and the multiple units interpreting his envisioned result, he only got around four hours of sleep a night. Due to the remoteness of some of New Zealand's untamed landscapes, the crew would also bring survival kits in case helicopters couldn't reach the location to bring them home in time. Cast Edit The first film has around 540 effects shots, the second 799, and the third 1488 (2730 in total). The total increases to 3420 with the extended editions. 260 visual effects artists began work on the trilogy, and the number doubled by The Two Towers. The crew, led by Jim Rygiel and Randy Cook, worked long and hard hours, often overnight, to produce special effects within a short space of time. Jackson's overactive imagination was a driving force. For example, several major shots of Helm's Deep were produced within the last six weeks of post-production of The Two Towers, and the same happened again within the last six weeks on The Return of the King. Post-production Edit The Lord of the Rings: The Two Towers movie poster (2002) Post-production would have the benefit for a full year on each film before their respective December releases, often finishing in October–November, with the crew immediately going to work on the next film. Later on, Jackson would move to London to advise the score and continued editing, whilst having a computer feed for discussions to The Dorchester Hotel, and a "fat pipe" of internet connections from Pinewood Studios to look at the special effects. He had a Polycom video link and 5.1 surround sound to organise meetings, and listen to new music and sound effects generally wherever he was. The extended editions also had a tight schedule at the start of each year to complete special effects and music. Editing Edit To avoid pressure, Jackson hired a different editor for each film. John Gilbert worked on the first film, Mike Horton and Jabez Olssen on the second and longtime Jackson collaborators Jamie Selkirk and Annie Collins on the third. Daily rushes would often last up to four hours, with scenes being done throughout 1999–2002 for the rough (4 1/2 hours) assemblies of the films. In total, six million feet of film (over 1,800 km) was edited down to the 11 hours and 23 minutes (683 minutes) of Extended DVD running time. This was the final area of shaping of the films, when Jackson realised that sometimes the best scripting could be redundant on screen, as he picked apart scenes every day from multiple takes. Editing on the first film was relatively easygoing, with Jackson coming up with the concept of an Extended Edition later on, although after a screening to New Line they had to re-edit the beginning for a prologue. The Two Towers was always acknowledged by the crew as the most difficult film to make, as "it had no beginning or end", and had the additional problem of inter-cutting storylines appropriately. Jackson even continued editing the film when that part of the schedule officially ended, resulting in some scenes, including the reforging of Andúril , Gollum's back-story, and Saruman's demise, being moved to The Return of the King. Later, Saruman's demise was controversially cut from the cinema edition (but included in the extended edition) when Jackson felt it was not starting the third film effectively enough. As with all parts of the third film's post-production, editing was very chaotic. The first time Jackson actually saw the completed film was at the Wellington premiere. Deleted scenes Many filmed scenes remain unused, not included even in the Extended Editions. The main reason they weren't included was because they tended to change the plot from Tolkien's original storyline, therefore being unfaithful to the books. Additional footage from the Battle of the Last Alliance in the FotR Prologue. Famous footage of Arwen at Helm's Deep, cut by Jackson during a revision to the film's plot. Foreshadowing this sequence were scenes where Arwen and Elrond visit Galadriel at Lothlórien (seen in The Two Towers teaser trailer). The scene was edited down to a telepathic communication between Elrond and Galadriel. A line of dialogue during the death of Saruman, in which he reveals that Wormtongue poisoned Théodred, giving further context as to why Wormtongue kills Saruman and Legolas in turn kills Wormtongue. Further epilogue footage, including that of Legolas and Gimli, as well as Éowyn and Faramir's wedding and Aragorn's death and funeral. Faramir having a vision of Frodo becoming like Gollum. Dialogue from the Council of Elrond, such as Gandalf explaining how Sauron forged the One Ring. An unknown scene displayed in The Two Towers preview of Éomer lowering a spear while riding his horse. Éowyn defending the refugees in the Glittering Caves from Uruk-hai intruders. An obscure shot from the trailers of two Elven girls playing about in Rivendell. A conversation between Elrond and Arwen on a bridge in Rivendell, after Arwen decides to wait for Aragorn. Elrond leaves saying "I cannot protect you anymore." Sauron fighting Aragorn at the Black Gate. A computer-generated Troll was placed over Sauron due to Jackson feeling the scene was inappropriate. Sauron is also seen in a beautiful form as Annatar, giver of gifts. Also at the Black Gate sequence, Pippin was seen in the trailer holding a wounded Merry, a scene which takes place after the Battle of the Pelennor Fields upon Pippin discovering Merry under the Oliphaunt . More Arwen footage, including a flashback scene of her first meeting with a beardless Aragorn (seen in the Two Towers teaser). Aragorn having his armour fitted during the preparations for the Battle of the Black Gate . This was the final scene filmed during principal photography. An attack by Moria Orcs on Lothlórien. Jackson replaced this with a more suspenseful entrance for the Fellowship. Peter Jackson has stated that he would like to include some of these unused scenes in a future 'Ultimate Edition' home video release (probably High Definition) of the film trilogy. They will not be re-inserted into the movies but available for viewing separately. This edition will also include outtakes. Music Edit Howard Shore composed the trilogy's music. He was hired in August 2000 and visited the set, and watched the assembly cuts of Films 1 and 3. Although the first film had some of its score done in Wellington, the trilogy's score was mostly recorded in Watford Town Hall and mixed at Abbey Road Studios . Jackson planned to advise the score for six weeks each year in London, although for The Two Towers he stayed 12. As a Beatles fan, Jackson had a photo tribute done there on the zebra crossing. The soundtrack is primarily played by the London Philharmonic Orchestra , and many artists such as Ben Del Maestro , Enya , Renee Fleming , Sir James Galway and Annie Lennox contributed. Even actors Billy Boyd , Viggo Mortensen , Liv Tyler , Miranda Otto (extended cuts only for the latter two) and Peter Jackson (for a single gong sound in the second film) contributed to the score. Fran Walsh and Philippa Boyens also wrote the lyrics to various music and songs, which David Salo translated into Tolkien's languages. The third film's end song, Into the West , was a tribute to a young filmmaker Jackson and Walsh befriended named Cameron Duncan , who died of cancer in 2003. Shore composed a main theme for the Fellowship rather than many different character themes, and its strength and weaknesses in volume are depicted at different points in the trilogy. On top of that, individual themes were composed to represent different cultures. Infamously, the amount of music Shore had to write every day for the third film increased dramatically to around seven minutes. Sound Edit Sound technicians spent the early part of the year trying to find the right sounds: animal sounds like tigers and walruses were bought. Sometimes human voices were used, such as Fran Walsh as the Nazgûl scream and David Farmer as some Warg howls. Some sounds were unexpected: a donkey screech is the Fell Beast, and the mûmakil roar comes from the beginning and end of a lion. In addition, there was ADR for most of the dialogue. The technicians worked with New Zealand locals to get many of the sounds. They re-recorded sounds in abandoned tunnels for an echo-like effect in the Moria sequence. 10,000 New Zealand cricket fans provided the sound of the Uruk-hai army in The Two Towers, with Jackson acting as conductor during a single cricket break. They spent time recording sounds in a graveyard at night, and also had construction workers drop stone blocks for the sounds of boulders firing and landing in The Return of the King. Mixing generally took place between August and November at "The Film Mix", before Jackson commissioned building a new studio in 2003. Annoyingly, the building wasn't fully completed as they started mixing for The Return of the King. Releases Edit The online promotional trailer for the trilogy was first released on April 27 , 2000 and shattered records for download hits, registering 1.7 million hits in the first 24 hours of its release. The trailer used a selection from the soundtrack for Braveheart , and The Shawshank Redemption among other cuts. In 2001, 24 minutes of footage from the trilogy, primarily the Moria sequence, was shown at the Cannes Film Festival , and very well received. The showing also included an area designed to look like Middle-earth . The Lord of the Rings: The Fellowship of the Ring was released December 19 , 2001 . It grossed $47 million in its U.S. opening weekend and made around $871 million worldwide. A preview of The Lord of the Rings: The Two Towers was attached at the end of the cinema release for the film. A promotional trailer was later released. The trailer contained some music re-scored from the film Requiem for a Dream . The Lord of the Rings: The Two Towers was released December 18 , 2002 . It grossed $62 million in its first U.S. weekend and out-grossed its predecessor, grossing $926 million worldwide. The promotional trailer for The Return of the King was debuted exclusively before the New Line Cinema film Secondhand Lions on September 23 , 2003 . Released December 17 2003 , its first U.S. weekend gross was $72 million, and became the second film (after Titanic ) to gross over $1 billion worldwide. Each film was released on standard two disc edition DVDs containing previews of the next film. The success of the theatrical cuts brought about four disc Extended Editions, with new editing, added special effects and music. With the films and special features spread over two discs apiece, they were issued as follows: The Lord of the Rings: The Fellowship of the Ring, November 12 , 2002 . Containing 30 minutes more footage, in a green sleeve. It contains an Alan Lee painting of the Fellowship entering Moria, and the Moria Gate on the back of the sleeve. An Argonath styled bookend was issued within a Collector's Edition. The Lord of the Rings: The Two Towers, November 18 , 2003 . It contains 42 minutes more footage. A Rohirrim sun symbol decorates the back of its red sleeve and a Lee painting of Gandalf the White's entrance. The Collector's Edition contained a Sméagol statue, with a crueler looking statue of his Gollum persona available for order during a limited time. The Lord of the Rings: The Return of the King December 14 , 2004 . It has 50 minutes more footage, and a blue sleeve with the White Tree of Gondor. The Lee painting is of the Grey Havens. The Collector's Edition included a model of Minas Tirith, with Minas Morgul available for order during a limited time. A Trilogy Supertrailer appears in many places such as the Return of the King Special Features and Movieweb. The Special Extended DVD Editions also had in-sleeve maps of the Fellowship's travels. They have also played at movie theaters , most notably for a December 16 2003 marathon screening culminating in a midnight screening of the third film. On August 29 2006 both versions were put together in a Limited Edition " branching " version plus a new feature-length documentary by Costa Botes . The complete trilogy was released in a 6 Disc set on November 14, 2006. Public and critical response Edit The Lord of the Rings film trilogy is verified to be the currently highest grossing motion picture trilogy worldwide of all time, besting such other film franchises as the two Star Wars Trilogies and The Godfather . The film trilogy also tied a record for the total number of Academy Awards won. The majority of critics have also praised the trilogy, with Kenneth Turan of the Los Angeles Times writing that "the trilogy will not soon, if ever, find its equal". In particular, performances from Ian McKellen , Sean Astin , Sean Bean , Andy Serkis , Bernard Hill , Viggo Mortensen and Miranda Otto stood out for many in audience polls, although the entire cast was well praised and won awards of Best Acting Ensemble. The special effects for the battles and Gollum were also praised. Overall, the films received a positive 93% critics rating on rottentomatoes.com , (91% for TFotR, 96% for TTT, 95% for TRotK) a consensus amongst film critics. The trilogy appears in many "Top 10" film lists, such as the Dallas-Fort Worth Film Critics Association's Top 10 Films , Time Magazine's All-Time 100 Movies , James Berardinelli 's Top 100, and The Screen Directory's "Top Ten Films of All Time" (considering the trilogy as "one epic film split into three parts"). In 2007, USA Today named the trilogy as the most important films of the past 25 years. In 2006, all the three films were in the Top 10 of IMDb 's famous Top 250 list. As of September 3, 2007, RotK stood in the 10th place, FotR in the 17th place and TTT in the 25th place, a consensus amongst voters. The trilogy is constantly increasing and decreasing its rating due to the many voters, and is the only movie trilogy in the site that has all its three movies in the Top 25 of the list (this feat has since been matched only by Christopher Nolan's Batman Trilogy), a firm display of the Lord of the Rings film trilogy's popularity and reputation as the best trilogy of all time. FotR is the third most voted movie on IMDb (only after The Shawshank Redemption and The Dark Knight ), with an average of 814,515 votes as of December 16, 2013. RotK and TTT, respectively, follow closely after. Overall, The Lord of the Rings trilogy is well praised and considered by many the best trilogy of all time and the best movie (considering the trilogy as a whole unique epic) of the Twenty-First Century. Comparison of worldwide box office figures The following movies were all released with but a few years of each other: The Lord of the Rings film trilogy: $2.993 billion Locations in New Zealand used as backdrops: 100 Tailors, cobblers, designers, et al. in the wardrobe department: 50 Actors trained to speak fictional dialects and languages: 30 Total years of development for all three films: 7 Combined running time of the series (extended DVD editions): 680 minutes (11 hours and 20 minutes) The Lord of the Rings movies were released on DVD a few months before the Boxing day release of the next film. There were special extended edition DVDs which were much longer with four commentaries, and many documentaries. The Lord of the Rings trilogy was quite successful in the United States, making the top 10 most successful movies of all time (in the box office.) Many actors in the movies including Elijah Wood and Sean Astin were from this country. Awards won Edit The Lord of the Rings: The Return of the King movie poster (2003) The three films together were nominated for a total of 30 Academy Awards, of which they won 17, a record for any movie trilogy. On its own, The Return of the King tied the previous record of eleven Academy Awards and won in every category it was nominated in, an extremely rare feat. Return of the King also tied a record for the total number of Academy Awards won, 11, with Ben-Hur and Titanic . Although the three films failed to win any acting awards from the Academy, Ian McKellen earned the series its sole Academy acting nomination for the 2001 release of The Fellowship of the Ring. The Fellowship of the Ring — Nominations: 13, Wins: 4 in 2002 . The Two Towers — Nominations: 6, Wins: 2 The Return of the King — Nominations: 11, Wins: 11 in 2004 , four of which were Golden Globes awards . Award Writing (Previously Produced or Published) Nomination Win As well as Academy Awards, each film of the trilogy scored MTV Movie Awards ' Best Film, and the Hugo Awards for Best Dramatic Presentation categories. The first and third films also won the Best Film BAFTAs . It must also be noted that the soundtrack for the Two Towers did not receive a nomination because of the rule prohibiting a soundtrack including music from a previous soundtrack to be eligible for nomination. This rule was overturned in time for The Return of the King to receive the Oscar for Best Music Score. Reactions to changes in the movies from the book Edit While the films were generally well received, some readers of the book decried certain changes made in the adaptation, including changes in tone and themes; various changes made to characters such as Aragorn , Arwen , Denethor , Faramir and Gimli, as well as to the main protagonist Frodo himself; changes made to events (such as the Elves participating at the Battle of Helm's Deep , and Faramir taking the hobbits to Osgiliath ); and the deletion of the penultimate chapter of Tolkien's work, " The Scouring of the Shire ", a part he felt thematically necessary. For example, Wayne G. Hammond , a noted Tolkien scholar , has said of the first two films: ""I find both of the Jackson films to be travesties as adaptations... faithful only on a basic level of plot... Cut and compress as necessary, yes, but don't change or add new material without very good reason... In the moments in which the films succeed, they do so by staying close to what Tolkien so carefully wrote; where they fail, it tends to be where they diverge from him, most seriously in the area of characterization. Most of the characters in the films are mere shadows of those in the book, weak and diminished (notably Frodo) or insulting caricatures (Pippin, Merry, and Gimli)... [T]he filmmakers sacrifice the richness of Tolkien's story and characters, not to mention common sense, for violence, cheap humor, and cheaper thrills... [S]o many of its reviewers have praised it as faithful to the book, or even superior to it, all of which adds insult to injury and is demonstrably wrong...'" — Wayne Hammond Some fans of the book who disagreed with such changes have released their fan edits of the films, which removed many of the changes to bring them closer to the original. The theatrical version of The Lord of the Rings: The Two Towers has received this treatment, and a combined 8-hour version of the trilogy exists, called " The Lord of the Rings: The Purist Edition ". Supporters of the film trilogy assert that it is a worthy interpretation of the book, most changes stemming from the filmmakers putting the book into a modern context; connected to this is their perceived need for developing characters further. It is important to note that many who worked on the trilogy are fans of the book, including Christopher Lee , who alone among the cast had actually met Tolkien in person, and Boyens once noted that no matter what, it is simply their interpretation of the book. Jackson once said that to simply summarise the story on screen would be a mess, and in his own words, "Sure, it's not really The Lord of the Rings... but it could still be a pretty damn cool movie." Other fans also claim that despite any changes, they do not matter within the context of stand-alone films, and nonetheless they serve as a tribute to the book and yet appeal to those who have not read it, and even lead some to. The Encyclopedia of Arda's Movie Guide states: ""It seems appropriate to end with a word of acknowledgement of Peter Jackson and everyone else associated with the movie version of The Lord of the Rings. However, of course, they haven't come close to the scope and intricacy of the original story that would be quite impossible; what they have produced is still nothing less than a masterpiece. The film-makers, and of course Peter Jackson in particular, have to be admired merely for having the courage to take on such an immense challenge, let alone to produce such an exceptional result. The complete story of The Lord of the Rings is probably unfilmable, but Peter Jackson has come closer than anyone could have imagined possible."" — Encyclopedia of Arda's Movie Guide Three films or one? Edit Because the films were shot together and then edited into three separate films released theatrically over a span of three successive years, a significant number of fans and critics have come to regard the trilogy as a single film. They argue that as with the book, which was meant to be a single novel but was first released in three parts for marketing and budget reasons (leading to the common but erroneous label of "trilogy"); Jackson's trilogy is one long 10-hour film. When Time magazine placed the trilogy in its top 100 list it was done under a single heading. Legacy Edit The release of the films saw a surge of interest in The Lord of the Rings and Tolkien's other works, vastly increasing his impact on popular culture. For example, in 2003, the BBC conducted a poll to find the U.K.'s favourite book, and The Lord of the Rings won, at the height of anticipation for the third film. Despite higher sales, it was rumoured that the Tolkien family became split on the trilogy, with Christopher Tolkien and Simon Tolkien feuding over whether or not it was a good idea to adapt. Christopher Tolkien has since denied these claims saying, "My own position is that The Lord of the Rings is peculiarly unsuitable to transformation into visual dramatic form. The suggestions that have been made that I 'disapprove' of the films, vent to the extent of thinking ill of those with whom I may differ, are wholly without foundation." He added that he had never "expressed any such feeling". Capitalizing on the trilogy's success, a musical adaptation of the book was launched in Toronto in 2006, but it closed after mostly poor reviews. The success of the films has also spawned the production of video games and many other kinds of merchandise. Jackson has become his own mogul like Steven Spielberg , and has befriended some industry heavyweights like Bryan Singer , Frank Darabont and James Cameron . He founded his own film production company Wingnut Films , and Wingnut Interactive , a video game company. He was also finally given a chance to remake King Kong in 2005; although it was not as successful, it nevertheless still received critical acclaim. On a personal level, he found it hard to leave the trilogy and still keeps the Bag End set (as a guesthouse) and Rivendell miniatures. He has also become a "favourite son" of New Zealand. Howard Shore also found leaving difficult, and in 2004 toured with The Lord of the Rings Symphony, consisting of two hours of the score. The trilogy has also renewed interest in the fantasy film genre. Around the same time, fellow New Zealand director Andrew Adamson began The Chronicles of Narnia film series , credited by many to be stylistically influenced by The Lord of the Rings, being also shot in New Zealand and having art direction from Weta Workshop, as well as its own extended edition. MGM wishes to make an adaptation of The Hobbit in co-operation with New Line Cinema , although Jackson is not signed on due to a dispute with the studio. Motion capture was used for characters in King Kong, I, Robot and Pirates of the Caribbean . Kingdom of Heaven is one of many epics to use the MASSIVE technology. In non-filmic terms, tourism for New Zealand is up, possibly due to its exposure in the trilogy, with the tourism industry in the country waking up to an audience's familiarity. In summary, The Lord of the Rings film trilogy is a myth on its own, and will perhaps be a major influence upon other films in the future.	The Two Towers
Which popular holiday destination is the largest lake in Italy?	J.R.R. Tolkien Reads From The Two Towers, the Second Book of The Lord of the Rings Trilogy J.R.R. Tolkien Reads From The Two Towers, the Second Book of The Lord of the Rings Trilogy in Literature \| July 30th, 2013 2 Comments 1.2k Subscribe Google Whatsapp Pinterest Digg Linkedin Stumbleupon Vk Print Delicious Buffer Pocket Xing Tumblr Mail Yummly Telegram Flipboard Tolkien fans, tell me: were you disappointed with the first installment of Peter Jackson’s Hobbit film trilogy? Did you find it as lumbering and clumsy as a trio of cockney trolls, or as ugly as a bug-eyed and be-wattled goblin king? Pining away for the days when The Lord of the Rings films were the go-to pop-culture fantasy references—before, say, Twilight harshed that buzz? Well, I could recommend to you some of the fan-made films that stepped in to fill the LOTR void in recent years. There’s the not-very-good Born of Hope and the very much better The Hunt for Gollum . I’ve seen them both because, well…. I just needed to is all. But there is another way. I know it’s perverse, possibly subversive, and maybe, just maybe, even dangerous. Turn off the computer and open the books up again—your yellowed, crumbly paperbacks, your Barnes & Noble economy re-issue editions (I won’t judge), hell, turn on the Kindle. Savor the languages Tolkien invented and the English that he re-invented, immerse yourself in a literary world at once utterly fantastic and perfectly morally serious. Do that, and your craving for spectacle may vanish, maybe replaced by a craving for more Tolkien—like his retelling of events in the Norse Edda saga in his Legend of Sigurd and Gudrun . And while you’re reading up on that one, listen to the audio above of Tolkien himself reading from Chapter IV of The Two Towers. The richness of his English voice makes me wish we had recordings of him reading all three novels, but we must work with what we’ve got, and it is good. Enjoy. Related Content:	i don't know
Who were the intended targets of the ‘Cat and Mouse’ Act of 1913?	Cat and Mouse Act - The Full Wiki The Full Wiki More info on Cat and Mouse Act Wikis Cat and Mouse Act: Wikis Advertisements Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles . Related top topics List of Measures of the National Assembly for Wales Did you know ... From Wikipedia, the free encyclopedia WSPU poster 1914 - Museum of London The "Cat and Mouse Act" (officially the Prisoners (Temporary Discharge for Ill Health) Act 1913) was an Act of Parliament passed in Britain under Herbert Henry Asquith 's Liberal government in 1913. It made legal the hunger strikes that Suffragettes were undertaking at the time and stated that they would be released from prison as soon as they became ill. Contents 5 External links Government use After the act was introduced suffragettes were no longer force-fed during their time in prison, which had previously been common practice to combat the hunger strikes. Rather, suffragettes on hunger strike were kept in prison until they became extremely weak, at which point they would be released to recover. This allowed the government to claim that any harm (or even death) which resulted from the starvation was entirely the fault of the suffragette. After this, any wrongdoing on the part of the suffragette would see them put straight back in prison. Background To attain the goal of universal suffrage , the Women's Social and Political Union (WSPU, known colloquially as the suffragettes ) engaged in acts of protest such as the breaking of windows, arson, and the "technical assault" (without causing harm) of police officers. Many WSPU members were jailed for these offences. In response to what the organisation viewed as brutal punishment and harsh treatment by the government at the time, imprisoned WSPU members embarked on a sustained campaign of hunger strikes . Some women were freed on taking this action, but this rendered the policy of imprisonment of suffragettes futile. So, the government turned to a policy of force feeding hunger-strikers by nasogastric tube . Repeated uses of this process often caused sickness, which served the WSPU's aims of demonstrating the government's treatment of the prisoners. Faced with growing public disquiet over the tactic of force feeding, and the determination of the jailed suffragettes to continue their strikes, the government rushed the Act through Parliament. The effect of the Act was to permit the release of prisoners who were suffering illness for them to recuperate; however, the police were free to re-imprison offenders again once they had recovered. The intention of the Act was to counter the tactic of hunger strikes undertaken by jailed suffragettes and the damaging consequences for the government's support among (male) voters by the force feeding of women prisoners. If anything, the Act lost the Liberal government support. Unintended consequences of the act The ineffectiveness of the act was very soon evident as the authorities experienced much more difficulty than anticipated in re-arresting the released hunger-strikers, many of whom eluded the police with the help of a network of suffragette sympathisers. The inability of the government to lay its hands on high-profile suffragettes transformed what had been intended as a discreet device to control suffragette hunger-strikers into a public scandal. This act was aimed at suppressing the power of the organisation by demoralising the activists, but turned out to be counter-productive as it undermined the moral authority of the government. The act was viewed as violating basic human rights, not only of the suffragettes but of other prisoners. The Act's nickname of Cat and Mouse Act, referring to the way the government seemed to play with prisoners as a cat may with a captured mouse, underlined how the cruelty of repeated releases and re-imprisonments turned the suffragettes from targets of scorn to objects of sympathy. The Asquith government's implementation of the act caused the militant WSPU and the suffragettes to perceive Asquith as the enemy — an enemy to be vanquished in what the organisation saw as an all-out war. A related effect of this law was to increase support for the Labour Party , many of whose early founders supported votes for women. For example, philosopher Bertrand Russell left the Liberal Party, and wrote pamphlets denouncing the act and the Liberals for making in his view an illiberal and anti-constitutional law. So the controversy helped to accelerate the decline in the Liberals electoral position, as segments of the middle class began to defect to Labour. The ‘Cat and Mouse Act’ is the usual name given to the Prisoners (Temporary Discharge for Health) Act. The ‘Cat and Mouse Act’ came into being in 1913. It was introduced to weaken the Suffragettes led by Emmeline and Christabel Pankhurst. The Liberal government of Asquith had been highly embarrassed by the hunger strike tactic of the Suffragettes. Many of the more famous Suffragettes were from middle class backgrounds and were educated. While society as a whole expected certain behaviour from them (which was not forthcoming), society also held certain values on how the government should act with regards to when these women were in prison, and therefore under the jurisdiction of the government. When some Suffragettes were arrested they would go on hunger strike. This was a deliberate policy to bring attention to their cause and also to embarrass the government. To counter this, the government resorted to force-feeding those women on hunger-strike – an act usually reserved for those held in what were then called lunatic asylums. This simple act greatly embarrassed the government. While it avoided the political disaster of a Suffragette dying in prison – thus creating a martyr for the movement – it simply did not reflect well on the government. To get around this, the ‘Cat and Mouse Act’ was introduced. The logic behind this was simple: a Suffragette would be arrested; she would go on hunger strike; the authorities would wait until she was too weak (through lack of food) to do any harm if in public. She would then be released ‘on licence’. Once out of prison, it was assumed that the former prisoner would start to eat once again and re-gain her strength over a period of time. If she committed an offence while out on licence, she would be immediately re-arrested and returned to prison. Here, it was assumed that she would then go back on hunger strike. The authorities would then wait until she was too weak to cause trouble and then she would be re-released ‘on licence’. The nickname of the act came about because of a cat’s habit of playing with its prey (a mouse) before finishing it off. Research does indicate that the act did not do a great deal to deter the activities of the Suffragettes. Their violent actions only ceased with the outbreak of war and their support of the war effort. However, the start of the war in August 1914, and the ending of all Suffragette activities for the duration of the war, means that the potentially full impact of the 'Cat and Mouse Act' will never be known. See also	Suffragette
Glenn Frey died in January. Of what pop band was he a member?	Women's Social & Political Union (Suffragettes) Women's Social & Political Union (Suffragettes) Women's Social & Political Union (Suffragettes) Sections Primary Sources Emmeline Pankhurst was a member of the Manchester Society for Women's Suffrage but become frustrated at the NUWSS lack of success. With the help of her three daughters, Christabel Pankhurst , Sylvia Pankhurst and Adela Pankhurst , on 10th October 1903, she formed the Women's Social and Political Union (WSPU). The main objective was to gain, not universal suffrage, the vote for all women and men over a certain age, but votes for women, “on the same basis as men.” This meant winning the vote not for all women but for only the small stratum of women who could meet the property qualification. As one critic pointed out, it was "not votes for women", but “votes for ladies.” As an early member of the WSPU, Dora Montefiore , pointed out: "The work of the Women’s Social and Political Union was begun by Mrs. Pankhurst in Manchester, and by a group of women in London who had revolted against the inertia and conventionalism which seemed to have fastened upon... the NUWSS". Keir Hardie gave his support to the WSPU but this brought him into conflict with other members of the Labour Party . As they pointed out, the WSPU wanted votes for women on the same terms as men, and specifically not votes for all women. They considered this unfair as in 1903 only a third of men had the vote in parliamentary elections. Hardie's friend, John Bruce Glasier , recorded in his diary after a meeting with Emmeline Pankhurst and Christabel Pankhurst , that they were guilty of "miserable individualist sexism" and that he was strongly against supporting the organisation. WSPU & Labour Party On the 16th December 1904 The Clarion published a letter from Ada Nield Chew , a leading figure in the Independent Labour Party , attacking WSPU policy: "The entire class of wealthy women would be enfranchised, that the great body of working women, married or single, would be voteless still, and that to give wealthy women a vote would mean that they, voting naturally in their own interests, would help to swamp the vote of the enlightened working man, who is trying to get Labour men into Parliament." The following month Christabel Pankhurst replied to the points that Ada Nield Chew made: "Some of us are not at all so confident as is Mrs Chew of the average middle class man's anxiety to confer votes upon his female relatives." A week later Ada Nield Chew retorted that she still rejected the policies in favour of "the abolition of all existing anomalies... which would enable a man or woman to vote simply because they are man or woman, not because they are more fortunate financially than their fellow men and women". As the authors of One Hand Tied Behind Us (1978) pointed out: "The fiery exchange ran on through the spring and into March. The two women both relished confrontation, and neither was prepared to concede an inch. They had no sympathy for the other's views, and shared no common experiences that might help to bridge the chasm." The WSPU was often accused of being an organisation that existed to serve the middle and upper classes. As Annie Kenney was one of the organizations few working class members, when the WSPU decided to open a branch in the East End of London, she was asked to leave the mill and become a full-time worker for the organisation. Annie joined Sylvia Pankhurst in London and they gradually began to persuade working-class women to join the WSPU. Suffragettes By 1905 the media had lost interest in the struggle for women's rights. Newspapers rarely reported meetings and usually refused to publish articles and letters written by supporters of women's suffrage. In 1905 the WSPU decided to use different methods to obtain the publicity they thought would be needed in order to obtain the vote. On 13th October 1905, Christabel Pankhurst and Annie Kenney attended a meeting in London to hear Sir Edward Grey , a minister in the British government. When Grey was talking, the two women constantly shouted out, "Will the Liberal Government give votes to women?" When the women refused to stop shouting the police were called to evict them from the meeting. Pankhurst and Kenney refused to leave and during the struggle a policeman claimed the two women kicked and spat at him. Pankhurst and Kenney were arrested and charged with assault. Christabel Pankhurst and Annie Kenney were found guilty of assault and fined five shillings each. When the women refused to pay the fine they were sent to prison. The case shocked the nation. For the first time in Britain women had used violence in an attempt to win the vote. In her autobiography, Memories of a Militant (1924) she described what it was like to be in prison with Christabel: "Being my first visit to jail, the newness of the life numbed me. I do remember the plank bed, the skilly, the prison clothes. I also remember going to church and sitting next to Christabel, who looked very coy and pretty in her prison cap ... I scarcely ate anything all the time I was in prison, and Christabel told me later that she was glad when she saw the back of me, it worried her to see me looking pale and vacant. As a result of this action, The Daily Mail coined the term "suffragette" to distinguish the militants from the constitutional suffragists and according to Lisa Tickner "it came into general currency in the months following its first appearance in print on 10th January 1906. Tickner goes on to argue: "The WSPU embraced it, despite the disparaging diminutive Their motto was Deeds not Words, and they were dismissive of the missionary methods of the established societies and of the constitutional movement generally." Growth of WSPU The WSPU established their headquarters at Clement's Inn and Flora Drummond , Annie Kenney , Mary Gawthorpe , Nellie Martel , Helen Fraser , Adela Pankhurst and Minnie Baldock were appointed as full-time organizers. Christabel Pankhurst pointed out: "Clement's Inn, our headquarters, was a hive seething with activity... General Flora Drummond's office was full of movement. As department was added to department, Clement's Inn seemed always to have one more room to offer. The case shocked the nation. For the first time in Britain women had used violence in an attempt to win the vote. Members of the WSPU now became known as suffragettes. Members of the WSPU included Emmeline Pethick-Lawrence , Marion Wallace-Dunlop , Elizabeth Robins , May Billinghurst , Mary Allen , Winifred Batho , Mary Leigh , Mary Richardson , Elsie Duval , Gladice Keevil , Louisa Garrett Anderson , Ethel Smyth , Teresa Billington-Greig , Helen Crawfurd , Emily Davison , Jane Brailsford , Vera Wentworth , Elsie Howey , Charlotte Despard , Mary Clarke , Mary Gawthorpe , Margaret Haig Thomas , Cicely Hamilton , Eveline Haverfield , Edith How-Martyn , Annie Kenney , Constance Lytton , Kitty Marion , Nellie Martel , Victoria Lidiard , Dora Marsden , Winnie Mason , Hannah Mitchell , Margaret Nevinson , Evelyn Sharp , Ethel Smyth , Sybil Thorndike , Helen Watts , Al ice Wheeldon , Hettie Wheeldon and Octavia Wilberforce . On 29th January 1906, Minnie Baldock , a member of the Independent Labour Party and a trade union activist, was asked to establish a Canning Town branch of the WSPU. It was an attempt to recruit working-class women to the cause. Over the next few months Baldock arranged for Emmeline Pethick-Lawrence , Annie Kenney , Flora Drummond , Dora Montefiore , Selina Cooper , Teresa Billington-Greig and Marie Naylor to address the members of the group. Militant WSPU Emmeline Pankhurst now organised a huge rally in Caxton Hall , and a deputation went to the House of Commons to demand the vote: She later wrote about this in her autobiography, My Own Story (1914): "Those women had followed me to the House of Commons. They had defied the police. They were awake at last thev were prepared to do something that women had never done before - fight for themselves. Women had always fought for men, and for their children. Now they were ready to light for their own human rights. Our militant movement was established.'' On 9th March, 1906, Flora Drummond and Annie Kenney , led a demonstration to Downing Street , repeatedly knocking on the door of the Prime Minister, Henry Campbell-Bannerman . Drummond and Kenney were arrested but Campbell-Bannerman refused to press charges and they were released. For several years Anne Cobden Sanderson was a member of the National Union of Women's Suffrage Societies . However, frustrated by its lack of success, she joined the Women Social & Political Union. She was the first prominent constitutional suffragist to defect to the militants. In October 1906 Anne, along with members of the WSPU, Mary Gawthorpe , Charlotte Despard and Emmeline Pankhurst , was arrested in a large demonstration outside the House of Commons . Her friend, George Bernard Shaw wrote in The Times , that "one of nicest women in England suffering from the coarsest indignity" of being in Holloway Prison . In court Anne Cobden Sanderson said: "We have talked so much for the Cause now let us suffer for it... I am a law breaker because I want to be a law maker." She was sentenced to two months' imprisonment. Millicent Fawcett wrote to The Times on 27th October 1906 to complain about the press reports of her behaviour in court: "I have known Mrs Cobden Sanderson for 30 years. I was not in the police-court on Wednesday when she was before the magistrate, but I find it absolutely impossible to believe that she bit, or scratched, or screamed, or behaved otherwise than like the refined lady she is." After Sanderson's release the NUWSS organized a banquet at the Savoy Hotel on 11th December. Flora Drummond and Annie Kenney being arrested on 9th March, 1906 On 13th February 1907 Lilias Ashworth Hallett joined the march from the Women's Parliament in Caxton Hall to the House of Commons . The following day The Times published her letter which gave an account of her first WSPU demonstration: "My astonishment was great when I found we were suddenly encompassed by police on foot and horse-back, and our courage rose in proportion to the indignation we felt. Police blocked the footway. They laughed and jeered... I was twice arrested." Hallett admitted that she was released when she told the policeman who held her that she would report them to her friends in Parliament. She added: "They were not sure who I might be. If I had seemed more like a Lancashire mill-hand, I should doubtless be in Holloway this morning." Christabel Pankhurst obtained her degree in 1907 but her gender prevented her from developing a career as a barrister. Christabel decided to leave Manchester and join the suffragette campaign in London where she lived in the home of Frederick Pethick-Lawrence and Emmeline Pethick-Lawrence . Christabel was appointed as the WSPU's chief organizer on a salary of £2 10s. per week. Christabel disagreed with the way the campaign was being run. The initial strategy of the WSPU had been to recruit the support of working class women. Christabel advocated a campaign that would appeal to the more prosperous members of society. Whereas Sylvia Pankhurst and Charlotte Despard argued for the vote for all adults, Christabel favoured limited suffrage, a system that would only give the vote to women with money and property. Christabel pointed out that the WSPU relied heavily on the money supplied by wealthy women. W. K. Haselden, The Daily Mirror (2nd July, 1909) Emmeline Pankhurst supported her daughter in this stance but it was opposed by Sylvia Pankhurst and Adela Pankhurst . In September 1907 both Christabel and Emmeline resigned their membership of the Independent Labour Party , who had been arguing that votes for women on the same terms as men would only enfranchise middle-class women who would probably vote for the Conservative Party . In 1907 some leading members of the Women's Social and Political Union began to question the leadership of Emmeline Pankhurst and Christabel Pankhurst . These women objected to the way that the Pankhursts were making decisions without consulting members. Teresa Billington-Greig pointed out the absurdity of women fighting for votes in an organisation that refused them a voice in their own campaign. They also felt that a small group of wealthy women like Emmeline Pethick-Lawrence , Clare Mordan and Mary Blathwayt were having too much influence over the organisation. In the autumn of 1907, Teresa Billington-Greig , Elizabeth How-Martyn , Dora Marsden , Helena Normanton , Anne Cobden Sanderson , Sime Seruya , Margaret Nevinson and Charlotte Despard and seventy other members of the WSPU left to form the Women's Freedom League (WFL). Hunger Strikes During the summer of 1908 the WSPU introduced the tactic of breaking the windows of government buildings. On 30th June suffragettes marched into Downing Street and began throwing small stones through the windows of the Prime Minister's house. As a result of this demonstration, twenty-seven women were arrested and sent to Holloway Prison . On the 13th October, 1908 the WSPU held a large demonstration in London and then tried to enter the House of Commons . There were violent clashes with the police and 24 women were arrested, including Emmeline Pankhurst , who was sentenced to three months in prison. On 25th June 1909 Marion Wallace-Dunlop was charged "with wilfully damaging the stone work of St. Stephen's Hall, House of Commons, by stamping it with an indelible rubber stamp, doing damage to the value of 10s." According to a report in The Times Wallace-Dunlop printed a notice that read: "Women's Deputation. June 29. Bill of Rights. It is the right of the subjects to petition the King, and all commitments and prosecutions for such petitionings are illegal." Wallace-Dunlop was found guilty of wilful damage and when she refused to pay a fine she was sent to prison for a month. On 5th July, 1909 she petitioned the governor of Holloway Prison : “I claim the right recognized by all civilized nations that a person imprisoned for a political offence should have first-division treatment; and as a matter of principle, not only for my own sake but for the sake of others who may come after me, I am now refusing all food until this matter is settled to my satisfaction.” In her book, Unshackled (1959) Christabel Pankhurst claimed: "Miss Wallace Dunlop, taking counsel with no one and acting entirely on her own initiative, sent to the Home Secretary, Mr. Gladstone, as soon as she entered Holloway Prison, an application to be placed in the first division as befitted one charged with a political offence. She announced that she would eat no food until this right was conceded." Marion Wallace-Dunlop refused to eat for several days. Afraid that she might die and become a martyr, it was decided to release her after fasting for 91 hours. Soon afterwards a group of suffragettes in Holloway Prison who had been convicted of breaking windows, adopted the same strategy. After six days they were also released. On 22nd September 1909 Charlotte Marsh , Rona Robinson , Laura Ainsworth and Mary Leigh were arrested while disrupting a public meeting being held by Herbert Asquith . As Michelle Myall has pointed out: "The police attempted to move the two women by, among other methods, turning a hosepipe on them and throwing stones. However, Charlotte Marsh and Mary Leigh proved to be formidable opponents and were only brought down from the roof when three policeman dragged them down." Marsh, Robinson, Ainsworth and Leigh were all sentenced to two weeks' imprisonment. They immediately decided to go on hunger-strike , a strategy developed by Marion Wallace-Dunlop a few weeks earlier. Wallace-Dunlop had been immediately released when she had tried this in Holloway Prison , but the governor of Winson Green Prison , was willing to feed the women by force. (If you find this article useful, please feel free to share. You can follow John Simkin on Twitter , Google+ & Facebook or subscribe to our monthly newsletter .) C.P. Scott wrote to Asquith complaining of the "substantial injustice of punishing a girl like Miss Marsh with two months hard labour plus forcible feeding." According to Elizabeth Crawford , the author of The Suffragette Movement (1999): "The Prison Visiting Committee reported that at first she had to be fed by placing food in the mouth and holding the nostrils, but that she later took food from a feeding cup." Votes for Women , on her release, reported that Charlotte Marsh had been fed by tube 139 times. Mary Leigh , one of the three women in Winson Green Prison , described what it was like to be force-fed: "On Saturday afternoon the wardress forced me onto the bed and two doctors came in. While I was held down a nasal tube was inserted. It is two yards long, with a funnel at the end; there is a glass junction in the middle to see if the liquid is passing. The end is put up the right and left nostril on alternative days. The sensation is most painful - the drums of the ears seem to be bursting and there is a horrible pain in the throat and the breast. The tube is pushed down 20 inches. I am on the bed pinned down by wardresses, one doctor holds the funnel end, and the other doctor forces the other end up the nostrils. The one holding the funnel end pours the liquid down - about a pint of milk... egg and milk is sometimes used." Leigh's graphic account of the horrors of forcible feeding was published while she was still in prison. Afraid that she might die and become a martyr, it was decided to release her. In October 1909, Rona Robinson , Dora Marsden and Emily Wilding Davison attended a meeting at the ballroom, White City , Manchester , where they received the Women's Social and Political Union (WSPU) Hunger Strike Medal from Emmeline Pankhurst . The WSPU Hunger Strike Medal A few days after leaving prison, Mary Leigh , along with Emily Davison and Constance Lytton were caught throwing stones at a car taking David Lloyd George to a meeting in Newcastle . The stones were wrapped in Emily's favourite words: "Rebellion against tyrants is obedience to God." The women were found guilty and sentenced to one month's hard labour at Strangeways Prison . The women went on hunger strike but once again the prison authorities decided to force-feed the women. The WSPU initiated legal proceedings against the home secretary, prison governor, and prison doctor on Mary Leigh's behalf, opening a defence fund in her name. The case was brought to trial in December 1909, and the jury found for the defence, upholding the defence's claim that forcible feeding had been necessary to preserve life and that minimum force had been used. Linley Blathwayt and Emily Blathwayt were major contributors to the funds of the WSPU and their daughter, Mary Blathwayt , was an active member in the West of England. Colonel Blathwayt also built a summer-house in the grounds of the estate in Batheaston that was called the "Suffragette Rest". Members of the WSPU who endured hunger strikes went to stay at Eagle House and the summer-house. Emmeline Pethick-Lawrence wrote an article in Votes for Women in February 1909, they acknowledged the help given by the Blathwayt family to the cause of women's suffrage : "I say to you young women who have private means or whose parents are able and willing to support you while they give you freedom to choose your vocation. Come and give one year of your life to bringing the message of deliverance to thousands of your sisters... Put yourself through a short course of training under one of our chief officers or at headquarters in London, and then become one of our honorary staff organisers. Miss Annie Kenney, in the West of England, has two such honorary organisers. Miss Blathwayt is the only daughter of Colonel Lindley Blathwayt, of Bath. Yet her parents have set her free with their fullest approbation and sympathy, and with a generous allowance, to devote her whole time to the work." Colonel Linley Blathwayt decided to create a suffragette arboretum in a field adjacent to the house. The idea was for women to be invited to plant a tree to commemorate their prison sentences and hunger strikes . On 23rd April 1909 Emily Blathwayt recorded in her diary that Annie Kenney , Emmeline Pethick-Lawrence , Constance Lytton and Clara Codd all planted trees. "Beautiful day for the tree planting and Linley photographed the three in a group at each tree. Annie put the West one, Mrs. P. Lawrence, South, and Lady Constance the East. Miss Codd came to the field." Annie Kenney , Mary Blathwayt and Emmeline Pankhurst planting trees at Eagle House . Over the next few months Emmeline Pankhurst , Adela Pankhurst , Mary Phillips , Vera Holme , Jessie Kenney , Georgina Brackenbury , Marie Brackenbury , Aeta Lamb , Theresa Garnett , Lilian Dove-Wilcox , Adela Pankhurst , Marion Wallace-Dunlop , Vera Wentworth and Elsie Howey also took part in this ceremony. After the visit of Christabel Pankhurst Emily Blathwayt wrote in her diary: "Christabel has planted her cedar of Lebanon by the pond; it was raining all the time. There is a wonderful charm about Christabel; she looks sweet and not like her photo. She is quiet and retiring." Eventually, even women who had not been to prison, such as Millicent Fawcett and Lilias Ashworth Hallett planted trees in the arboretum. Jessie Kenney developed a "lung condition" also spent time recovering at Eagle House . Others who visited during this period included Annie Kenney , Constance Lytton , Elsie Howey , Mary Phillips , Charlotte Despard , Mary Allen , Charlotte Marsh , Lilias Ashworth Hallett , Aeta Lamb , Georgina Brackenbury , Marie Brackenbury , Marie Naylor , Laura Ainsworth , Lilian Dove-Wilcox , Theresa Garnett , Gladice Keevil , Maud Joachim , Vida Goldstein , Minnie Baldock , Margaret Haig Thomas ,, Vera Wentworth , Clare Mordan and Helen Watts . Colonel Blathwayt photographed the women. These were then signed and sold at WSPU bazaars. On 5th September, 1909, Elsie Howey , Vera Wentworth and Jessie Kenney assaulted Herbert Asquith and Herbert Gladstone while they were playing golf. Asquith was also attacked as he left Lympne Church that Sunday. Emily Blathwayt was horrified by this increase in violence. On 7th September she wrote in her diary: "We hear of terrible things by the two Hooligans we know, Vera and Elsie and there is a Kenney in it. They made a regular raid on Mr. Asquith breaking a window and using personal violence. Then missiles have been thrown lately through windows during Cabinet Members meetings which might injure or kill innocent persons." Vera Wentworth and Jessie Kenney attacking Herbert Asquith in September 1909 The following day Emily Blathwayt sent a letter to the WSPU headquarters: "Dear Madam, with great reluctance I am writing to ask that my name may be taken off the list as a Member of the W.S.P.U. Society. When I signed the membership paper, I thoroughly approved of the methods then used. Since then there has been personal violence and stone throwing which might injure innocent people. When asked by acquaintances what I think of these things I am unable to say that I approve, and people of my village who have hitherto been full of admiration for the Suffragettes are now feeling very differently. Linley Blathwayt wrote to Christabel Pankhurst complaining about the behaviour of Elsie Howey and Vera Wentworth and suggested that they would no longer be welcome at Eagle House . He also wrote to Annie Kenney and appealed to her to do nothing violent. Colonel Blathwayt also wrote letters to Wentworth and Howley about their behaviour. He said that "an attack on one undefended man by three women was an act I did not expect from the Society". According to Emily Blathwayt , they received a "long letter from Vera Wentworth who is very sorry we are grieved but if Mr. Asquith will not receive deputation they will pummel him again." She also claimed that Herbert Gladstone gave Jessie Kenney "a nasty blow in the chest". A wealthy supporter of the WSPU donated money to buy Emmeline Pankhurst a motor car so that she could travel the country in comfort. In August 1909, Vera Holme was appointed as Pankhurst's chauffeur. The author of The Pankhursts (2001): "It is probable that Vera Holme had learnt to drive as a result of touring the provinces with a theatrical company; since driving tests had not been invented the chief requirement was a capacity to cope with the frequent mechanical breakdowns and to deal with horse traffic." Vera Holme driving Emmeline Pankhurst in 1909 Constance Lytton joined a group of suffragettes, including Jane Brailsford and Emily Wilding Davison , who resolved to undertake acts of violence in order to protest against forcible feeding. On 9th November 1909, they were arrested in Newcastle . She was sent to prison for 30 days. "Mrs. Brailsford, who had struck at the barricade with an axe, was also given the option of being bound over, which she, of course, refused, with the alternative of a month's imprisonment in the second division. We were put again into a van, but had only a short way to drive. We were shown into a passage of the prison where the Governor came and spoke to us. He was very civil, and begged us not to go on the hunger-strike." She did but as she pointed out in Prisons and Prisoners (1914) after a couple of days "the wardress came in and announced that I was released, because of the state of my heart!" Lytton was angry that she should be given special treatment and decided to adopt a false identity. After another demonstration Constance was arrested but this time she gave her name as Jane Wharton, a London seamstress. Constance was sentenced to fourteen days and when she refused to eat, she was forced fed eight times. When the authorities discovered Jane Wharton's true identity she was immediately released. In November 1909, Theresa Garnett accosted Winston Churchill with a whip. She shouted "take that you brute", however, she later admitted she missed him. She was arrested for assault but was found guilty of disturbing the peace. Garnett was found guilty and was sentenced to a month's imprisonment in Horfield Prison . Her friend, Mary Blathwayt , wrote in her diary on 15th November: "Miss Garnett got one month for whipping Mr. Churchill across the face and not hurting him." The following day, her mother, Emily Blathwayt , wrote: The papers were full of Saint Theresa as we call her." Emily went onto say that the movement was "not altogether displeased" that the newspapers had headlines that were not true such as "Winston whipped" and "Churchill flogged". Theresa Garnett went on hunger-strike while in Horfield Prison . This time, instead of being released, she was forcibly fed. As a protest against this treatment, she set fire to her cell and was then placed in solitary confinement for 11 of the 15 remaining days of her sentence. After being found unconcious, she spent the rest of her sentence in a hospital ward. The WSPU still had a group of wealthy women who helped pay for their campaigns. The most important of these was Hertha Ayrton . She had been left a considerable amount of money by Barbara Bodichon , the 1909-1910 WSPU accounts show that she gave £1,060 in that year. In a letter she wrote to Maud Arncliffe Sennett , Ayrton admitted: "I made up my mind some time ago that as I am unable to be militant myself, from reasons of health, and as I believe most fully in the necessity for militancy, I was bound to give every penny I can afford to the militant union that is bearing the brunt of the battle, namely the WSPU." During the 1910 General Election the NUWSS organised the signing petitions in 290 constituencies. They managed to obtain 280,000 signatures and this was presented to the House of Commons in March 1910. With the support of 36 MPs a new suffrage bill was discussed in Parliament. The WSPU suspended all militant activities and on 23rd July they joined forces with the NUWSS to hold a grand rally in London . When the House of Commons refused to pass the new suffrage bill, the WSPU broke its truce on what became known as Black Friday on 18th November, 1910, when its members clashed with the police in Parliament Square . (If you find this article useful, please feel free to share. You can follow John Simkin on Twitter , Google+ & Facebook or subscribe to our monthly newsletter .) Mary Clarke , was arrested for breaking windows and sent to Holloway Prison , where she endured a hunger-strike and forced-feeding. She was released on 22nd December, 1910 but two days later Emmeline Pankhurst found her unconcious and she died soon afterwards as a result of a burst blood vessel on the brain. It has been argued that Clarke probably died as a result of being forced fed in prison. Fran Abrams the author of Freedom's Cause: Lives of the Suffragettes (2003) argues that during this period May Billinghurst became an important figure in the WSPU campaign: "May Billinghurst was no fool. She knew full well, and so did the leaders of the WSPU, that her hand-propelled invalid tricycle gave her a special advantage in the propaganda battle they were waging. It made it difficult, if not impossible, for the media to portray May as a howling harridan with little care for the safety of others. At its least effective the sight of her at a demonstration was a picturesque one, commented on lightly along with other aspects of the pageantry of the day. At best, it served to underline in bold the brutal tactics of the police and the vulnerability of the suffragette demonstrators." In November 1911, Henry Nevinson saw Billinghurst being arrested: "Just at that time as I was returning to Whitehall I met Miss Billinghurst, that indomitable cripple, being carried shoulder high by four policemen in her little tricycle or wheel-cart that she propels with her arms. Amid immense cheering from the crowd she followed the rest into the police station." Some members of the WSPU, including Adela Pankhurst became concerned about the increase in the violence as a strategy . She later told fellow member, Helen Fraser: "I knew all too well that after 1910 we were rapidly losing ground. I even tried to tell Christabel this was the case, but unfortunately she took it amiss." After arguing with Emmeline Pankhurst about this issue she left the WSPU in October 1911. Sylvia Pankhurst was also critical of this new militancy. Christabel Pankhurst replied that "I would not care if you were multiplied by a hundred, but one of Adela is too many." May Billinghurst Elizabeth Wolstenholme-Elmy , one of WSPU leading members, complained about the increasing use of violence. She wrote to the Manchester Guardian : "Now that our cause is on the verge of success, I wish to add my protest against the madness which seems to have seized a few persons whose anti-social and criminal actions would seem designed to wreck the whole movement ... I appeal to our friends in the ministry and in Parliament not to be deterred from setting right a great wrong by the folly or criminality of a few persons." Christabel Pankhurst decided that the WSPU needed to intensify its window-breaking campaign. On 1st March, 1912, a group of suffragettes volunteered to take action in the West End of London. The Daily Graphic reported the following day: "The West End of London last night was the scene of an unexampled outrage on the part of militant suffragists.... Bands of women paraded Regent Street, Piccadilly, the Strand, Oxford Street and Bond Street, smashing windows with stones and hammers." Hilda Brackenbury , aged 79, was accused of breaking two windows in the United Service Institution in Whitehall . She served eight days on remand before being sentenced to 14 days in Holloway Prison . Her two daughters, Georgina Brackenbury and Marie Brackenbury , were also both arrested during the demonstration. In court Marie claimed that she was "a soldier in this great cause". On 4th March, the WSPU organised another window-breaking demonstration. This time the target was government offices in Whitehall . The severely disabled, May Billinghurst , agreed to hide some of the stones underneath the rug covering her knees. According to Votes for Women : "From in front, behind, from every side it came - a hammering, crashing, splintering sound unheard in the annals of shopping... At the windows excited crowds collected, shouting, gesticulating. At the centre of each crowd stood a woman, pale, calm and silent." Over 200 suffragettes were arrested and jailed for taking part in the demonstration. This included Victoria Lidiard , who broke a window at the War Office . She later recalled: "He just looked at me. Meantime another policeman rushed up towards me and then an inspector on horseback came. So I was escorted to Bow Street, a policeman each side of me, clutching my arm. and one behind. Well, I had eight stones, but I'd only used one so on the way to the police station I dropped them one by one and to my amazement when I was taken down at Bow Street, this policeman that had followed put the seven stones on the table and said, She dropped these on the way." Frederick Pethick-Lawrence and Emmeline Pethick-Lawrence both disagreed with this strategy but Christabel Pankhurst ignored their objections. As soon as this wholesale smashing of shop windows began, the government ordered the arrest of the leaders of the WSPU . Christabel escaped to France but Frederick and Emmeline were arrested, tried and sentenced to nine months imprisonment. They were also successfully sued for the cost of the damage caused by the WSPU. They both went on hunger strike and had to face the full rigours of forcible feeding twice a day for several days. He later recalled the experience in his memoirs, Fate Has Been Kind (1943): "The head doctor, a most sensitive man, was visibly distressed by what he had to do. It certainly was an unpleasant and painful process and a sufficient number of warders had to be called in to prevent my moving while a rubber tube was pushed up my nostril and down into my throat and liquid was poured through it into my stomach. Twice a day thereafter one of the doctors fed me in this way. I was not allowed to leave my cell in the hospital and for the most part I had to stay in bed. There was nothing to do but to read; and the days were very long and went very slowly." Emmeline Pankhurst was one of those arrested. Once again she went on hunger strike : "I generally suffer most on the second day. After that there is no very desperate craving for food. weakness and mental depression take its place. Great disturbances of digestion divert the desire for food to a longing for relief from pain. Often there is intense headache, with fits of dizziness, or slight delirium. Complete exhaustion and a feeling of isolation from earth mark the final stages of the ordeal. Recovery is often protracted, and entire recovery of normal health is sometimes discouragingly slow." After the violent demonstrations in 1912 the British government made it clear that they intended to seize the assets of the WSPU. Evelyn Sharp has argued that Hertha Ayrton helped to "launder" through her bank account the funds of the WSPU. The WSPU bank manager was subpoenaed to appear at the conspiracy trial and revealed that £7,000 had been paid to "someone named Ayrton". Christabel Pankhurst now ran operations in France in order to avoid arrest. Annie Kenney was put in charge of the WSPU in London . She apointed Rachel Barrett as her assistant. Every week Annie travelled to Paris to receive Christabel's latest orders. Fran Abrams has pointed out: "It was the start of a cloak-and-dagger existence that lasted for more than two years. Each Friday, heavily disguised, Annie would take the boat-train via La Havre. Sundays were devoted to work but on Saturdays the two would walk along the Seine or visit the Bois de Boulogne. Annie took instructions from Christabel on every little point - which organiser should be placed where, circular letters, fund-raising, lobbying MPs... During the week Annie worked all day at the union's Clement's Inn headquarters, then met militants at her flat at midnight to discuss illegal actions. Christabel had ordered an escalation of militancy, including the burning of empty houses, and it fell to Annie to organise these raids. She did not enjoy this work, nor did she agree with it. She did it because Christabel asked her to, she said later." In October, 1912, George Lansbury decided to draw attention to the plight of WSPU prisoners by resigning his seat in the House of Commons and fighting a by-election in favour of votes for women. Lansbury discovered that a large number of males were still opposed to equal rights for women and he was defeated by 731 votes. The following year he was imprisoned for making speeches in favour of suffragettes who were involved in illegal activities. While in Pentonville he went on hunger strike and was eventually released under the Cat and Mouse Act . WSPU Arson Campaign In 1912 the WSPU began a campaign to destroy the contents of pillar-boxes. By December, the government claimed that over 5,000 letters had been damaged by the WSPU. The main figure in this campaign was May Billinghurst . A fellow suffragette, Lilian Lenton , argued: "She (May Billinghurst) would set out in her chair with many little packages from which, when they were turned upside down, there flowed a dark brown sticky fluid, concealed under the rug which covered her legs. She went undeviatingly from one pillar box to another, sometimes alone, sometimes with another suffragette to do the actual job, dropping a package into each one." Billinghurst was eventually arrested at Blackheath preparing for a pillar-box raid. She seemed pleased about being caught as she told the police officer: "With all the pillar boxes we've done, there has been nothing in the papers about it - perhaps now there has been an arrest there will be something." Billinghurst appeared at the Old Bailey in January 1913. During the trial Billinghurst argued: "The government authorities may further maim my body by the torture of forcible feeding as they are torturing weak women in prison at the present time. They may even kill me in the process for I am not strong, but they cannot take away my freedom of spirit or my determination to fight this good fight to the end." Anti-suffragette postcard published in 1913. May Billinghurst was found guilty and sentenced to eight months in Holloway Prison . The judge remarked: "No one could, I think, doubt for a moment - as mistaken as I think you to be - that you were animated by the highest and purest motives in what you did... you do not belong to the class of hysterical women, many of whom are associated with this movement, who appear to be animated mainly or at any rate in some measure by a desire for notoriety." Emmeline Pankhurst wrote from Paris : "I cannot tell you how deeply I feel your splendid courage and endurance. All my heart will be with you during the ordeal that lies before you." Billinghurst immediately went on hunger-strike : "I just laid on my back and endured it all - on Sunday I was very weak and on Sunday night I tried to get out to the bell because my head was swimming round so I fell on the floor and fainted... My head was forced back and a tube jammed down my nose. It was the most awful torture. I groaned with pain and I coughed and gulped the tube up and would not let it pass down my throat. Then they tried the other nostril and they found that was smaller still and slightly deformed, l suppose from constant hay-fever. The new doctor said it was impossible to get the tube down that one so they jammed it down again through the other and I wondered if the pain was as bad as child-birth. I just had strength and will enough to vomit it up again and I could see tears in the wardresses' eyes." After protests about her treatment by George Lansbury and Keir Hardie in the House of Commons , and comments from the prison doctor, who feared she would die of a heart-attack, she was released on 18th January, 1913. Another long-term victim of force-feeding was Elsie Duval . In July 1912 she was sentenced to a month's imprisonment for breaking a window in Clapham . While in prison she was forcibly fed nine times. Duval was arrested for "loitering with intent" on 3rd April 1913 and was sentenced to one month's imprisonment and once again went on hunger-strike. When she died of heart failure on 1st January 1919, it was claimed that her heart had been weakened by the treatment she received in prison. Kitty Marion being arrested after heckling David Lloyd George on 5th September, 1912. In July 1912, the WSPU began organizing a secret arson campaign . According to Sylvia Pankhurst : "Women, most of them very young, toiled through the night across unfamiliar country, carrying heavy cases of petrol and paraffin. Sometimes they failed, sometimes succeeded in setting fire to an untenanted building - all the better if it were the residence of a notability - or a church, or other place of historic interest." Kitty Marion decided she would join this campaign: "I was becoming more and more disgusted with the struggle for existence on commercial terms of sex … I gritted my teeth and determined that somehow I would fight this vile, economic and sex domination over women which had no right to be, and which no man or woman worthy of the term should tolerate." Fern Riddell has pointed out: "Kitty Marion's hand is evident in attacks from Manchester to Portsmouth; the scope of her attacks overlays neatly into areas she had become well acquainted with during her music hall and theatrical days, which afforded her the luxury of an already established network of lodging houses and local knowledge, allowing her to visit areas and conduct militant activity." Occasionally they were caught and convicted, usually they escaped. Attempts were made by suffragettes to burn down the houses of two members of the government who opposed women having the vote. These attempts failed but soon afterwards, a house being built for David Lloyd George , the Chancellor of the Exchequer, was badly damaged by suffragettes. Christabel Pankhurst pointed out: "Perhaps the Government will realise now that we mean to fight to the bitter end … If men use explosives and bombs for their own purpose they call it war, and the throwing of a bomb that destroys other people is then described as a glorious and heroic deed. Why should a woman not make use of the same weapons as men. It is not only war we have declared. We are fighting for a revolution." Ramsay MacDonald , the leader of the Labour Party , had argued for many years that women's suffrage that was a necessary part of a socialist programme. He was therefore able to negotiate an agreement with the National Union of Women's Suffrage Societies for joint action in by-elections. In October, 1912, it was claimed that £800 of suffragist money had been spent on Labour candidatures. However, MacDonald rejected the WSPU use of violence: "I have no objection to revolution, if it is necessary but I have the very strongest objection to childishness masquerading as revolution, and all that one can say of these window-breaking expeditions is that they are simply silly and provocative. I wish the working women of the country who really care for the vote ... would come to London and tell these pettifogging middle-class damsels who are going out with little hammers in their muffs that if they do not go home they will get their heads broken." Sylvia Pankhurst recovering from hunger strike in July 1913. Dr. Charles Mansell-Moullin joined forces with Sir Victor Horsley and Dr. Agnes Savill to write a report on the impact of the forced-feeding of suffragettes. In a speech on 13th March, 1913 he argued that Reginald McKenna , the Home Secretary, had been making misleading statements to the House of Commons : "Now Mr. McKenna has said time after time that forcible feeding, as carried out in His Majesty's prisons, is neither dangerous nor painful. Only the other day he said, in answer to an obviously inspired question as to the possibility of a lady suffering injury from the treatment she received in prison, "I must wait until a case arises in which any person has suffered any injury from her treatment in prison."... He relies entirely upon reports that are made to him - reports that must come from the prison officials, and go through the Home Office to him, and his statements are entirely founded upon those reports. I have no hesitation in saying that these reports, if they justify the statements that Mr. McKenna has made, are absolutely untrue. They not only deceive the public, but from the persistence with which they are got up in the same sense, they must be intended to deceive the public." The summer of 1913 saw a further escalation of WSPU violence. In July attempts were made by suffragettes to burn down the houses of two members of the government who opposed women having the vote. These attempts failed but soon afterwards, a house being built for David Lloyd George , the Chancellor of the Exchequer, was badly damaged by suffragettes. This was followed by cricket pavilions, racecourse stands and golf clubhouses being set on fire. Some leaders of the WSPU such as Emmeline Pethick-Lawrence , disagreed with this arson campaign . When Pethick-Lawrence objected, she was expelled from the organisation. Others like Elizabeth Robins , Jane Brailsford , Laura Ainsworth , Jessie Stephen , Eveline Haverfield and Louisa Garrett Anderson showed their disapproval by ceasing to be active in the WSPU and Hertha Ayrton , Lilias Ashworth Hallett , Janie Allan and Elizabeth Garrett Anderson stopped providing much needed funds for the organization. Colonel Linley Blathwayt and Emily Blathwayt also cut off funds to the WSPU. In June 1913 a house had been burned down close to Eagle House . Under pressure from her parents, Mary Blathwayt resigned from the WSPU . In her diary she wrote: "I have written to Grace Tollemache (secretary for Bath) and to the secretary of the Women's Social and Political Union to say that I want to give up being a member of the W.S.P.U. and not giving any reason. Her mother wrote in her diary: "I am glad to say Mary is writing to resign membership with the W.S.P.U. Now they have begun burning houses in the neighbourhood I feel more than ever ashamed to be connected with them." In 1913 the WSPU increased its campaign to destroy public and private property. The women responsible were often caught and once in prison they went on hunger-strike . Determined to avoid these women becoming martyrs, the government introduced the Prisoner's Temporary Discharge of Ill Health Act . Suffragettes were now allowed to go on hunger strike but as soon as they became ill they were released. Once the women had recovered, the police re-arrested them and returned them to prison where they completed their sentences. This successful means of dealing with hunger strikes became known as the Cat and Mouse Act . Sylvia Pankhurst was also very unhappy that the WSPU had abandoned its earlier commitment to socialism and disagreed with Emmeline and Christabel Pankhurst's attempts to gain middle class support by arguing in favour of a limited franchise. She made the final break with the WSPU when the movement adopted a policy of widespread arson . Sylvia now concentrated her efforts on helping the Labour Party build up its support in London. Flora Drummond remained loyal to the idea of militant action and she was put in charge of all the WSPU branches in the country on a wage of £3 10s a week. The Suffrage (17th October, 1913) Kitty Marion was a leading figure in the WSPU arson campaign and she was responsible for setting fire to Levetleigh House in St Leonards in April 1913. Two months later she and 26 year old Clara Giveen were told that the Grand Stand at the Hurst Park racecourse "would make a most appropriate beacon". Marion later recalled: "We both regretted that there was no movie camera to immortalise the comedy of it." The women returned to a house in Kew . A police constable who had been detailed to watch the house, saw the two women return and during the course of the next morning they were arrested. Their trial began at Guildford on 3rd July. She was found guilty and sentenced to three years' penal servitude. She went on hunger strike and was released under the Cat & Mouse Act . She was taken to the WSPU nursing home, into the care of Dr. Flora Murray and Catherine Pine . As soon as Kitty Marion recovered she went out and broke a window of the Home Office . She was arrested and taken back to Holloway Prison . After going on hunger strike for five days she was again released to a WSPU nursing home. According to her own account, she now set fire to various houses in Liverpool (August, 1913) and Manchester (November, 1913). These incidents resulted in a series of further terms of imprisonment during which force-feeding occurred. It has been calculated that Kitty Marion endured 232 force-feedings in prison while on hunger strike . Although Elizabeth Robins and Octavia Wilberforce disapproved of Kitty Marion's arson campaign they used their 15th century farmhouse at Backsettown, near Henfield , as a hospital and helped her recover from her various spells in prison and the physical effects of going on hunger strike. On 31st May 1914, with the help of Mary Leigh , escaped to Paris . Lilian Lenton was another member of the WSPU who played an important role in the arson campaign. Along with Olive Wharry she embarked on a series of terrorist acts. They were arrested on 19th February 1913, soon after setting fire to the tea pavilion in Kew Gardens . In court it was reported: "The constables gave chase, and just before they caught them each of the women who had separated was seen to throw away a portmanteau. At the station the women gave the names of Lilian Lenton and Olive Wharry. In one of the bags which the women threw away were found a hammer, a saw, a bundle to tow, strongly redolent of paraffin and some paper smelling strongly of tar. The other bag was empty, but it had evidently contained inflammables." While in custody, Lenton went on hunger strike and was forcibly fed. She was quickly released from prison when she became seriously ill after food entered her lungs. On 7th March 1913 Olive Wharry was found guilty and sentenced to eighteen months. Elizabeth Crawford , the author of The Suffragette Movement (1999): "She was released on 8th April after having been on hunger strike for 32 days, apparently without the prison authorities noticing. His usual weight was 7st 11lbs; when released she weighed 5st 9lbs." After Lilian Lenton recovered she managed to evade recapture until arrested in June 1913 in Doncaster and charged with setting fire to an unoccupied house at Balby . She was held in custody at Armley Prison in Leeds . She immediately went on hunger-strike and was released after a few days under the Cat & Mouse Act . The following month she escaped to France in a private yacht. According to Elizabeth Crawford , the author of The Suffragette Movement (1999): "Lilian Lenton has stated that her aim was to burn two buildings a week, in order to create such a condition in the country that it would prove impossible to govern without the consent of the governed." Lenton was soon back in England setting fire to buildings but in October 1913 she was arrested at Paddington Station . Once again she went on hunger-strike and was forcibly fed, but once again she was released when she became seriously ill. Lilian Lenton was released on licence on 15th October. She escaped from the nursing home and was arrested on 22nd December 1913 and charged with setting fire to a house in Cheltenham . After another hunger-and-thirst strike, she was released on 25th December to the care of Mrs Impey in King's Norton . Once again she escaped and evaded the police until early May 1914 when she was arrested in Birkenhead . She was only in prison for a few days before she was released under the Cat & Mouse Act . In June, 1913, at the most important race of the year, the Derby, Emily Davison ran out on the course and attempted to grab the bridle of Anmer, a horse owned by King George V . The horse hit Emily and the impact fractured her skull and she died without regaining consciousness. Will Dyson , Miss Davison ( Daily Herald , 1914) Although many suffragettes endangered their lives by hunger strikes, Emily Davison was the only one who deliberately risked death. However, her actions did not have the desired impact on the general public. They appeared to be more concerned with the health of the horse and jockey and Davison was condemned as a mentally ill fanatic. Annie Kenney was charged with "incitement to riot" in April 1913. She was found guilty at the Old Bailey and was sentenced to eighteen months in Maidstone Prison . She decided that Grace Roe should now became head of operations in London. Kenney immediately went on hunger strike and became the first suffragette to be released under the provisions of the Cat and Mouse Act . Kenney went into hiding until she was caught once again and returned to prison. That summer she escaped to France during a respite and went to live with Christabel Pankhurst in Deauville . On 30th April 1913, Rachel Barrett and other members of staff were arrested while printing The Suffragette newspaper. Found guilty of conspiracy she was sentenced to nine months imprisonment. She immediately began a hunger strike in Holloway Prison . After five days she was released under the Cat and Mouse Act . Barrett was re-arrested and this time went on a hunger and thirst strike. When she was released she escaped to Edinburgh . After a meeting with Christabel Pankhurst in Paris , it was decided to publish the newspaper in Scotland. Barrett, returned to Edinburgh and using the name Rachel Ashworth, published the newspaper until August 1914. It has been argued by the authors of Mosley's Old Suffragette (2010) that the remarkable rhetorical skill of Norah Dacre Fox allowed her to rise quickly through the WSPU ranks to become, by early 1913, its General Secretary. She was involved in the production of The Suffragette , the WSPU newspaper. Emmeline Pankhurst later recalled: "The Government made several last, desperate efforts to crush the WSPU to remove all the leaders and to destroy our paper, The Suffragette. They issued summonses against Mrs. Drummond, Mrs. Dacre Fox, and Miss Grace Roe; they raided our headquarters at Lincoln's Inn House; twice they raided other headquarters temporarily in use; not to speak of raids made upon private dwellings where the new leaders, who had risen to take the places of those arrested, were at their work for the organisation." On 10 March 1914 Mary Richardson attacked a painting, Rokeby Venus by Diego Velázquez at the National Gallery . She later described what happened: "I dashed up to the painting. My first blow with the axe merely broke the protective glass. But, Of course, it did more than that, for the detective rose with his newspaper still in his hand and walked round the red plush seat, staring up at the skylight which was being repaired. The sound of the glass breaking also attracted the attention of the attendant at the door who, in his frantic efforts to reach me, slipped on the highly polished floor and fell face downward. And so I was given time to get in a further four blows with my axe before I was, in turn, attacked." The Manchester Guardian reported the following day: "At the National Gallery, yesterday morning, the famous Rokeby Venus, the Velasquez picture which eight years ago was bought for the nation by public subscription for £45,000, was seriously damaged by a militant suffragist connected with the Women's Social and Political Union... The woman, producing a meat chopper from her muff or cloak, smashed the glass of the picture, and rained blows upon the back of the Venus. A police officer was at the door of the room, and a gallery attendant also heard the smashing of the glass. They rushed towards the woman, but before they could seize her she had made seven cuts in the canvas. In 1913 Christabel Pankhurst published The Great Scourge and How to End It . She argued that most men had venereal disease and that the prime reason for opposition to women's suffrage came from men concerned that enfranchised women would stop their promiscuity. Until they had the vote, she suggested that women should be wary of any sexual contact with men. Dora Marsden criticised Pankhurst for upholding the values of chastity, marriage and monogamy. She also pointed out in The Egoist on 2nd February 1914 that Pankhurst's statistics on venereal disease were so exaggerated that they made nonsense of her argument. Marsden concluded the article with the claim: "If Miss Pankhurst desires to exploit human boredom and the ravages of dirt she will require to call in the aid of a more subtle intelligence than she herself appears to possess." Other contributors to the journal joined in the attack on Pankhurst. The Canadian feminist, R. B. Kerr argued that "her obvious ignorance of life is a great handicap to Miss Pankhurst" (16th March, 1914) whereas Ezra Pound suggested that she "has as much intellect as a guinea pig" (1st July, 1914). First World War By the summer of 1914 over 1,000 suffragettes had been imprisoned for destroying public property. All the leading members of the WSPU were in prison, in very poor health or were living in exile. The number of active members of the organisation in a position to commit acts of violence was now very small. On 4th August, 1914, England declared war on Germany . Two days later the NUWSS announced that it was suspending all political activity until the war was over. The leadership of the WSPU began negotiating with the British government. On the 10th August the government announced it was releasing all suffragettes from prison. In return, the WSPU agreed to end their militant activities and help the war effort . Emmeline Pankhurst announced that all militants had to "fight for their country as they fought for the vote." Ethel Smyth pointed out in her autobiography, Female Pipings for Eden (1933): "Mrs Pankhurst declared that it was now a question of Votes for Women, but of having any country left to vote in. The Suffrage ship was put out of commission for the duration of the war, and the militants began to tackle the common task." Annie Kenney reported that orders came from Christabel Pankhurst : "The Militants, when the prisoners are released, will fight for their country as they have fought for the Vote." Kenney later wrote: "Mrs. Pankhurst, who was in Paris with Christabel, returned and started a recruiting campaign among the men in the country. This autocratic move was not understood or appreciated by many of our members. They were quite prepared to receive instructions about the Vote, but they were not going to be told what they were to do in a world war." After receiving a £2,000 grant from the government, the WSPU organised a demonstration in London . Members carried banners with slogans such as "We Demand the Right to Serve", "For Men Must Fight and Women Must work" and "Let None Be Kaiser's Cat's Paws". At the meeting, attended by 30,000 people, Emmeline Pankhurst called on trade unions to let women work in those industries traditionally dominated by men. Ada Nield Chew was completely against this policy: "The militant section of the movement... would without doubt place itself in the trenches quite cheerfully, if allowed. It is now ... demanding, with all its usual pomp and circumstance of banner and procession, its share in the war. This is an entirely logical attitude and strictly in line with its attitude before the war. It always glorified the power of the primitive knock on the nose in preference to the more humane appeal to reason.... What of the others? The non-militants - so-called - though bitterly repudiating militancy for women, are as ardent in their support of militancy for men as their more consistent and logical militant sisters." In October 1915, the WSPU changed its newspaper's name from The Suffragette to Britannia . Emmeline's patriotic view of the war was reflected in the paper's new slogan: "For King, For Country, for Freedom'. In the newspaper anti-war activists such as Ramsay MacDonald were attacked as being "more German than the Germans". Another article on the Union of Democratic Control and Norman Angell carried the headline: "Norman Angell: Is He Working for Germany?" Mary Macarthur and Margaret Bondfield were described as "Bolshevik women trade union leaders" and Arthur Henderson , who was in favour of a negotiated peace with Germany, was accused of being in the pay of the Central Powers . The Britannia also attacked politicians and military leaders for not doing enough to win the war. In one article, Christabel Pankhurst accused Sir William Robertson , Chief of Imperial General Staff, of being "the tool and accomplice of the traitors, Grey, Asquith and Cecil". Jessie Kenney was an important WSPU figure during the First World War . In July 1916 she helped to organize the War-Work Procession. The following year she accompanied Emmeline Pankhurst to Russia where they held meetings with Alexander Kerensky and other leading figures in his Provisional Government in an attempt to keep the country in the war. It seems that Kenney became disillusioned by the way David Lloyd George and his government treated women after the war. She wrote in her diary: We gained nothing by our patriotism. No money, no lasting position. By Armistice we were tired out, no homes, no jobs, no money, no cause. Forgotten." On 28th March, 1917, the House of Commons voted 341 to 62 that women over the age of 30 who were householders, the wives of householders, occupiers of property with an annual rent of £5 or graduates of British universities. Soon afterwards Emmeline Pankhurst and Christabel Pankhurst established the The Women's Party . Its twelve-point programme included: (1) A fight to the finish with Germany. (2) More vigorous war measures to include drastic food rationing, more communal kitchens to reduce waste, and the closing down of nonessential industries to release labour for work on the land and in the factories. (3) A clean sweep of all officials of enemy blood or connections from Government departments. Stringent peace terms to include the dismemberment of the Hapsburg Empire." The party also supported: "equal pay for equal work, equal marriage and divorce laws, the same rights over children for both parents, equality of rights and opportunities in public service, and a system of maternity benefits." Christabel and Emmeline had now completely abandoned their earlier socialist beliefs and advocated policies such as the abolition of the trade unions . After the passing of the Qualification of Women Act the first opportunity for women to vote was in the General Election in December, 1918. Seventeen women candidates that stood in the post-war election. Christabel Pankhurst represented the The Women's Party in Smethwick . Despite the fact that the Conservative Party candidate agreed to stand down, she lost a straight fight with the representative of the Labour Party by 775 votes. Only one woman, Constance Markiewicz , standing for Sinn Fein , was elected. However, as a member of Sinn Fein, she refused to take her seat in the House of Commons. Lilian Lenton , who had played an important role in the militant campaign later recalled: "Personally, I didn't vote for a long time, because I hadn't either a husband or furniture, although I was over 30."	i don't know
Where in the UK can you see the giant pandas Yang Guang and Tian Tian?	Arrival of pandas Tian Tian and Yang Guang at Edinburgh Zoo - Announcements - GOV.UK Arrival of pandas Tian Tian and Yang Guang at Edinburgh Zoo From: China This news article was published under the 2010 to 2015 Conservative and Liberal Democrat coalition government The arrival of pandas Tian Tian and Yang Guang in the UK will play an important part in efforts to save this magnificent but sadly threatened species, and is a reflection of the strength of our relationship with China. Speaking of the arrival of the two pandas today, Deputy Prime Minister Nick Clegg said: “I’m delighted by the arrival of pandas Tian Tian and Yang Guang at Edinburgh Zoo today, which is a reflection of the strength of our relationship with China. It shows that we can co-operate closely not only on commerce, but on a broad range of environmental and cultural issues as well. “These two pandas will not just be a fantastic attraction, but their arrival in the UK will play an important part in efforts to save this magnificent but sadly threatened species. “I know that a huge amount of work has gone into securing their loan and they will be a great showcase for UK-China links in science and research.” FCO Minister Jeremy Browne said: “Being able to welcome these pandas today is the culmination of many years’ hard work in both the UK and China, and Edinburgh Zoo’s determination to preserve this iconic species. “The loan symbolises a strengthening of our relationship with China. We are partners for growth and are seeing our business and cultural links grow and expand into new areas all the time. The UK Giant Panda Project is an imaginative element of our future cooperation. I am sure that thousands of British people will enjoy visiting the pandas. “Having seen these incredible animals for myself on my recent visit to China, I feel especially encouraged by the conservation efforts taking place to ensure their future. It is essential that this continues. Edinburgh Zoo’s support through this loan will play a major role in developing research programmes and conserving the bears’ natural environment for future generations.” Share this page	Edinburgh Zoo
Which relative of the guinea pig is the largest rodent in the world?	Giant Panda \| Edinburgh Zoo Edinburgh Zoo Why not treat your self or a friend to one of our keeper experiences? Private functions Giant Panda Giant Panda Edinburgh Zoo is home to the UK's only giant pandas. We have a female called Tian Tian who was born on 24 August 2003 and her name translates to 'Sweetie' in Chinese. The male is called Yang Guang, he was born 10 days earlier on 14 August 2003 and his name means 'sunshine'. They are here on a 10 year loan from China Breeding Programme Category: The giant pandas are managed by the International Stud Book Location in the Zoo: Our pandas can be found in the giant panda exhibit near the Monkey House and Penguins Rock Visiting the giant pandas: If you would like to see the giant pandas, please note that entry is time-ticketed and spaces are limited. We would advise booking in advance to avoid disappointment. for more information on classifications visit www.iucnredlist.org Size Relative to 6ft (2m) man Population Population is decreasing, IUCN June 2008 Habitat Herbivore In The Wild Giant pandas (Ailuropoda melanoleuca) live in the mountain forests of the central Chinese provinces of Sichuan, Shaanxi, and Gansu. <br/ Ninety-nine per cent of a Giant panda’s diet consists of different types of bamboo. Pandas will also eat eggs, meat, grasses and vegetables if these are available. Adult Giant Pandas are largely solitary but they do communicate through calls and scent marking and do occasionally meet outside of the mating season. Female pandas are only able to conceive for two to three days in the spring. This short mating season makes successful reproduction difficult. After a gestation period of five months the female panda will give birth to one or two cubs. During the first few months of their lives panda cubs are entirely dependent of their mums for survival. They are born blind, hairless and unable to move. Cubs are also tiny, roughly the size of a stick of butter when born. An adult panda is roughly 900 times bigger than a new-born cub. After six to eight weeks the cubs will open their eyes for the first time and after three months they are able to move around independently. Although cubs will feed on their mother’s milk until they are around one year of age they start eating bamboo at around six months. Once cubs reach around one and a half to two years of age they will leave their mothers and begin an independent life. Giant pandas are the rarest members of the bear family and one of the most endangered species in the world mainly due to habitat destruction. Yang Guang celebrates his 12th Birthday Panda information Giant pandas (Ailuropoda melanoleuca) live in the mountain forests of the central Chinese provinces of Sichuan, Shaanxi, and Gansu. Ninety-nine per cent of a Giant panda’s diet consists of different types of bamboo. Pandas will also eat eggs, meat, grasses and vegetables if these are available. Find out more about our giant pandas by visiting their species profile page. Gallery	i don't know
Meles Meles is the Latin name for which European mammal?	Latin Stuff Latin Stuff about Badgers Eurasian Badger The British Badger is one of the better known badgers across the world. More correctly, the British Badger should be known as the European or Eurasian badger - because it lives in Europe and Asia (including in some parts of China and even Japan). Meles meles The Scientific name for a "British" badger is Meles meles (in the Melinae Sub-Family, part of the Mustelidae family - all members of a group of animals called the Carnivora). Although this would suggest that the badger is a carnivore, it is actually an omnivore (meaning that it eats both meat and plants). Animals are given scientific names so that experts can put different species into related groups. For example: Animals are classed as Mammals (part of the Mammalia class). Within this, animals are divided into Carnivores (part of the Carnivora order of animals). Within the Carnivores, animals are sub-divided again, into Mustelids (part of the Mustelidae Sub-family). Once again the Mustelids are divided into the main Badgers Sub-family of Melinae. The different species of true badger are then included within this Melinae Sub-family. One such species is the "British" (or Eurasian) badger, called Meles meles according to its latin Genus. If these names seem strange, it is because most species were first categorised by Carl Linnaeus in the 18th Century, and Latin was the language which was used for science in those days. Although, we use the term "Latin" names, the actual names may be based on Latin or Greek. Weasel Family Other animals in the Mustelids, include Weasels , Stoats , Polecats , Ferrets , Mink and Pine Martens . This may seem a bit surprising at first, because most weasel-like animals have long, thin bodies and long tails. Badgers (like Otters and Wolverines ) look very different, with their short stocky bodies, short tails and short powerful legs (they look more like small bears). However, in common with other weasel-like animals, badgers have long strong claws on their front feet - though these are designed for digging, and not scampering through the tree-tops. Unlike many related species, the badger has a spine which is less flexible than species such as martens, polecats and wolverines. Origin of Meles meles The origin of Meles meles is not entirely certain. Even the most useful reference work on the subject is the Badgers (written by Ernest Neal and Chris Cheeseman) is a little sketchy. This book suggests that primitive badger-forms existed as long ago as 4 million years - possibly coming from the Pliocene genus Melodon in China. The original Meles line then evolved from the temporate forests of Asia, spreading West into Europe. The earliest fossil of the genus Meles is Thoral's badger (Meles Thorali) and was in France at Saint-Villier, near Lyons, and is perhaps 2 million years old. Other similar fossils were found in China, so this species was probably very widespread. By the early to middle Pleistocene, Europe was inhabited by badgers similar to the modern species. These are now referred to as the sub-species Meles meles atavus (Kormos). The Tree Mellivora capensis The Honey Badger NOTE: It should be seen from the above diagram, that Honey Badgers are not really badgers; as they are not part of the same sub-family as the "true badgers". However, Honey Badgers are so similar in form and habits and share the same common name, so they are included here. It seems a shame to exclude them, as they are very nearly as cute as "our" British badger; and are persecuted in Africa. Eurasian Badger Subspecies We describe our badger as the Eurasian badger (Meles meles) because this is the name very commonly used in the various books about badgers; and the name used in the overwhelming majority of peer-review science journals. It is also the species that predominates over most of Europe. If you are being very pedantic, you should really say that there are a number of subspecies within the overall Meles meles species. These sub-species are still true badgers, but may have developed slightly different characteristics because the badgers in one region have been genetically isolated from other for very many generations. The badger we see here in the UK might accurately be described as Meles meles meles. The badger which lives on Crete is Meles meles arcalus (Cretan badger). The badger which lives on Rhodes is Meles meles rhodius (Rhodes badger). The badger which lives in south-west Norway is Meles meles milleri (Norwegian badger). The badger which lives in Spain is Meles meles marianensis (Iberian badger). The badger which lives in parts of the Russian steppes is Meles meles heptneri (Kizlyar badger). The badger which lives in other parts of Russia, Turkmenia, Iran, Afghanistan and Asia Minor is Meles meles canascens (Trans-caucasian badger). The badger which lives in other parts of Afghanistan, Tajikistan and the Pamirs is Meles meles severzovi (Fergana badger). Badgerland, 10 Badger Lane, Blackshawhead, Hebden Bridge, West Yorks, HX7 7JX. Phone: 01422-846846. Contact Us . ï¿½ 1998-2013 www.badgerland.co.uk. All Rights Reserved.	Operation Upshot–Knothole
A new convert to any particular religion or doctrine is known as a what? (Nine letters.)	Badger videos, photos and facts - Meles meles \| ARKive Top Badger biology Although such a familiar species, few people have actually seen this elusive nocturnal mammal in its natural habitat (2) . During the day badgers are inactive, and rest in their setts, complex systems of underground tunnels with nests of dry grass, straw and dead leaves (2) , which are passed on from generation to generation (6) . In certain conditions they may forage during the day, for example during hot summers when food is in short supply (7) . Although they do not hibernate, they do spend a lot of time in the sett during cold spells in winter (7) . Badgers are omnivorous ; their main source of food is earthworms, of which they may eat several hundred a night (6) . They also take other invertebrates, nuts, fruit, small vertebrates, bulbs and cereals (7) . They are one of the few species able to kill and eat hedgehogs (Erinaceus europaeus), thanks to their thick skin and long claws (6) . Badgers tend to live in social groups consisting of a number of adults and young (5) . There is usually a dominant male (boar) and one breeding female (sow) in each group (5) , but occasionally more than one female breeds (2) . The dominant boar marks the range with dung in certain places called 'latrines', and will fiercely defend his range from intruding males (5) . Mating tends to occur in the spring, but it can take place throughout the year. Regardless of the time of year of fertilisation of the egg, further development is delayed until December (7) . This 'delayed implantation' means that there is an opportunity for cubs to grow sufficiently before winter (5) . Litters contain between 1 and 5 playful cubs, which become sexually mature at around 2 years of age (5) . Top Badger range Widespread throughout Europe and Britain, but not as common in northern Scotland and many of the islands around the UK (7) . Top Badger status The badger is classified as Least Concern (LC) on the IUCN Red List (1) . It is fully protected in the UK by the Protection of Badgers Act, 1992 (3) , and by Schedule 6 of the Wildlife and Countryside Act, 1981. Classified as a species of conservation concern by the UK Biodiversity Action Plan, although not a priority species. Listed under Appendix III of the Bern Convention (4) . Top Badger threats Badgers can damage crops and cause subsidence problems; they are therefore considered a pest in some circumstances (7) . Badgers are known to carry bovine tuberculosis, and have been culled for this reason, which has sparked considerable debate and protest, and further research is required (7) . Historically, badgers have been severely persecuted in a number of ways, including badger baiting (in which badgers are pitted against dogs and forced to fight to the death), digging, setting snares, shooting, and having their sett holes blocked (3) . Road accidents are a major cause of mortality, and habitat loss and fragmentation are also thought to be causes for concern (7) . Top Badger conservation Badgers have an extremely high level of legal protection under the Protection of Badgers Act, 1992 (3) . It is illegal to intentionally kill, persecute, or trap a badger except by applying for a license (3) . Inhumane means of control are banned, and it is also illegal to damage, destroy, and obstruct setts (3) . There may be further information about this species available via the National Biodiversity Network Gateway.	i don't know
Benny Hill’s real first name was Alfred. What was his middle name?	Benny Hill - Everything2.com Benny Hill by allseeingeye Thu Apr 03 2003 at 4:45:30 "The pleasures of drink last but a moment, Cigarettes make you sick, you could die; But the love of a beautiful woman, oh! That's the best thing that money can buy!" Famous for becoming the most international ly recognize d British comedian , Benny Hill is most fondly remembered from his role as host of " The Benny Hill Show ", a television series that ran for four decade s and has been syndicated in over 109 different countries. His unique brand of cheeky humor is known and loved the world over . Who was Benny Hill? Born Alfred Hawthorn Hill on January 21, 1924 (or 1925) in Southampton , England , the boy who would grow to up to be one of England's most famous international comedians dreamed of becoming a star, much like his idol Charlie Chaplin . His grandfather who introduced him to Burlesque shows and the Vaudeville humor that would so strongly influence his future work. His dream of become a comedy star would be fulfilled after many years of hard work. Finding his direction early in life, Benny was a dedicated actor in school play s and local theatre . Before enlisting for mandatory National Service in 1940, Benny had held jobs as a milkman and a drummer . He would draw on these jobs for inspiration later in his career. Returning to London after being discharged from service, Hill adopted his stage name, as a tribute to his favorite comedian at the time, Jack Benny . He landed a job as a theatre manager and various bit parts around town. His first real part came in 1941 with a production of " Stars in Battledress ". Hill later followed the more traditional route of comedians by performing in revues at music hall s and men's clubs . Radio work and a brief partnership with comedian Reg Varney soon followed. Benny's talent for impression s and comic timing landed him his first television role in 1949, with an appearance on "Hi There". Seeing the power of the new medium of television early on, Hill began hosting a handful of variety program s for the BBC in the early 1950s. His first movie role followed in 1956, when he played the role of a bumbling private eye in Who Done It? , a box office flop . His most important role actually came one year earlier. The Benny Hill Show began in 1955. Between 1955 and 1969, when production moved to Thames Television , the show had a wildly irregular schedule. Canceled and renewed over and over, the show still managed to launch Hill to superstardom. Refining his style of cheeky humor, songs and impressions made the show a fan favorite early. Benny also appeared in several more motion pictures, with notable roles in The Italian Job , and Chitty Chitty Bang Bang . In 1969 the move from ATV to Thames Television launched the golden age of the Benny Hill Show. Hill gained national popularity with his saucy comedy. The show was loaded with bawdy humor and sexual innuendo s. The slapstick skits often featuring Hill and a supporting cast of scantily clad women known as " Hill’s Angels " were an instant success. The show was a runaway hit and ran from 1969 till 1989. Benny was on top of the world. What most audiences outside of the United Kingdom know as The Benny Hill Show, was in fact a compilation series of 111 half-hour episodes. These shows were syndicated on North American television beginning in 1979. With the release of the show in North America, Benny Hill became a household name in both the United States and Canada . The show itself has been seen in 109 countries and won a BAFTA as well as Golden Rose Of Montreaux Award. The series amassed a huge cult following, making Hill the most popular British comedian to appear on U.S. television. The compilation series was sold in over 90 other foreign language markets, including Russia and China . Benny's TV career came to an end in 1989, when his show was dropped from ITV , but his popularity continued to build around the world until his death several years later. Benny Hill died alone at his home in Teddington , Middlesex , England on April 18th, 1992, suffering a heart attack while sitting in his favorite chair watching television. He had suffered with a chronic heart condition for years before his death. He was 68 years old. Benny Hill's death stirred up a controversy . Worth an estimated 7.5 million pound s, Benny's will was years out of date. It directed that his earnings be given to his parents, both long dead . Next in line were his estranged brother Leonard and sister Diana, also dead. The executor of his estate divided the money among Hill's seven nieces and nephews. A note was found among Benny's belongings assigned huge sums of money to long time friends and costars Sue Upton , Louise English , Henry McGee , Bob Todd and Dennis Kirkland . Neither signed nor witnessed, the note had no legal standing. What made him so funny? There are some things that are pure Benny Hill. Raising his hand to his forehead with a palm facing out and optionally crossing his eyes and sticking out his tongue, Benny made the reverse salute his trademark. The famous theme song from the Benny Hill Show is recognized around the world, with its comical saxophone melody featured prominently at both the beginning and ending of most shows. The song is actually titled Yakety Sax . Hill was a master of the reaction shot , wrote slapstick comedy on par with that of the Three Stooges , and pantomime d like few others outside of silent film s. His sketch comedy was fast paced and over the top with sight gags and smuttiness. Many segments of naughty rhyming songs written and performed by Hill, with accompanying leers and winks, appeared on the show. Buxom girls were constantly being chased or ogled by Hill, usually ending with a slap or a wide rolling eye grin from Benny. Hill was adept at playing idiot s who on a slightly closer inspection turned out to be both sly and lecherous . Many reoccurring characters, like Fred Scuttle the inept security guard, played along side an impressive supporting cast. Actor Jackie Wright provided the ultimate sidekick to Hill's buffoon in his role as the small, elderly bald man Hill lovingly slapped on the top of the head in many skits. The Benny Hill Show ended in almost the same way every week. A chase featuring sped up photography and a combination of Hill, well-endowed women, British bobbies , jealous boyfriends, amorous ugly people and the little bald man raced across the screen to the distinctive theme song. Benny Trivia Benny was left-handed , stood 5' 10 1/2" tall and never owned a car in his entire life. He died a bachelor after having proposed to two different women. There is actually heated debate over what year Benny Hill was born in. Both January 21, 1924 and January 21, 1925 are stated as his birthday. Actual birth records exist for both dates. Hill himself was never sure. By the time it was discovered, everyone who knew for sure had passed on. He was one of only a handful of early television comedians who had control over the production of their shows. Only Jackie Gleason and Milton Berle had similar control in American broadcasting. After Benny's death, his estate was cataloged. In his small apartment, Hill kept all the many awards he had won over the course of his career in a large box. None were on display. Hill lived happily within walking distance of the studio which he produced so many of his shows. Even though had earned millions of pounds over the course of his career, he did his own grocery shopping, and in fact never used the second floor of his two story flat . The Benny Hill show was not universally loved in Great Britain . After a series of complaints about the sexual nature of much of the humor shown, Hill started casting the children of his production crew to appear in skits with him. None of the children were professional actors, and Hill delighted in showing their genuine reactions to his madcap actions. These children became known as the " Little Angels ". The Quotable Benny Hill I'm not against half-naked girls...well, not as often as I'd like to be. Have you noticed that all the people in favour of birth control are already born? Why would I make one woman so miserable when I can make so many women very happy? (When asked to comment on rumors that he had sexual affairs with women on his shows): "I never yell, I never tell, but I'm grateful as hell." Benny's Body of work Hill worked as an actor, a writer, a composer and even a hit singer, with his humorous single " Ernie The Fastest Milkman In The West ". This list is guide to his various works over his long and successful career. Who Got Benny's Millions? - archive footage of Benny - 2002 Benny Hill: A Tribute - archive footage of Benny - 1992 Benny Hill's World: New York! - Host - 1991 The Crazy World of Benny Hill - Himself - 1988 Benny Hill's V!deo S!deshow - Himself - 1982 Best of the Benny Hill Show - Himself - 1981 To See Such Fun - Himself - 1977 Best of Benny Hill - Himself - 1974 The Waiters - Waiter - 1971 The Italian Job - Professor Simon Peach - 1969 "Benny Hill Show, The" TV Series - Host - 1969 Chitty Chitty Bang Bang - Toymaker - 1968 Those Magnificent Men in Their Flying Machines, or How I Flew from London to Paris in 25 hours 11 Minutes - Fire Chief Perkins - 1965 A Midsummer’s Night's Dream - Bottom - 1964 Light Up the Sky! - Syd McGaffey - 1960 Pantomania: Babes in the Wood - Minstrell -1957 Who Done It? - Hugo Dill - 1956 thanks to anotherone for telling me the name of the Benny Hill show theme song, Yakety Sax. Tue Jun 19 2007 at 21:04:55 British Comedian Born 1924 Died 1992 In 1992 Marian Davies , former member of the Ladybirds (Benny Hill's backing singers for many years), was working on a cruise ship sailing up the Amazon . Taken on a trip up the jungle, she was introduced to a group of tribesman as a friend of Benny Hill. She was somewhat surprised to be rapidly surrounded by an awestruck crowd whose chief addressed her with the words; "We hear he is dead. None of my people believe it because we still see him on television. How can he be dead?" Such was the fame of the man who was once the world's most popular comedian, which had percolated even to the farthest reaches of the Amazonian rainforest. His early life and origins Benny Hill was the stage name adopted by Alfred Hawthorn Hill who arrived in this world weighing in at a substantial eleven pounds on the 21st January 1924 at 30 Bridge Road, Southampton, being the second of three children of Alfred Hawthorn Hill (Big Alf) and his wife Helen, née Cave. (1) His grandfather Henry Hawthorn Hill was the only son of a surgeon who, after a curtailed education, was apprenticed as a chemist in London but soon abandoned that in favour of a peripatetic career as a circus entertainer and sometime comedian. Alfred Hill senior was one of Henry's eight children who like his father initially followed a circus career. Big Alf however quit the circus in 1910 and decided to seek a more stable source of income. He came to Southampton looking for a job as a ship's steward, but fortunately for this story he failed to get the job and the RMS Titanic sailed without him. Alfred ended up working for Jack Stanley , who was officially practicing as a medical herbalist, but whose real business was the supply of condoms. When World War I intervened and both Alfred Hill senior and his employer were called up to serve in the trenches and Henry Hill came down to Southampton to keep the business going. After the war (which both Alfred and his boss survived) Henry Hill returned to his old trade of pharmacy before opening his own dental practice, whilst keeping his hand with the circus business by writing a column for The World's Fair under the name of 'Aitch Aitch'. The condom business prospered, Jack Stanley became a millionaire and his manager Alfred Hill senior did well enough to acquire a semi-detached house at 22 Westrow Gardens in Southampton close to both the local speedway track and The Dell , home of Southampton F.C. It was there that little Alf grew up alongside his elder brother Leonard and his younger sister Diana. He showed early promise and passed his eleven-plus a year early, first attending the local grammar school, Taunton's School at the age of ten, where a glittering academic career seemed to be in prospect for the young Alf Hill. (2) However it was in 1936 that his grandfather took him and his brother Len to see their first Variety show at the Southampton Hippodrome . This, and subsequent visits to the Hippodrome and the Palace Theatre nurtured in Alf the ambition to become a professional comedian. Neither of his parents, particularly his father, approved of this idea and the only encouragement he received was from his English teacher Horace King (the future Labour member of parliament and peer). As a result Alf quite neglected his studies, was held back a year and eventually left school at fifteen without taking his School Certificate . He the spent three weeks employed as a weighbridge clerk at the Phoenix Wharf and Coal Company , before his father found him a job as a trainee manager at Woolworth's in Southampton. Ald decided to quit after six months and left home, finding lodgings in Eastleigh , being determined to make his way in show business. He joined a concert party outfit run by a Mrs Ivy Lillywhit e, where he played guitar and occasionally sang, whilst he worked on developing his comedy act. On the 27th October 1940 Alfred Hill made his comedic debut at the Town Hall in Eastleigh, in a concert in aid of the Spitfire Fund and organised by his old schoolmaster Horace King. The local Eastleigh Weekly News reported that he had the audience in "fits of laughter". Afterwards he took his comedy act round the working men's clubs in the area, whilst he took a dayjob as a milkman for James Hann and Son with his own round in Eastleigh. It was however clear that Southampton and distict offered limited opportunities for a would-be comedian, and so in July 1941 he left for the bright (if blacked out) lights of London. Armed with a copy of The Stage he began knocking on doors until the impresario Harry Benet gave him a job as the assistant stage manager in a show called Follow the Fun . His principal duties were looking after the stage scenery and cleaning up the stage after the animal acts had performed. His opportunity came when the straightman to the show's principal comedian Hal Bryan failed to turn up, and Alf filled in at the last minute. He did well enough to be given some small parts and when the show closed in December 1941 he took a similar job in pantomime with Robinson Crusoe at Bournemouth . He then briefly worked at a scenery workshop before going back on the road again in March 1942 in another Benet show, Send Him Victorious in which he was billed as 'Alf Hill, The Warrior'. There was, of course, a war on, but when his call up papers arrived back home in Southampton in July 1942 Alf simply decided to simply ignore them, in the belief that he would just be forgotten about. He sadly underestimated the capabilities of the British authorities and one night in November 1942 two military policemen turned up at the New Theatre, Cardiff and arrested him. After spending a night in the police cells he was escorted to a military camp at Lincoln and introduced to the delights of basic training. He was afterwards posted to the Royal Electrical and Mechanical Engineers as a driver-mechanic, a most unsuitable job for quite possibly the least mechanically minded young man in the country. His military service was unremarkable apart from the fact that he lost his virginity to the wife of a local cafe owner somewhere on French soil in the early part of 1945. With the end of the war he obtained a transfer to the Central Pool of Artists and became a member of the Stars in Battledress troupe. Back in Britain he was given a part in a musical play Happy Weekend , and then sent back to Germany act as the compere of an army Variety show It's All in Fun . At the final dress rehearsals a major turned up who decided that he wasn't funny and sacked him. Alf went back to being a stage manager, who occasionally succeeded in sneaking on stage to perform the odd turn. After the war It was whilst he was with the Stars in Battledress that he had decided that neither Alf nor Alfred Hill sounded quite right, and decided to adopt the stagename of 'Benny Hill', partly in honour of Jack Benny , and partly because he thought it made him sound more Jewish. (Following his father's advice to 'keep in with the Jews'; a reasonably sound piece of advice given the preponderance of Jews in the entertainment business.) It was thus as Benny Hill that he was eventually demobilised in May 1947 and began the search for work. There wasn't a great deal about at the time, and so Benny approached Frank Woolf who ran Show World , a competitor to The Stage, and struck a deal to receive free advertising in return for providing a humorous column for the paper. He took his act around the pubs and clubs of the capital, appeared on BBC radio shows as Variety Roundabout and Variety Bandbox , and even made his television debut in Music-Hall which was transmitted by the BBC on the 23rd March 1949. However his first real break came in the summer of 1948 when he beat Peter Sellers in the audition to appear as the straightman alongside Reg Varney (the future star of The Rag Trade and later On The Buses ) in the show Gaytime at the Cliftonville Lido (the posh end of Margate ). Varney's agent Richard Stone decided it therefore made sense to sign up Benny as well. For the first time he therefore found himself with a professional agent, and when the double act he developed with Varney an undoubted success, Benny was finally getting regular work. He spent the summer of 1949 at Newquay in Cornwall before rejoining Varney at Margate for the 1950 summer season. After Margate he was put into a touring show Sky High which again featured the Hill and Varney double act. For a time it seemed as if Benny might be on the road to success as one half of a double act, until that fateful night on the 9th April 1951 when Sky High played at the Sunderland Empire and Benny Hill died on stage and was given the slow handclap . The show's managers decided to remove his solo spot from the show, and Benny decided that in that case he'd quit the show altogether, abandoning his partnership with Varney. Back in London Benny decided that thing to do was to establish himself as a comedy scriptwriter, and began circulating some scripts. These attracted the interest of the producer Bill Lyon-Shaw , who believed that television should be developing its own talent, and was on the look out for likely candidates. Shaw sent him to see Ronald Waldman , the Head of Light Entertainment at the BBC , who liked the scripts and was somehow persuaded that Benny was also the best person to perform them. The upshot was that Benny's very first solo television show Hi There was broadcast on the 20th August 1951. Based on the surviving script it appears to have followed more or less the same format as any other Benny Hill show that came afterwards. It did well enough for the BBC to employ him as the compere for various variety shows broadcast by the BBC on both television and radio, whilst he also made regular appearances on Variety Fanfare . Eventually the BBC gave him the job of compering The Centre Show which was broadcast each month from the Nuffield Centre in London (a club for the 'forces of the crown'). There he repeated a joke about a lost football fools coupon which ended with the punchline "Whitehall Home-Away-Home-Away". Someone in the War Office decided that this sounded like "homoway" and concluded that this was a slur on the police force. The military men who ran the Nuffield Centre decided that they needed to be able to vet the show's scripts prior to transmission, BBC declined to surrender its editorial independence, whilst the story was leaked to the press, allowing the Daily Mirror to pronounce that "The public does not want its entertainment vetted by colonels". The Nuffield Centre now refused to lend its facilities to the BBC, it simply continued as before, renaming the programme as The Services Show which eventually mutuated in 1954 into Showcase . In any case the resulting publicity helped transform Benny Hill into a well-known public figure and he was honoured as the Personality of the Year in the National Television Awards for 1954. He capitalised on his new-found public recognition in October 1954 when he went on tour with The Benny Hill Show , which proved to be a thundering commercial success (he made a £1,000 a week) and even went down well in Sunderland . He was also hired to appear as the straight man on Archie's the Boy (the follow-up to Educating Archie ) which was the biggest thing on radio at the time, which only served to further enhance his profile. The BBC Benny Benny Hill was never a particularly original or innovative comedian. His early act was largely borrowed from that of Max Miller (the 'Cheeky Chappie', regarded by aficionados as the greatest of all British comedians) which he later expanded on by using material acquired from the many 'gag books' published in the United States , and cribbed from comedy shows broadcast on the American Forces Network . Indeed he developed something of a reputation for 'borrowing' material from other comedians (much to their annoyance), in fact he was quite thorough in his approach and any American comedian who ventured to London would find Benny in the audience, notebook in hand, taking notes. The other thing to realise about Benny Hill is that he was never a particularly accomplished theatre performer, being quite unable to project much beyond the first few rows of the stalls. What was a however a decided disadvantage on stage was a positive advantage on television, where his mannerisms where on a sufficiently small scale to be successful on the small screen, whereas the practiced stage craft of other comics simply appeared overblown. As the Sunday Pictorial was later to put it "he THINKS television" and that, if anything, proved to be the secret of his success. In an age when his perhaps more able competitors thought simply of television as a means of exposing stage act to a wider audience, Benny realised that television required a different approach. Perhaps his big innovation was his ability to produce 'guys' (as they were known as the time), or parodies of the popular television shows of the day. One of his early successes was his spoof of What's My Line , in which he played all four of the regular panel members, (quite a feat in the 1950s since he only had thirty seconds for the costume change from one character to another to cope with the requirements of live television) giving him an opportunity to display his undoubted gift for mimicry. Eventually the BBC decided to give Benny his own television series and The Benny Hill Show was launched on the BBC on the 12th January 1955. The show featured spoofs of other TV shows, comedy sketches supplied by his longtime collaborator Dave Freeman , together with Benny's own comic songs; although like all of television comedy at the time, since the show was broadcast live, the actual comedy was padded out with other appearances from other acts, simply in order to allow time for costume and/or set change. Nonetheless the Benny Hill Show was a hit with the critics, broke records for audiences and won almost universal approval from BBC Audience research, and propelled Benny to the status of the very first British television comedy star. Eager to make the best of his client's new found fame, Richard Stone signed Benny up for a long term deal with theatre impresario Bernard Delfont . Benny therefore found himself scheduled to appear in the West End show Paris by Night which combined the Folies Bergère with British comedy acts, which featured Benny together with the up-and-coming Tommy Cooper . Although Benny initially enjoyed the idea of being a West End star, he soon began to hate performing in this show. His style of comedy simply didn't work on a large stage, and after Paris by Night closed, Benny decided that he didn't want to do it again. However Delfont only agreed to release Benny from his obligations in returning for signing up to eight hour long shows for Associated Television (which was run by Delfont's brother Lew Grade ). Therefore between 1957 and 1960 Benny also appeared on ITV on Saturday Spectacular , although ITV were disapointed that Benny simply recycled material he had already done for the BBC. In fact appearing on stage held less and less attractions for Benny. He appeared in summer seasons at Great Yarmouth in 1957 and Scarborough in 1958, but afterwards refused to do any more and focussed his efforts on putting together his own show Fine Fettle, subtitled as 'A Musical Romp in Cloth Cap and Tails', which was an attempt to do an English version of the sophisticated revue that had earned acclaim for the French comedian Robert Dhéry . Fine Fettle opened to mixed reviews and after the show closed in January 1960, Benny more or less made the decision to finish with live theatre. Indeed he became so infused with stage fright in his later life that he was more or less physically incapable of doing so. It might have seemed that the cinema would have been an obvious opportunity for Benny's talents, given that he had come to hate performing live. In 1956 he starred in a film called Who Done It? , which was to put it bluntly pretty awful and then co-starred with Tommy Steele in Light up the Sky which was simply mediocre. That was really about it as far as his film career was concerned, although he did get a few cameo roles, most notably as the sex and computer expert in the original version of The Italian Job . He was happier and more successful in doing what he did best, which was following the now tried and tested formula of The Benny Hill Show, the mainstay of the BBC's Saturday night schedules. For a little variety during the two years from 1962 to 1963 he temporarily abandoned his standard show in favour of a series of nineteen situation comedies which appeared under the collective title of Benny Hill, and he later appeared as Bottom in a television production of A Midsummer Night's Dream in 1964, which was a hit with both British and American audiences. He also appeared in a series of commercials for Schweppes (one of which won the Grand Prix de la Télèvision , becoming the first English language ad to do so) for which he was paid £10,000 a time. The Thames Benny The trouble was that Benny had ambition, and wanted to move into films as a writer and performer, his earlier failures notwithstanding. He eventually managed to find a small London based production company, Fanfare Films which allowed him to make The Waiters , a thirty minute film with a music soundrack but no dialogue. This achieved a cinema release in 1968 (as the supporting feature for Catch 22 ) but it wasn't regarded as a commercial success and therefore there was little enthusiasm for his next project Eddie In August . Thames Television took advantage of this opportunity to snatch Benny from the BBC largely by promising that they would let him shoot Eddie In August. (At the time the BBC so annoyed at losing Benny and even deliberately wiped the tapes of three of his most recent shows.) The first Benny Hill Show to appear on the 'other side' was broadcast on the 19th November 1969. Although this was essentially the same Benny Hill Show as had been appearing on the BBC since 1955 (albeit this time in colour), it contained the first examples of what would now be regarded as the defining characteristics of Benny's TV work; the show opened with the Yakety Sax instrumental (3) , and finished with the end of show run-off which featured Benny being chased by a variety of outraged and usually only semi-clothed women. Although Eddie in August was screened in June 1970 it received only a muted response from both public and critics. Benny thereafter gave up on ambition and settled into the routine of making three TV shows a year and spending half of the year abroad. Big in America Throughout the 1970s Benny Hill continued to be a major TV star in Britain, he was largely unknown outside the country. Like the BBC Thames Television had little success in selling the show abroad, and so whilst viewers in Australia , New Zealand and Rhodesia might have known and loved Benny, most of the world remained blissfully ignorant. (Which in many ways suited Benny, since it enabled him to travel around Europe quite unmolested by fans.) In particular the world's largest television market had shown no interest in Benny Hill whatsoever. As it happens, Benny was not alone, as with the exception of Monty Python's Flying Circus , no British comedy act had ever succeeded in breaking into the American market. The man responsible for altering this state of affairs was Don Taffner , Thames Television's American agent. Realising that the networks wouldn't touch Benny Hill, it was his idea to take the thirty-one hour-long shows that were sitting in the Thames TV archive and break them into half hour shows, and sell these to independent stations which could strip them across the same time slot Monday to Friday for a thirteen week season. The biggest problem that Taffner faced wasn't so much in selling the show (he soon found four stations willing to take the show) but in persuading Benny Hill to accept any deal whatsoever, simply because Benny wasn't that interested in either making money or making it in America. In the end his reluctance led to Thames conceding a unprecedented 50:50 split of the profits which in due course made Benny a very rich man indeed. John Street was hired to edit the material and convert it into US format. (The "really sexy" material was held back for fear of offending American sensibilities.) The first Benny Hill Show was broadcast by WTAF-TV in Philadlephia on Channel 29 on the 8th January 1979 at 11 o'clock in the evening in deference to what the Americans saw as its 'adult' content. The show was a hit in Philadelphia as it was in Miami, Seattle and Chicago, and other stations soon signed up for what the New York Daily News called "the most outrageous show on television". Initally many of the critics sneered at the show, but ended up liking it anyway, with Howard Rosenberg of the Los Angeles Times celebrating his show as "a triumph of trash so revolting that unbelievably you tend to like it". Having conquered America the rest of the world rapidly signed up for the Benny Hill phenomenon. The show was a success in France , Germany and the rest of Europe, even the Soviet Union brought the show, the Japanese soon became its staunchest fans, and his shows were even considered suitable fare for Chinese audiences. In a few years Benny Hill was transformed from being merely a British television star to the status of the world's most popular comedian. The secret of his success was that much of his comedy was visual, and relied heavily on the kind of sight gags to be seen in the work of Buster Keyton and Charlie Chaplin , and depended on the sort of basic comedy stereotypes that easily identifiable no matter what the language or culture. Down in Britain The irony was that, just at the moment that Benny Hill became internationally famous, his fortunes in Britain began to decline. The Thames Television shows he made in the 1970s were certainly bawdier than those he made for the BBC in the 1950s and 1960s, but from 1980 onwards his shows became even more sexually explicit, particularly with the introduction of Hill's Angels , whose appearances often featured gratuitous close-up shots of various parts of their anatomy. (nothing however that would come as surprise to viewers of Baywatch .) To certain people this was the time his show began its "descent into smut", and began to attract (even more) criticism from the likes of the National Viewers and Listeners Association and the Festival of Light . Feminism was also beginning its steady march through the British left and trades union movement, and its exponents waxed lyrical on the subject of Benny's denigration of the female gender. To cap it all the 1980s saw the arrival of ' alternative comedy ', which like all new revolutionary movements, sought to disparage and denigrate what had come before, and indeed it was Ben Elton who famously condemned Benny's comedy for consisting of little more than "chasing naked women about the park". Of course Elton was ultimately simply displaying his ignorance; for one thing Benny Hill's women were never naked, and for a second thing he never chased women, they chased him. The beginning of the end was when John Howard Davies took over as Head of Light Entertainment at Thames in March 1988, and began a reappraisal of the station's output. Four weeks after the screening of what proved to be the last edition of the Benny Hill Show on the 1st May 1989, it was Davies told Benny that they were dropping him from the schedules. At the time The Sun blamed "po-faced left wingers" and "gutless Thames TV bosses" for the decision to cancel the show, a view that was widely shared at the time and Benny has since been characterised as "an unworthy victim of political correctness" (4) as one informed source put it, whilst another perhaps less informed source has blamed "these evil talentless women along with the likes of that evil talentlouse ben elton" (5) . As convenient as it might be to accept that explanation the truth was that it was costing Thames Television £450,000 for each hourly show, the ratings had slipped, and whereas in the 1970s he had attracted viewers from across the social spectrum, by the 1980s his shows were attracting an almost exclusively working class male audience (the least attractive audience profile for advertisers) (6) . In fact, to be honest, Benny was simply re-cycling the same old gags again and again, years of overindulgence had led him to put on weight and become, as his agent rather bluntly put it, a "fat old man", and his final Thames shows were indeed rather self-indulgent and simply not that funny. The Final Years Benny might have found himself cast into the television wilderness in 1989, but he was not quite forgotten. For one thing his old shows were continually being repeated the world over, so surely someone, somewhere, would commission him to do a new series? Don Taffner had the idea of a new show Benny Hill's World a series of six hour long shows to be shot at various locations around the world. Taffner eventually managed to finance a 'New York' edition (much of which was actually shot at Teddington), but the resulting show failed to impress (and convinced Thames that they'd made the right decision in cancelling the show). The trouble was that, given Benny's propensity to recycle material, there was little incentive for anyone to buy any new shows, when they could broadcast the old ones for a fraction of the cost. In the meantime however there was plenty of lucrative foreign TV commercial work available, and Benny was happy enough being paid to travel to such locations as Hawaii until something better turned up. Benny's fortunes began to improve in 1991; he was subject of a very complimentary BBC documentary Clown Imperial in the same year that he was awarded the Charlie Chaplin Award for Contributions to Comedy. Rumours were circulating that Benny might to a series for Channel 4 , whilst somewhat ironically Thames Television (having lost their TV franchise in October 1991 and been forced to become an independent producer) approached Benny with the idea of making some new shows. However by that time negotiations were well advanced with Central Television for a new series, so much so that Central had already sold the shows to the ITV network and been allocated the transmission slots. The proposed Central series never materialised for reasons that will soon be evident. On the 10th February 1992 Benny was admitted to the Cromwell Hospital in South Kensington after suffering difficulty breathing. The cause was ascertained to have been a heart attack . He was at the Cromwell for eight days, but four hours after being discharged he was re-admitted to the Royal Brompton Hospital in Chelsea after complaining once more of breathing difficulties (this time it was water on the lungs), before being discharged on the 24th February 1992. Benny was told by his doctors that he urgently needed a heart bypass , but that due to the evidence of heart disease he might not survive the operation. He decided against having the operation, even though that it meant that he could quite literally drop dead at any minute. A few months later on the 19th April 1992, the comedian Frankie Howerd died and amongst the tributes recorded in the British press was the reported comment from Benny Hill about how "upset" he was at the news of Howerd's death. The actual source of this comment was Dennis Kirkland , Benny's producer throughout most of the 1980s. He hadn't heard from Benny for a couple of days and so on the following day Kirkland called at Benny's flat, got no answer and ended up climbed up a ladder to gain access. He discovered Benny's body slumped in an armchair in front of the television. According to his death certificate Benny Hill died of coronary thrombosis "on or about twentieth April 1992", but he'd probably been dead for anything up to forty-eight hours, and so some accounts give a date of the 18th or 19th April. Throughout his life Benny Hill was indifferent to money and often never bothered banking the cheques he received. He had no interest in clothes, never owned a car (although he could drive) and never bought a house, despite becoming a millionaire many times over, preferring to live in a succession of respectable if unspectacular leased flats, which he furnished with whatever oddments of furniture he'd received as a quid pro quo for opening a store somewhere or other. Even when he became wealthy he continued with the frugal habits he had picked up from his parents (or more especially his father); buying cheap food at supermarkets, walking for miles rather than paying for a taxi, unless someone else picked up the tab for a limousine, patching and mending the same old clothes again and again, even when the balance on his account at the Halifax Building Society reached seven figures. His one extravagance was foreign travel, and even here he preferred staying in modest pensiones rather than five star hotels. His relationships with women were never successful; either they rejected him or he refused to commit to them and they lost interest, and he never married. According to Bob Monkhouse (who was as close as anyone ever became to Benny Hill) he wasn't really that interested in what we might refer to as 'performing the act'. His main interest was in picking up 'factory girls', ordinary working class and inevitably star struck women, who would call him 'Mr Hill' and were happy to perform fellatio on him without expecting anything much in return. He even acquired a job lot of see-through nightdresses and Max Factor perfume as gifts to be bestowed on those women who performed according to expectation. Fifteen years after his death his reputation in the United Kingdom remains somewhat tarnished and even today there are those that almost spit with fury when ever his name his mentioned, although (rather like Ben Elton) they appear to have based their opinions on received wisdow rather than their own direct experience of his work. Indeed his reputation for 'denigrating women' seems a trifle unfair given that even Monty Python had Carol Cleveland as their resident brainless sexual object, and Spike Milligan 's Q series used to regularly feature selected young lovelies clad in stockings and suspenders for no discernible reason, none of whom attracted a fraction of the opprobrium lavished on poor Benny. In 2006 Channel 4 sought to address the question in Is Benny Hill Still Funny? in which they sat a selected audience of twentysomethings in front of a TV screen to watch some of Benny's old show. The general conclusion reached was that Benny Hill was indeed still funny, and entirely unoffensive. His legacy is likely to be his series of Thames's TV shows (if only because much of his BBC work was never kept) although it should not be forgotten that he had a brief and perhaps unlikely career as a pop star when his comic song Ernie (The Fastest Milkman In The West) (based partly on his brief reallife experiences as a milkman back in 1941) was the Christmas No 1 in 1971. Interested parties should note that the YouTube website features a wide selection of material from Benny Hill's shows. NOTES (1) His middle name was spelled 'Hawthorn' not 'Hawthorne', although throughout his life it was frequently mispelt as the latter including apparently on his death certificate. (2) In 1969 Taunton's School was reorganised as a Sixth Form College for boys and became the Richard Taunton College . (3) Composed by Randy Randolph and James Rich this was a minor US hit in 1963 but is now probably better known simply as the 'Benny Hill theme' (4)	Hawthorn
With the formula C6H12O6, what is also known as grape sugar?	Astrology: Benny Hill, date of birth: 1924/01/21, Horoscope, Astrological Portrait, Dominant Planets, Birth Data, Biography 1st Fire sign - 1st Cardinal sign (spring equinox) - Masculine In analogy with Mars, his ruler, and the 1st House Aries governs the head. His colour is red, his stone is the heliotrope, his day is Tuesday, and his professions are businessman, policeman, sportsman, surgeon... If your sign is Aries or your Ascendant is Aries: you are courageous, frank, enthusiastic, dynamic, fast, bold, expansive, warm, impulsive, adventurous, intrepid, warlike, competitive, but also naive, domineering, self-centred, impatient, rash, thoughtless, blundering, childish, quick-tempered, daring or primitive. Some traditional associations with Aries: Countries: England, France, Germany, Denmark. Cities: Marseille, Florence, Naples, Birmingham, Wroclaw, Leicester, Capua, Verona. Animals: Rams and sheeps. Food: Leeks, hops, onions, shallots, spices. Herbs and aromatics: mustard, capers, Cayenne pepper, chilli peppers. Flowers and plants: thistles, mint, bryonies, honeysuckles. Trees: hawthorns, thorny trees and bushes. Stones, Metals and Salts: diamonds, iron, potassium phosphate. Signs: Taurus 1st Earth sign - 1st Fixed sign - Feminine In analogy with Venus, his ruler, and the 2nd House Taurus governs the neck and the throat. Her colour is green or brown, her stone is the emerald, her day is Friday, her professions are cook, artist, estate agent, banker, singer... If your sign is Taurus or your Ascendant is Taurus: you are faithful, constant, sturdy, patient, tough, persevering, strong, focused, sensual, stable, concrete, realistic, steady, loyal, robust, constructive, tenacious. You need security, but you are also stubborn, rigid, possessive, spiteful, materialistic, fixed or slow. Some traditional associations with Taurus: Countries: Switzerland, Greek islands, Ireland, Cyprus, Iran. Cities: Dublin, Palermo, Parma, Luzern, Mantua, Leipzig, Saint Louis, Ischia, Capri. Animals: bovines. Food: apples, pears, berries, corn and other cereals, grapes, artichokes, asparagus, beans. Herbs and aromatics: sorrels, spearmint, cloves. Flowers and plants: poppies, roses, digitales, violets, primroses, aquilegia, daisies. Trees: apple trees, pear trees, fig-trees, cypresses, ash trees. Stones, Metals and Salts: copper, calcium and potassium sulphate, emeralds. Signs: Gemini 1st Air sign - 1st Mutable sign - Masculine In analogy with Mercury, his ruler, and the 3rd House Gemini governs the arms, the lungs and the thorax. His colour is green or silver, his stone is the crystal, his day is Wednesday, his professions are journalist, lawyer, presenter, dancer, salesman, travel agent, teacher... If your sign is Gemini or if your Ascendant is Gemini: you are expressive, lively, adaptable, quick-witted, humorous, sparkling, playful, sociable, clever, curious, whimsical, independent, polyvalent, brainy, flexible, ingenious, imaginative, charming, fanciful but also capricious, scattered, moody, shallow, inquisitive, opportunistic, unconcerned, selfish, fragile, ironical or changeable. Some traditional associations with Gemini: Countries: Belgium, Wales, United-States, Lower Egypt, Sardinia, Armenia. Cities: London, Plymouth, Cardiff, Melbourne, San Francisco, Nuremberg, Bruges, Versailles. Animals: monkeys, butterflies, parrots, budgerigars. Food: dried fruits, chestnuts, ground-level vegetables: peas, broad beans, etc. Herbs and aromatics: aniseed, marjoram, lemon balm, cumin. Flowers and plants: lilies of the valley, lavenders, myrtle, ferns, Venus-hair-ferns, bittersweets. Trees: nut trees such as chestnut trees. Stones, Metals and Salts: agates, mercury, silicas and potashes. Signs: Cancer 1st Water sign - 2nd Cardinal sign (summer solstice) - Feminine In analogy with the Moon, her ruler, and the 4th House Cancer governs the stomach and the breast. Her colour is white or black, her stone is the moonstone, her day is Monday, her professions are catering, the hotel trade, property, antique dealer, archaeologist... If your sign is Cancer or your Ascendant is Cancer: you are emotional, sentimental, peaceful, imaginative, sensitive, faithful, resistant, protective, vulnerable, generous, romantic, nostalgic, tender, poetic-minded, motherly or fatherly, dreamy, indolent, greedy, devoted but also timorous, unrealistic, evasive, passive, anxious, dependent, stubborn, moody, passive, lazy, touchy, stay-at-home or inaccessible. Some traditional associations with Cancer: Countries: Holland, Scotland, North and West Africa, New-Zealand, Paraguay, Algeria. Cities: Amsterdam, Manchester, Tokyo, New York, Istanbul, Stockholm, Milan, Venice, Genoa, Cadix, Alger, Tunis, Bern, Magdeburg. Animals: crabs, animals with shells. Food: milk, fishes, watery fruits and vegetables, turnips, white and red cabbages. Herbs and aromatics: tarragon, verbena, saxifrage. Flowers and plants: geraniums, white roses and white flowers in general, water lilies, morning glory, bear's breeches, and lilies. Trees: all trees full of sap. Stones, Metals and Salts: pearls, silver, lime and calcium phosphate. Signs: Leo 2nd Fire sign - 2nd Fixed sign - Masculine In analogy with the Sun, his ruler, and the 5th House Leo governs the heart and the spine, and the eyes, according to some authors. His colour is gold or orange, his stone is the diamond, his day is Sunday, his professions are actor, manager, jeweller, fashion and arts, and action (e.g. fireman)... If your sign is Leo or your Ascendant is Leo: you are proud, determined, strong-willed, loyal, solemn, generous, ambitious, courageous, heroic, conquering, creative, confident, seductive, happy, daring, fiery, majestic, honest, magnanimous, charismatic, responsible, noble, dramatic but also domineering, vain, susceptible, bossy, stubborn, intolerant, self-centred, violent, quick-tempered, nonchalant. Some traditional associations with Leo: Countries: Italy, Romania, Sicily, Czechoslovakia, Iraq, Lebanon, Southern France. Cities: Rome, Prague, Bombay, Madrid, Philadelphia, Chicago, Los Angeles, Bath, Bristol, Portsmouth, Syracuse, Damas. Animals: lions and felines in general. Food: meat and especially red meat, rice, honey, cereals, grapes, iron-rich vegetables: watercress, spinach etc. Herbs and aromatics: saffron, mint, rosemary, common rue (Ruta graveolens). Flowers and plants: marigolds, sunflowers, celandines, passion flowers. Trees: palm trees, laurel, walnuts, olive trees, lemon and orange trees. Stones, Metals and Salts: gold, rubies, magnesium and sodium phosphate. Signs: Virgo 2nd Earth sign - 2nd Mutable sign - Feminine In analogy with Mercury, her ruler, and the 6th house Virgo governs the intestine. Her colour is green or yellow, her stone is the agate, her day is Wednesday, her professions are accountant, secretary, writer, computer scientist, nurse, doctor... If your sign is Virgo or your Ascendant is Virgo: you are brainy, perspicacious, attentive to detail and numbers, analytical, serious, competent, scrupulous, sensible, modest, logical, tidy, well-organized, clean, hard-working, provident, honest, faithful, reserved, shy, helpful, a perfectionist, but also narrow-minded, calculating, irritating, petty, anxious, cold, repressed or caustic. Some traditional associations with Virgo: Countries: Brazil, Greece, Turkey, West Indies, United-States (the same as Gemini), Yugoslavia, Crete, Mesopotamia, Lower Silesia, State of Virginia. Cities: Paris, Boston, Athens, Lyon, Corinthia, Heidelberg, spa towns in general. Animals: dogs, cats and all pets. Food: root vegetables: carrots, celeriac, kohlrabies, potatoes etc... Also dried fruits such as chestnuts. Herbs and aromatics: the same as Gemini whose ruler is Mercury too, lilies of the valley, lavenders, myrtles, ferns, Venus-hair-ferns, bittersweets, clovers. Flowers and plants: small bright-coloured flowers, especially blue and yellow, such as dandelions, buttercups, yellow dead-nettles, buglosses, forget-me-nots ; cardamoms, oak leaves, acorns. Trees: all nut trees, e.g. the hazelnut tree... Stones, Metals and Salts: sards (red agate), mercury, nickel, potassium sulphate and iron phosphate. Signs: Libra 2nd Air sign - 3rd Cardinal sign (autumn equinox) - Masculine In analogy with Venus, his ruler and the 7th House Libra governs the kidneys and the bladder. His colour is blue or red (not too bright), his stone is the opal, his day is Friday, his professions are in the beauty, luxury or fashion industry, musician, artistic creator, lawyer, mediator... If your sign is Libra or your Ascendant is Libra: you are sentimental, charming, polite, refined, loyal, a pacifist, fair, distinguished, light-hearted, romantic, learned, ethereal, nice, well-groomed, a perfectionist, calm, sweet, tolerant, sociable, elegant, considerate, seductive, aesthetic, indulgent, but also hesitant, weak, indecisive, selfish, fragile, fearful, indolent, cool or even insensitive. Some traditional associations with Libra: Countries: Japan, Canada, Indo-China, South Pacific Islands, Burma, Argentina, Upper Egypt, Tibet. Cities: Lisbon, Vienna, Frankfurt, Leeds, Nottingham, Johannesburg, Antwerp, Fribourg. Animals: lizards and small reptiles. Food: berries, apples, pears, grapes, artichokes, asparagus, beans, spices, corn and other cereals. Herbs and aromatics: mint, Cayenne pepper. Flowers and plants: hydrangea, big roses, blue flowers and those associated with Taurus also ruled by Venus, namely, poppies, digitales, violets, primroses, aquilegia, and daisies. Trees: ash trees, poplars, apple trees, pear trees, fig-trees, cypresses. Stones, Metals and Salts: sapphires, jade, copper, potassium and sodium phosphate. Signs: Scorpio 2nd Water sign - 3rd Fixed sign - Feminine In analogy with Pluto, her ruler with Mars, and the 8th House Scorpio governs the sexual organs and the anus. Her colour is black or dark red, her stone is the malachite, her day is Tuesday, her professions are gynaecologist, psychiatrist, detective, the military, army, stockbroker, asset managemer... If your sign is Scorpio or your Ascendant is Scorpio: you are secretive, powerful, domineering, resistant, intuitive, asserted, charismatic, magnetic, strong-willed, perspicacious, passionate, creative, independent, vigorous, generous, loyal, hard-working, persevering, untameable, possessive, cunning, ambitious, sexual, proud, intense, competitive but also aggressive, destructive, stubborn, anxious, tyrannical, perverse, sadistic, violent, self-centred, complex, jealous. Some traditional associations with Scorpio: Countries: Morocco, Norway, Algeria, Syria, Korea, Uruguay, Transvaal. Cities: Washington, New Orleans, Valencia, Liverpool, Milwaukee, Fes, Halifax, Hull, Cincinnati. Animals: insects and other invertebrates. Food: the same strong tasting food as for Aries: red meat, garlic, onions, leeks, spices. Herbs and aromatics: aloes, witch hazels, nepeta, mustard, capers, peppers. Flowers and plants: geraniums, rhododendrons, thistles, mint, honeysuckles. Trees: blackthorns, bushes. Stones, Metals and Salts: opals, steel and iron, calcium and sodium sulphate. Signs: Sagittarius 3rd Fire sign - 3rd Mutable sign - Masculine In analogy with Jupiter, his ruler, and the 9th House Sagittarius governs the thighs and the liver. His colour is indigo, orange or red, his stone is the carbuncle, his day is Thursday, his professions are explorer, commercial traveller, pilot, philosopher, writer, clergyman... If your sign is Sagittarius or your Ascendant is Sagittarius: you are charismatic, fiery, energetic, likeable, benevolent, tidy, jovial, optimistic, extraverted, amusing, straightforward, demonstrative, charming, independent, adventurous, straightforward, bold, exuberant, freedom-loving. Some traditional associations with Sagittarius: Countries: Spain, Australia, Hungary, South Africa, Arabia, Yugoslavia. Cities: Stuttgart, Toledo, Budapest, Cologne, Avignon, Sheffield, Naples, Toronto. Animals: fallow deers, hinds, and all games. Food: grapefruits, raisins, onions, leeks, bulb vegetables. Herbs and aromatics: aniseeds, sage, bilberries, cinnamon, borage, mosses, sage, blueberry, patience, balsam. Flowers and plants: dandelions, carnations, thistles. Trees: mulberry trees, chestnut trees, ash trees, lemon trees, oaks. Stones, Metals and Salts: topaz, tin, silica, potassium chloride. Signs: Capricorn 3rd Earth sign - 4th Cardinal sign (winter solstice) - Feminine In analogy with Saturn, her ruler, and the 10th House Capricorn governs the knees, the bones and the skin. Her colour is black, or grey, green or brown, her stone is the jade, her day is Saturday, her professions are politician, researcher, jurist, scientist, engineer, administrator... If your sign is Capricorn or your Ascendant is Capricorn: you are serious, cold, disciplined, patient, focused, thoughtful, ambitious, indomitable, cautious, lucid, persistent, provident, steady, introverted, stern, wilful, hard-working, responsible, persevering, honest, realistic, loyal, reserved, resolute, moralistic, quiet, rigorous, attached and reliable. But you may also be curt, withdrawn, calculating, petty, cruel, unpleasant, ruthless, selfish, dull, rigid, slow or sceptical. Some traditional associations with Capricorn: Countries: India, Mexico, Afghanistan, Macedonia, Thrace, the Yugoslavian coast, the Orkneys and Shetland Islands, Albania, Bulgaria, Saxony. Cities: Delhi, Oxford, Brussels, Mexico, Port-Saïd, Gent, Constance, Mecklenburg, all the administrative centres of capital cities. Animals: goats, pigs and animals with split hooves. Food: meat, potatoes, barley, beets, spinach, medlars, onions, quinces, flour and starchy food in general. Herbs and aromatics: indian hemp, comfreys, centaureas, hemlocks, henbanes. Flowers and plants: ivies, wild pansies, amaranths, pansies. Trees: pines, willows, flowering ashes, aspens, poplars, alders. Stones, Metals and Salts: turquoises, amethysts, silver, lead, calcium phosphate, calcium fluorine. Signs: Aquarius 3rd Air sign - 4th Fixed sign - Masculine In analogy with Uranus his ruler, with Saturn, and the 11th House Aquarius governs the ankles and the legs. His colour is navy blue or indigo, his stone is the sapphire, his day is Saturday, his professions are astrologer, high technologies, scientist, astronaut, psychiatrist, actor, electrician... If your sign is Aquarius or your Ascendant is Aquarius: you are idealistic, altruistic, detached, independent, original, surprising, gifted, contradictory, innovative, humanistic, likeable, friendly, self-confident, impassive, quiet, intuitive, creative, charitable, elusive, disconcerting, generous, tolerant, paradoxical, and you cannot stand any kind of constraint. But you may also be marginal, resigned, distant, utopian, maladjusted, eccentric and cold. Some traditional associations with Aquarius: Countries: Russia, Sweden, Poland, Israel, Iran, Abyssinia. Cities: Moscow, Salzburg, Bremen, Hamburg, Saint Petersburg. Animals: long distance big birds such as the albatross. Food: citrus fruits, apples, limes, dried fruits and easily preserved food. Herbs and aromatics: peppers, hot red peppers, star-fruits, and generally herbs that are spicy or with an unusual flavour. Flowers and plants: orchids, dancing ladies, polygonatum. Trees: fruit trees. Stones, Metals and Salts: aquamarines, aluminium, sodium chloride and magnesium phosphate. Signs: Pisces 3rd Water sign - 4th Mutable sign - Feminine In analogy with Neptune her ruler with Jupiter, and the 12th House Pisces governs the feet and the blood circulation. Her colour is green or purple or turquoise blue, her stone is the amethyst, her day is Thursday, her professions are seamanship and and faraway travels, musician, social and emergency worker, doctor, writer and jobs in remote places... If your sign is Pisces or your Ascendant is Pisces: you are emotional, sensitive, dedicated, adaptable, nice, wild, compassionate, romantic, imaginative, flexible, opportunist, intuitive, impossible to categorized, irrational, seductive, placid, secretive, introverted, pleasant, artistic, and charming. But you may also be indecisive, moody, confused, wavering, lazy, scatterbrained, vulnerable, unpredictable and gullible. Some traditional associations with Pisces: Countries: Portugal, Scandinavia, small Mediterranean islands, Gobi desert, Sahara. Cities: Jerusalem, Warsaw, Alexandria, Seville, Santiago de Compostela. Animals: fishes, aquatic mammals and all animals living in the water. Food: melons, cucumbers, lettuces, vegemite sugar, pumpkins. Herbs and aromatics: lemon, chicory, limes, mosses. Flowers and plants: water lilies, willows, aquatic plants. Trees: fig-trees, willows, aquatic trees. Stones, Metals and Salts: heliotropes, moonstone, platinum, tin, iron phosphate and potassium sulphate. Sun 0ï¿½02' Aquarius, in House XII Sun Aspects Sun square Saturn orb -1ï¿½55' Sun sextile Mars orb -0ï¿½57' Sun semi-square Uranus orb -0ï¿½01' Sun opposite Moon orb -8ï¿½08' Planets: Sun The Sun represents vitality, individuality, will-power and creative energy and honours. For a woman, it also represents her father, and later her husband. The Sun is one of the most important symbols in the birth chart, as much as the Ascendant, then the Moon (a bit less for a man), the ruler of the Ascendant and the fast-moving planets. It's element is fire; it is hot and dry, it governs Leo, is in exaltation in Aries and is in analogy with the heart. It represents the boss, authority, beside the father and the husband ; the age of the Sun goes from 20 years old to about 40, following the Venus age when one is aware of his seductive power. Temperament : Bilious Characterology : Emotive, Active, Secondary, passionate type. Sun in Aquarius Anything of the human order is of concern to you. Your ideal is universal fraternity. Your humanitarian mind sensitizes you to societal projects and to other peopleï¿½s torments. You are credited with the spirit of a St Bernard! You are sociable in spite of your intransigence and you offer your affectivity to the human race. Your concepts are liberal and original. You are interested in new ideas and in daring innovationsï¿½ Aquarius lives for the future. Tomorrow is another day! You are never completely demoralized, as you know that each enterprise is constantly evolving and each project is perfectible. You dream of a better world and you do not hide your tastes for avant-gardist conceptions. Resolutely innovative, you show your worth when things are not yet fixed, when everything is potentially open. You may be intransigent although you are human in most circumstances, and you cultivate the taste for unprecedented situations. Your strength is that of all idealists: faith can move mountains of uncertainties, pessimism and inertia. Yesterdayï¿½s sullenness is swept clean! Everything remains to be reinvented and nothing is forever totally closed or stiff. A lack of pragmatism may prod you to take up lost causes. But arenï¿½t they the most noble ones? Sun in House XII In your natal chart, the Sun is in the 12th House, which the Tradition considers the sector of mystical experiences, but also, of ordeals and hurdles. You believe that spiritual evolution is achieved through ordeals and through renunciation. Besides, to your view, voluntary renunciation is the best way to avoid confrontations and hurdles. You long for a different world, and owing to your intuition, your thinking pattern is poetic and innovative. Sun Dominant If the Sun is part of your natal chart's planetary dominants, in astrology, you are said to be a Solarian: you loathe pettiness and Machiavellian manoeuvre, and you are fond of natural nobleness as well as of direct and honest attitudes. You endeavour to get out of muddled or dark situations as quickly as possible. Your need for transparency may lead you to make cut-and-dried judgments such as yes or no, and black or white. However, your honesty commands your entourage's consideration. At times, you come across as authoritarian. It is true that you never want to be thought of the notable absentee, and that you manage to make people pay attention to you, as well as to your plans and your assessments. To this end, the Solarian sometimes develops a great talent for placing himself under the spotlight without missing a single opportunity to arouse interest. Some other Solarians, although more discreet, still manage to be the focus of any debate, even in situations of exclusion. It is your way of being present even though you are actually not there... More than other people, you appreciate the esteem extended to you. It is useless to cheat with you, since in all areas you consider establishing enduring relationships only with those who love you, admire you, respect you, or express some degree of affection to you. Your will to straighten out your inter-personal relationships is your strength and sometimes, your Achilles' heel. You cannot achieve anything behind the scenes. Therefore, your comportment is marked with heroism, and your stands are devoid of ambiguity, in the sense that your commitments are unfailing, and your rebuffs, final. Interpretation of the 0ï¿½ Aquarius symbolic degree "A wreath of laurel is hanging at the junction of two crossed swords." ( Janduz version) Independent, refined, and courageous character. Success is achieved in all occupations requiring strength, dexterity, and a swift intellect such as fencing or the military, diplomacy, art or literary review, as well the Bar. Although one enjoys sustainable fame, one is unlikely to become very wealthy, unless one marries a wealthy person. Indeed, this degree grants sudden riches but takes them away as quickly. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Moon 21ï¿½53' Cancer, in House VI Moon Aspects Sun opposite Moon orb -8ï¿½08' Moon trine Uranus orb +6ï¿½52' Moon opposite Mercury orb -8ï¿½22' Planets: Moon The Moon represents instinctive reaction, unconscious predestination, everyday mood, sensitivity, emotions, the feminine side of the personality, intuition, imagination. For a man, she represents his mother and later his wife, and his relationship with women in general. For a woman, the Moon is almost as important as the Sun and the Ascendant. Her element is water, she is cold and moist, she rules Cancer, is in exaltation in Taurus and is in analogy with the stomach. She symbolizes the mother, wife, the crowd, the Moon is associated with birth and childhood. Tradition also matches her with the end of life, after Saturn the old age, it is thus customary to go back to one's place of birth to die: the end of life meets the very beginning. Temperament : Lymphatic Characterology : Emotive, non Active and Primary type or Non-Emotive, non Active and Primary, Nervous or Amorphous type. Moon in Cancer On the day and at the time of your birth, the Moon was in the sign of Cancer Your nature is contemplative. You live in a realm made of images, sensations and emotions. Your private secrets constitute a jungle full of symbols and souvenirs. You have a vivid memory of the past and a very present feeling of previous experiences and emotions. Your family roots remain omnipresent in your intimate behaviours and influence your habits. Your lunar sign belongs to the Cancer-Capricorn zodiacal axis that is particularly selective and self-protective: your close friends are handpicked and cautiously chosen for their natural suitability to your personal realm. The external world is often disturbing. Therefore, you must create an enclosed environment where your fragile sensitivity can blossom at will. The only danger may be that you confine your life rhythms in immutable rites and in a simplistic daily ceremonial. With more flexible intimate behaviours, your sensitivity can be fully expressed and the absolute harmony you dream of can be achieved. Moon in House VI With the Moon in the 6th House, your private world has nothing to do with a windmill! Your selective and demanding sensitivity does not leave your life setting to chance. You observe for a long time, you weigh up people and things with precision before you allow them in. You are sometimes criticised for your prudishness and your excessive reserve. Actually, you need to digest and to slowly integrate the specificities of the circle where you move before you can feel comfortable. Moon Dominant If the Moon is part of your natal chart's planetary dominants, in astrology, you are said to be a Lunarian: the driving force behind your actions is mainly the pursuit of well-being and tranquillity. Your sensitive and romantic self lives on those periods of rest during which you let your imagination wander at will. This is your way of finding inspiration and balance. Nothing is allowed to disturb your feeling of fulfilment and security within a harmonious cell, be it a family or a clan. More than other people, the Lunarian is attached to those moments during which one forgets one's worries and lets oneself cast adrift aimlessly, with no other goal than to be lulled into an ambiance, a situation, or a perfect moment. Many people do not understand such absences and their meaning, which is to regain strength. These people readily describe you with such unflattering terms as apathy and nonchalance. Never mind! Some inspirations require surrendering as well as striking a balance derived from alternate action and passivity. Your qualities are expressed to the fullest in situations which demand familiarity and privacy. Your capacities to respect and blend into your environment is at least as valuable as some other people's aggressive dispositions. However, you are well-advised to avoid indolence and renunciation out of laziness or indifference. Interpretation of the 21ï¿½ Cancer symbolic degree "A man stands on top of a mountain with a commanding staff in his hand, his face ablaze with the setting sun." ( Janduz version) Ambitious, enduring, and radiant character. Owing to one's exceptional intelligence and physical strength, one can accomplish sporting feats. One is attracted to adventures and interested in the natural laws which rule such topics as waves or astronomy. At the height of one's career, when one least expects it, one may be toppled from one's position. Despite numerous ordeals, one always gets out of bad situations thanks to one's own merits, and one achieves success, fame, honours, and wealth. Mid-life is a period when one may experience sudden threats through water such as floods or drowning. Therefore, one must avoid foolhardiness. Old age is happy. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Mercury 13ï¿½31' Я Capricorn, in House XII Mercury Aspects Mercury opposite Pluto orb -2ï¿½34' Mercury sextile Uranus orb +1ï¿½30' Mercury bi-quintile Neptune orb +0ï¿½00' Moon opposite Mercury orb -8ï¿½22' Mercury quintile Saturn orb -0ï¿½26' Mercury semi-sextile Jupiter orb +1ï¿½25' Planets: Mercury Mercury represents communication, logical and rational mind, intellectual skills. Earth is its element, it is cold and dry, and it rules Virgo and Gemini, is in exaltation in Virgo and is in analogy with the arms, hands, nervous system. It represents tradesmen, lawyers, messengers; the age of Mercury goes from 8 or10 years old to about 15.. Temperament : Nervous Characterology : Emotive, non Active and Primary type or Non-Emotive, Active and Primary, Nervous or Sanguine type. Mercury in Capricorn Mercury describes your relations, your communication skills and the way you relate to the external world. However, other astrological elements also influence these areas. The sign Mercury occupies is significant only if Mercury is part of your planetary dominantes. In your chart, Mercury is in Capricorn. Your friendships are as solid as stone. The deepness of your exchanges is what matters above all and the quality of your relationships prevails over quantity. You assimilate new concepts slowly because you need the time to judge them and analyze them before you accept them. You strive to keep your clear-sightedness on the alert in all circumstances. Your strength lies in your self-protection power and the ability to remain distant. The only danger is that your contacts may lack spontaneity. Mercury in House XII With Mercury in the 12th House, you are in search of the unknown. You display keen curiosity about strange topics, the paranormal, as well as unusual people and worlds. Your intuition and your analytical mind form one whole piece, and they perfectly blend into each other. You try to understand what is unexplainable, and to feel what is impalpable, which boils down to squaring the circle! In such conditions, it is most likely that your mode of communication has its own specific rules. Your comportment is pretty bizarre. Mercury Dominant If Mercury is part of your natal chart's planetary dominants, in astrology, you are said to be a Mercurian: the tradition points out the importance of communication. From idle but enriching chatters to observation gift, such a dominant endows you with a wide range of expression. Human beings have one thousand facets and one thousand masks they wear according to circumstances and the fortunes of the game of life. You take the role of an observer who is avid for novelties, discoveries, and surprises. Everything catches your attention and becomes an opportunity for new encounters, relationships, and learning. The world amazes you, amuses you sometimes, and stimulates your curiosity. Because the most important thing is to discover, and because you consider that each new situation is packed with potentialities, you try to fill the gaps in your knowledge. Although your open-mindedness may scatter your centres of interest, it also enables you to carefully avoid sticking to only one immutable and rigid view. The slightest sign enables you to perceive the other side of the coin, as well as the infinite complexity of people and of situations. On the human plane, you seek the dialogue and the information without which you know that you are not able to fully grasp the nature of your interlocutor. This keen interest in the Unknown sharpens your inter-relational skills. All these qualities are traditionally associated with Mercury. Interpretation of the 13ï¿½ Capricorn symbolic degree "On a carpet of flowers, a man with a falcon head plays the harpsichord." ( Janduz version) Refined, devoted, and calculating character endowed with great artistic gifts. In the first part of life, one is driven by envy and selfish objectives and therefore, in order to reach one's artistic goals, one shows much dedication and respect to one's mentors. Once success, fame, and wealth are achieved, probably in music, the cinema, or philosophy, one becomes gentle and benevolent. If in the natal chart, the Moon is in conjunction with this degree, it heralds honours and unexpected riches which are far above one's original social status. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Venus 2ï¿½11' Pisces, in House I Venus Aspects Venus trine Saturn orb +0ï¿½13' Venus square Mars orb +1ï¿½11' Planets: Venus Venus represents the way one loves, relationships, sharing, affectivity, seductive ability. For men, she also corresponds to the kind of woman he's attracted to (but not especially in marriage which is more symbolized by the Moon, Venus is the lover and not the wife). Her element is the Air, she is moist, rules Taurus and Libra, is in exaltation in Pisces and is in analogy with the kidneys, the venous system, the bladder, the neck. She represents the artists, tradesmen, occupations linked to beauty and charm; the age of Venus goes from 15 to about 25 years old. Temperament : Sanguine and Lymphatic Characterology : Emotive, non Active and Primary type or Emotive, non Active and Secondary type. Venus in Pisces Venus describes your affective life. On the day of your birth, she is found in Pisces. Your emotionalism is very strong and very unusual. You have your own manner to experience your emotions and your sensations, in an atmosphere that may be odd, you complicate your amorous lifeï¿½ and this is part of your charm, at the same time. On the chessboard of your sentimental life, quite strange games enfold. Your affectivity is subtle, fabulous and unusual: love reinvents everything and anything becomes possible when your heart is sincere. You dream of a complete fusion and of giving yourself totally. No rules, no moral or social code is more important than the feeling of shared passion and than living for your partner. Your affective life is complex, sometimes mysterious: you donï¿½t know why you love, or why you donï¿½t love any moreï¿½ Your sentimental life obeys a different logic than that of the external world. Love is elusive and fragile. Nothing is easier than to destroy a feeling and to forget a passion. Your sensitivity responds to an unknown call, a strange signal. Therefore, you may shift from intense and absolute feelings to cruel indifference. Although you donï¿½t know why, you are being transformed. The most difficult thing is to love a real being and not a shadow. You give yourself to persons who can understand and respect the fragile realm of your affectivity. Venus in House I Venus expresses her qualities through the values of the 1st House. Your first reactions are affective or sensual. Before you start to think, to accept your interlocutor, or to keep your distance, you follow your dislikes or your infatuations, sometimes quite blindly. You discover the world, the others, and the unknown through your sensations, your instinctive desire, or your natural repulsions. Emotions precede reasoning. The keywords of your personality are charm, seduction, and desire. Venus Dominant If Venus is part of your natal chart's planetary dominants, in astrology, you are said to be a Venusian: you are a sensual and emotional person particularly receptive to the natural likes and dislikes aroused by your contact with people. You are prone to frequent instinctive aversions and true passions which are exclusively driven by the feeling of love. The heart has its reasons which Reason knows nothing of... Your balance is based on the richness of your affective life. Without love, the Venusian is resourceless, lost, and deprived of any reason for living. You have an obvious and strong will to charm and to arouse the attachments without which you cannot properly function. Every area of your life is thus marked by your affectivity. The danger is that you may "be taken in" by charm. In such cases, you would prefer to keep your emotions under better control. Thus, hyper-sensitivity has its own inconveniences. Nevertheless, better than anyone else, you know how to play with feelings and attractions. Although you are sometimes caught in the traps of an over sensitive emotionalism, feelings remain your best assets in many circumstances. There is another aspect to the Venusian dominant. According to the Tradition, this planet rules the Arts, and you are endowed with some degree of artistic dispositions, ranging from good to excellent. Interpretation of the 2ï¿½ Pisces symbolic degree "On the front steps of a mansion, a man wearing a ceremonial costume welcomes three wealthy people, a simply dressed woman, and a beggar." ( Janduz version) Generous, sensitive, and secretive character. One pays more attention to human qualities than to social status and treats the poor and the rich on an equal footing. Regardless of their personal situation, everybody, well-off people and people in need alike, know that they are welcome and that when necessary, they will find solace and all forms of assistance. If born in a wealthy family, one meaningfully takes advantage of one's legacy. If the origins are modest, this degree promises that, sooner or later, one will become very famous and rich. If in the natal chart, the Ascendant is on this degree, it heralds fame and the possibility that one's name goes down in history. If it is in conjunction with the Midheaven or with important planets, within a 5ï¿½ orb, it brings about great honours and dignities. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Mars 1ï¿½00' Sagittarius, in House IX Mars Aspects Venus square Mars orb +1ï¿½11' Sun sextile Mars orb -0ï¿½57' Mars semi-sextile Saturn orb -0ï¿½57' Planets: Mars Mars represents the desire for action and physical energy, sexuality, strength. For a woman, Mars corresponds to the kind of man she's attracted to (but not especially in marriage which is rather symbolized by the Sun, Mars is the lover, not the husband). Fire is its element, it is hot and dry, and it rules Aries and Scorpio (along with Pluto), is in exaltation with Capricorn and is in analogy with the muscles and the spleen. It represents the soldiers, sportsmen, warriors, surgeons, blacksmiths... ; the age of Mars goes from 42 to 50 years old. Temperament : Bilious Characterology : Emotive, Active, Primary type. It is a Choleric. Mars in Sagittarius The planet Mars indicates how you react to life concrete stimulations. It also describes your fighting spirit, your abilities to stand for yourself and to take action. With Mars in Sagittarius, your dynamism is aroused when you have to go ahead, to discover new life settings and to broaden your horizon. You have the soul of an adventurer! Your nature is straightforward, direct and enthusiastic and it is difficult for you to tell lies and to follow the tortuous paths of diplomacy. You do not fear danger and your scope of action has no limit. Because you feel concerned about all things, you readily commit yourself in collective struggles or actions. You feel that it is important to go beyond your limitations and to take action, especially in favour of events that are not related to you personally. You always inscribe an element into a wider content. This is how original solutions may emerge, even if it means that you have to exercise more pragmatism: reality may be impossible to ignore. Mars in House IX With Mars in the 9th House, everything unknown to you constitutes a challenge. Why should you hesitate? It is best to explore the world, to travel, and to cross swords with reality in order to learn and progress. But life cannot be discovered in a catalogue. You need to live your ideas through, even though it means that you get hurt. It is only through real stories that you succeed in overcoming your limitations, and in renewing yourself. Your concepts are unshakable because they are based on your experience and on your passionate nature. Adventure is a must! Mars Dominant If Mars is part of your natal chart's planetary dominants, in astrology, you are said to be a Marsian: in your hand-to-hand struggle for life, you demonstrate an acute and active sense of confrontation with the world, with other people, and with your own destiny. You need to take action and to fight for your projects and your desires. You perceive all situations with deep intensity, and you react to the here and now without bothering to step back in order to ensure that events are under your control. You take up challenges with excessive foolhardiness as a consequence of your impulsiveness. However, better than anyone else, you know how to mobilise your resources in case of crisis. You take action whenever it is necessary to do so, and you are present in a timely manner. With Mars, your attitudes are dictated by the realities of the moment, by your emotions, and by everything which proved to have worked in the past. When this dominant is not well integrated, it may bring about an aggressive or impulsive behaviour. Therefore, you must learn to control your hyper-sensitivity and your fits of temper. You are also endowed with Marsian qualities: the fighting spirit and the taste for duel without which one may find oneself overwhelmed by events. When this willpower is well channelled, its precious energy enables to cope with all sorts of contingencies. There are a thousand ways to win, and a thousand challenges to take up with the enthusiasm and the dynamism which make life so worthy. A certain idea of life which is wild, passionate, and in tune with events. Interpretation of the 1ï¿½ Sagittarius symbolic degree "A man in uniform brandishes a sword while a child shoots stones with a catapult." ( Janduz version) Authoritarian, quarrelsome, and stubborn character. The natural aggressiveness must be canalised in an occupation requiring a great deal of energy and stamina such as the military, the Bar, or any sport. One may be involved in numerous lawsuits. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Jupiter 12ï¿½05' Sagittarius, in House X Jupiter Aspects Jupiter square Uranus orb +2ï¿½56' Jupiter inconjunction Pluto orb +1ï¿½08' Jupiter trine Neptune orb -7ï¿½26' Mercury semi-sextile Jupiter orb +1ï¿½25' Planets: Jupiter Jupiter represents expansion and power, benevolence, large vision and generosity. Its element is Air, it is hot and moist, and it rules Sagittarius and Pisces (along with Neptune), is in exaltation with Cancer and is in analogy with the hips and endocrinal system. It represents the governors, magistrates, professors, religious men too; the age of Jupiter goes from 50 to 55 or even 70 years old. Temperament : Sanguine Characterology : Emotive, Active, Primary type; it is an extrovert Choleric. Actually the humid version of Mars, inclined to action like him. Jupiter in Sagittarius The planet Jupiter symbolizes expansion, broadness and generosity. Jupiter is associated with the functions of synthesis, enthusiasm and optimism. In your natal chart, his house position is more important than his sign position because, like Saturn, Uranus, Neptune and Pluto, he is a slow planet. Many people born in the same period have Jupiter in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. Jupiter in Sagittarius is very popular because he rules this sign, and, according to the Tradition, he is most potent and at his best. He endows you with all his natural qualities: enthusiasm, sense of humour, boldness, warmth, optimism, leadership, synthesizing mind, but also, propensity for travels or, symbolically, disposition for higher knowledge and matters such as spirituality, philosophy, politics or religion. Jupiter in House X Jupiter is in the 10th House. There he is, the "Greater Benefic", Jupiter, culminating in the middle of your natal sky. A good star, as the Tradition has it. It is most likely that your adaptation faculties and your enterprising mind do not go unnoticed. People trust you and open doors for you, or at least, keep them ajar. Here as elsewhere, nothing is gained effortlessly. Nevertheless, enthusiasm and optimism favour successes. The only danger is that you may think too big! Jupiter Dominant If Jupiter is part of your natal chart's planetary dominants, in astrology, you are said to be a Jupiterian: because this planet brings about a keen interest in social and professional success, the Tradition considers it to be beneficial. Indeed, you know how to adjust to events and to jump at the chance when it arises. The members of you entourage gladly entrust you with high responsibilities because they are often impressed by your learning skills and your adaptation abilities as you deal with new structures and new languages. What is the secret of your good star? It is your self-confidence which wins public support. Now, what is the secret of your charm? Definitely, enthusiasm, euphoria, and exaltation. Exaggeration also. When this dominant is well integrated, it is a factor of affluence and optimism, and a certain degree of joviality enables you to easily fit into various spheres. It constitutes your main asset to manage your life. However, you must at times curb your desire for integration, lest your sense of opportunity turns into extreme opportunism. Here also, the key to success lies in a correct estimate of everyone's chances and possibilities. Although management is one of your forte, and you can adjust your objectives to current realities better than other people, you lack the hindsight which enables you to avoid short-term vagaries and daily fluctuations. If you strive too much to adapt, you run a risk of betraying yourself. This is the other traditional side of the coin with "The Greater Benefic"! Interpretation of the 12ï¿½ Sagittarius symbolic degree "A man standing outside of a prison watches its closed door." ( Janduz version) Withdrawn, misanthropic, and introverted character. The prison symbolises frustrations stemming from constraints and separation. One may be estranged from a family member who is living in a secluded place, or who is sick. The other possibility is that the members of the entourage do not understand one's intellectual, aesthetic, scientific, or altruistic aspirations. Nevertheless, one is capable of achieving success in the field of one's choice. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Saturn 1ï¿½58' Scorpio, in House VIII Saturn Aspects Venus trine Saturn orb +0ï¿½13' Sun square Saturn orb -1ï¿½55' Saturn quintile Neptune orb +0ï¿½26' Mercury quintile Saturn orb -0ï¿½26' Saturn sesqui-quadrate Uranus orb -1ï¿½56' Mars semi-sextile Saturn orb -0ï¿½57' Planets: Saturn Saturn represents concentration, effort, perseverance, time, the hard reality, inevitable consequences. Earth is its element, it is cold and dry, and it rules Capricorn and Aquarius (along with Uranus), is in exaltation in Libra and is in analogy with the bones (skeleton) and the skin. It represents the grandparents, old people, scientists, knowledgeable men, Saturn corresponds to old age; it goes from 70 years old until death. Temperament : Nervous Characterology : Non-Emotive, Active and Secondary type or Emotive, non Active and Secondary type or sometimes Non-Emotive, non Active and Secondary type; it is a Phlegmatic, a Sentimental or an Empathic type Saturn in Scorpio The planet Saturn symbolizes contraction, effort, time, limitation and concentration. Saturn eliminates anything that is not authentic, sooner or later. It is impossible to cheat him as he gives an irresistible desire to form a coherent whole with oneself, in responsible and wise ways. He is the great purifier. He represents our limitations but also our truth. In your natal chart, the house position where Saturn is posited is more important than his sign position because, like Jupiter, Uranus, Neptune and Pluto, he is a slow planet. Many people born in the same period have Saturn in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. Saturn in Scorpio reinforces your resistance. Your demand for precision and your will to comprehend all things may make you seem a bit tough or harsh to your entourage. Because you are fond of precision, you are interested in exact sciences; your capacity to understand mysteries is strengthened. You learn to control your instincts, even though it may be detrimental to your spontaneity. Saturn in House VIII Saturn in the 8th House of your natal chart talks about bad reputation... Dark Saturn mingles with the sector of death, inheritances, and destructions. However, it must not be forgotten that love is but a renaissance, and that abandonment is the beginning of a new quest. This configuration prepares you to radical transformations. You know how to build, to lose, and to rebuild, endlessly, at the rate of the ordeals which life imposes on you. You seek isolation and a certain form of asceticism. Saturn Dominant If Saturn is part of your natal chart's planetary dominants, in astrology, you are said to be a Saturnian: you gladly leave to other people the decision to take life as it comes. As far as you are concerned, you prefer to take advantage of your experiences in order to discover, to grow, and to question yourself. Interpretation of the 1ï¿½ Scorpio symbolic degree "On top of a promontory, a man riding an elephant contemplates the sun rising over the sea." ( Janduz version) Generous, ambitious, and tolerant character endowed with intelligence and self-confidence. Long travels, international politics, and a strong taste for exoticism bring about success and prosperity. This degree sometimes indicates artistic gifts and great fulfilment in quiet occupations such as the cultivation of flowers or the distillation of perfumes. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Uranus 15ï¿½01' Pisces, in House I Uranus Aspects Jupiter square Uranus orb +2ï¿½56' Sun semi-square Uranus orb -0ï¿½01' Mercury sextile Uranus orb +1ï¿½30' Uranus trine Pluto orb -4ï¿½04' Moon trine Uranus orb +6ï¿½52' Saturn sesqui-quadrate Uranus orb -1ï¿½56' Planets: Uranus Uranus represents individual freedom, originality, independence, marginality, avant guard inspiration, ultra modernism. Fire is its element, it is dry, and it rules Aquarius, is in exaltation with Scorpio and is in analogy with the brain and the nerves. It represents inventors, odd characters, revolutionaries. Temperament : Nervous to the extreme Characterology : Emotive, Active, Secondary type; it is a Passionate type. Uranus in Pisces The planet Uranus symbolizes originality, independence and cerebral energy bursting suddenly. Uranus triggers the irresistible need for freedom that we have in ourselves. Uranus tends to break the constraints that have become unbearable and gives us the courage and the will to get rid of what has become a burden; when he is well aspected, he also indicates genius. In your natal chart, Uranusï¿½ house position is more important than his sign position because, like Jupiter, Saturn, Neptune and Pluto, he is a slow planet. Many people born in the same period have Uranus in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendantï¿½s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Uranus in Pisces brings about sudden and spasmodic waves of emotions. You may be overwhelmed by feelings that creep over you, although they are inevitably filtered by your intellect: this is quite a peculiar configuration, indeed, made of cerebral-ness and inspiration. Uranus in House I With Uranus in the 1st House, it is most likely that the first event in your life relates to a lightning bolt, a liberating shout, or a revolution. You keep your adamant will to surprise other people and to follow your beliefs through the bitter end. What you find fascinating in a discovery or an encounter is its unexpected, innovative, and sometimes extreme nature. There is some degree of (mild) fanaticism in your personality. Your first reaction is a definitive yes or a final no. Uranus Dominant If Uranus is part of your natal chart's planetary dominants, in astrology, you are said to be a Uranian: personal values are prevailing. Inner certainties fuel an inflexible will and a desire to call attention on yourself as well as to follow your beliefs through. This planet prompts you to behave with determination, to put forward your own truth, and to start your personal revolution. More than other people, you are willing to keep some degree of autonomy in all circumstances, and you often display an individualistic nature. In order to achieve your ideal of freedom and independence, you may act like a despot as you try to convince and to impose your views, whether smoothly or forcefully. Regardless of the flexibility of your comportment, some situations demand an absolute firmness as well as uncompromising, frank and straightforward attitudes. People may criticise you for your intransigence and say that you are a hardliner. Outsider's opinions don't matter! The most important thing is that you act in all conscience and reach your primary objectives. More than anyone else, you know how to use your willpower and to focus your energy on a precise aim, relentlessly, whatever the consequences might be. In the chapter of qualities, let's mention a definite sense of responsibility, an innovative mind open to techniques and modern ideas, as well as a natural self-discipline which overcomes many an obstacle. Therefore, people are well-advised not to hound you into a corner. Interpretation of the 15ï¿½ Pisces symbolic degree "Sheltered under a big rock, a tiger stands guard over its cubs." ( Janduz version) Caring, shrewd, and vigilant character. Driven by strong maternal/paternal instincts, one does not hesitate to dedicate one's intellectual and financial resources to the success of one's children. With determination, patience, and tenderness, one works hard to ensure that they have a bright future. This degree also describes a very protective and understanding leader. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Neptune 19ï¿½31' Я Leo, in House VII Neptune Aspects Mercury bi-quintile Neptune orb +0ï¿½00' Saturn quintile Neptune orb +0ï¿½26' Jupiter trine Neptune orb -7ï¿½26' Planets: Neptune Neptune represents escapism, impressionability, daydreaming, delusions, carelessness, deception or intuition, dishonesty or inspiration, telepathy. Water is its element, it is moist, it rules Pisces, is in exaltation in Cancer, though some authors say it is Leo, and is in analogy with the vegetative system. It represents dreamers, mediums, magicians, merchants of illusion, drug addicts. Temperament : rather Lymphatic Characterology : Emotive, non Active, Primary or Secondary type; it is a Sentimental, or sometimes Amorphous type. Neptune in Leo The planet Neptune symbolizes extreme receptivity, intense emotional sharpness, impressionability and inspiration; it is the planet of mediums, mystics and religious faith. In an astrological chart, it indicates dilution, vagueness, understanding oneï¿½s environment through emotions and the absence of clear and determined limits and structures. In your natal chart, Neptuneï¿½s house position is more important than his sign position because, like Jupiter, Saturn, Uranus and Pluto, he is a slow planet. Many people born in the same period have Neptune in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendantï¿½s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Neptune in Leo endows you with creativity in the fields of arts or literature. Your emotions are noble and idealized. Neptune in House VII With Neptune in the 7th House, your social life is subtle and vague, and follows an underlying and imperceptible, yet inflexible, logic. You are unable to figure out why you feel in tune with such or such person, whereas with another person, you just cannot relate. A glance, or a move, is all is needed in order to establish the contact... or prevent it. Life is made of subtleties which reason knows nothing of. The partner is a mirror, and sometimes, a distorting mirror. Neptune Dominant If Neptune is part of your natal chart's planetary dominants, in astrology, you are said to be a Neptunian: your intuition is highly developed. You are of a contemplative nature, and you are particularly receptive to ambiances, places, and people. You gladly cultivate the art of letting-go, and you allow the natural unfolding of events to construct your world. You follow your inspirations, for better or for worse. At times, you display an extraordinary clairvoyance gift. You seem to be able to read your subconscious like a book, and you track down subtle underlying mechanisms, flaws, or open breaches. This innate intuition might explain the strokes of good luck which the Neptunian is sometimes credited with. However, you may also be the victim of illusions and misleading intuitions. You are an idealist, and you let your deepest aspirations prevail over the realities of the moment. Then, you set off in quest of some quixotic objective, living like a Don Quixote who relentlessly pursues an impossible dream. You have a great talent for psychology and the mysteries of the human soul. Since you instinctively perceive people's intents and motivations, as you swim in the complexity of human nature, you feel in your element. The subtlety of your perceptiveness is the source of both special affections and irrevocable rejections. What is the danger of such a dominant? If it is not offset by other influences in your natal chart, you may not have an iron will. Your trump card is your instinct, which may be developed to the extent that it becomes clairvoyance. Interpretation of the 19ï¿½ Leo symbolic degree "A waxing moon and a star shine in the night, and an arm emerging from a blossoming tree unrolls a parchment scroll." ( Janduz version) Intuitive, imaginative, and observant character endowed with an excellent memory and great intellectual capacities. Life is most likely to be full of changes and exciting journeys. Daily work is a constant source of satisfactions. With the protection of a high-ranking figure, success and fame are achieved in natural sciences, history, astronomy, literature, or in any intellectual career in both the private and the public sectors. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. Pluto 10ï¿½57' Я Cancer, in House VI Pluto Aspects Mercury opposite Pluto orb -2ï¿½34' Uranus trine Pluto orb -4ï¿½04' Jupiter inconjunction Pluto orb +1ï¿½08' Planets: Pluto Pluto represents deep transformations, mutations and eliminations, sexuality and magnetism, power and secrets, destruction with a view to regeneration, the phoenix rising from the ashes. Its element is indefinite; burning (like lava in fusion ?), it rules Scorpio, is in exaltation in Pisces and is in analogy with the sexual organs and excretion. It represents dictators, sadistic people, violent characters, is instinctive and powerful but also mysterious with hidden strengths. Temperament : rather Bilious Characterology : Emotive or non-Emotive, Active, Primary type; it is a Passionate Choleri typec. Pluto in Cancer The planet Pluto symbolizes deep disruptions and upheavals, domination and sexual instincts, and the inner power we have in ourselves. Pluto destroys in order to reconstruct and he provokes painful crises that are needed in metamorphosis. Pluto is our deepest instinctsï¿½ brutal force. It is the hidden and unconscious violence that can explode in us with incredible intensity before being projected in our actions; in itself, the planet is not negative: the might and the intensity of its energy are beyond the conceivable but it can be funnelled. Pluto is the only possibility we have at our disposal to overcome our inner blocks and to eliminate outgrown situations that have become inextricable. Plutoï¿½s energy is valuable because of its usefulness for the irreversible destruction of what constitutes a problem and not because of its negative side and its perversity. Pluto allows to reconstruct and to regenerate parts of our personality or whole stretches of our life, provided that we manage to funnel his wild energy and to step back. It is impossible to tame this energy, given its essence. However, it is possible to take advantage of it for a precise aim, through a temporary identification of some parts of us with this energy. In such a case, the outcome is our final evolution and even, our transformation. In your natal chart, Plutoï¿½s house position is more important than his sign position because, like Jupiter, Saturn, Uranus and Neptune, Pluto is a slow planet. Many people born in the same period have Pluto in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality and they are not to be really taken into account, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendantï¿½s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Pluto in Cancer may create troubles in your home because your will to control is too strong or because you are exceedingly sensitive. Pluto in House VI With Pluto in the 6th House, the art of manipulations is your signature. Pluto is the planet of distance and underground worlds. On the contrary, the 6th House deals with defined social functions and identified fields of action. Therefore, your social role is ambiguous and paradoxical, to say the least. It is most likely that, as far as the professional plane is concerned, your manner is disconcerting, and your obscure and hidden function is efficient precisely because it is insidious and concealed. Pluto Dominant If Pluto is part of your natal chart's planetary dominants, in astrology, you are said to be a Plutonian: you sometimes feel like a foreigner who does not belong to the world, to its laws, and its concerns. The rules of life in society are not necessarily yours. You are interested in what is unknown and in the subtle laws of a hidden order. So, you take malicious pleasure in ridiculing the patterns you find too simplistic or too rigid. You also revel in underlining the limits of explanations you deem too common. There is something unconventional about the way you are, the way you think, and the way you act. What is your specificity made of? Is it an extraordinary partner? A life off the beaten path? Or do you only distance yourself from conventional morals? In any case, you have the feeling, sometimes quite vague, that you come from nowhere, and that you do not belong to any definite group... In short, it means that you cannot be simplified in order to conform to existing models. The gap between you and ordinary mortals is also an element of your strength. Your deep clear-sightedness, firstly, enables you to put things into perspective and to grant them only the attention they deserve. Your other remarkable asset is your capacity to intervene from behind the scenes, to secretly organise events, and to bring about the desirable outcome without seeming to impose or to dictate anything. However, you must still overcome one of the major difficulties of this dominant, which is to get people to accept your difference and to smoothly fit into your environment. Interpretation of the 10ï¿½ Cancer symbolic degree "A wrecked ship on a beach under a heavy rain." ( Janduz version) Ambitious, fanciful, and adventurous character. Undertakings are most likely to be doomed to failure. Decision-making must be based on past experiences so as not to avoid the same old mistakes. One may not have the skills required for an independent occupation. Unless the natal chart indicates otherwise, this degree is a portent of ruin and warns against anything related to the sea and water. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it. %DYNAMIQUE_22% Asteroids: Chiron Chiron is almost renowned and used everywhere. Most astrologers consider it as a kind of "mediator" between Saturn and outer planets. Consequently, Chiron is of Saturn's nature and at the same time is influenced by Uranus, the first slow-moving planet. Astrologically, it symbolizes wisdom, patience and the faculty to reduce others' sufferings: it is said to be the "great healer" of the zodiac. Like all the secondary bodies, it must be in close conjunction with planets or angles in order to fully express its action. %TEXTES_22% %DYNAMIQUE_23% Asteroids: Ceres Ceres, the biggest of the four minor asteroids used besides Chiron, is associated with the mythological goddess of growing plants and harvest and also symbolizes physical constitution, vitality and fertility. She's also known as Demeter, according to the astrologer Zipporah Dobyns, linked to the symbolism of the mother but in a less emotive and more physical way than the Moon. Ceres is thought to be the ruler of Virgo, in exaltation in Gemini, in exile in Pisces and in fall in Sagittarius. Keywords associated with Ceres could be order, practical sense, worry, precision, modesty, method, sobriety, motherhood, fertility, the Earth: a kind of a more cerebral Moon... %TEXTES_23% %DYNAMIQUE_24% Asteroids: Pallas Pallas is sometimes used in modern Astrology: she represents intelligence, abstract and global thinking talents. It is usually considered to be a determining element in political strategy. %TEXTES_24% %DYNAMIQUE_25% Asteroids: Juno Juno is the asteroid corresponding to the adaptation to the marital partner and to the defence of individual rights; it is thus used in the field of marriage. %TEXTES_25% Vesta is rarely used and brings the ability to efficiently devote oneself to a cause. %TEXTES_26% True North Node 2ï¿½26' Я Virgo, in House VII North Node The North Node (True Node here) represents the goals that must be achieved during life, in the karmic sense according to some traditions. Its position in house indicates in what field an effort is necessary in order to evolve. The North Node is often called the Dragon's head, it is usually considered beneficial, a bit like Jupiter with the planets. The Lunar nodes are fictional points and not actual heavenly bodies: they are the intersections of the Moon with the Ecliptic (the path made by the Sun in its orbit as seen from the Earth). The axis of the Lunar nodes moves 19 degrees each year, namely a bit more than three minutes each day. The South Node is diametrically opposed to the North Node, therefore it faces it (it's not drawn here, it's the same symbol but upside down). It symbolizes what has already been achieved or acquired, in a karmic sense: it's the past from which it's advised to move on in order to progress. The South Node is rather negative, of a Saturnian nature: the experience through suffering. Interpretation of the 2ï¿½ Virgo symbolic degree "A scientist carries out chemical experiments in his laboratory." ( Janduz version) Hardworking, patient, and pragmatic character. The first face of Virgo, from 0ï¿½ to 4ï¿½59', is often activated in the chart of unsuccessful scientists. Therefore, it is necessary to carefully examine the natal chart in order to assess the state of the intellect. If it is strong, then, one must believe in one's good star. Indeed, after years of painstaking work, success can be achieved in scientific research, particularly in agronomics. If the natal chart indicates limited intellectual abilities, one is advised to choose a profession which addresses less theoretical matters, for instance the trade of products meant for the improvement of agriculture such as fertilizers, etc. All occupations related with the soil are favoured. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. True Lilith 14ï¿½00' Я Taurus, in House III Lilith Lilith or the Dark Moon (True Lilith here) represents the uncrossable threshold, taboos, the individual's provocative and fascinating side, including on a sexual level. She symbolizes violence and "untameability", the radical and deep-seated refusal to submit. The keywords for Lilith can be sterility, sadism, perversity, castration, sadomasochism, eroticism, orgasm, forbidden fantasies, marginality, cruelty; redemption, illumination, rebelliousness... Lilith's opposite point is called Priapus; it is the Lunar perigee, the position where the Moon is closest to the Earth. It symbolizes man's primitive nature, the horror hidden in our deepest self; masochism, extreme sensuality, impulsiveness, irrationality and excess. Physically speaking, the Dark Moon is the focal point unoccupied by the Earth: it is not a concrete body but a mathematical point. Interpretation of the 14ï¿½ Taurus symbolic degree "A middle aged man seated at a table with a big book and scientific tools watches seven ibises flying by his window." ( Janduz version) Patient, taciturn, and self-confident character. One is an avid learner and enjoys studying in order to fully understand the mysteries of nature and of human beings. Although one is very much sought after and often surrounded by numerous friends, one prefers to be alone and to dedicate long hours of work to researches. One may live abroad with a view to discovering different civilisations and lifestyles, or because one is forced to flee one's homeland. In any case, success can be achieved in natural sciences and in all professions related to the earth such as agriculture, agronomy, real estate, etc. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. Fortune 25ï¿½48' Cancer, in House VI Part of Fortune The Part of Fortune is an ancient concept, used by Ptolemy and other astrologers before him. Firstly, it has nothing to do with fortune! In modern astrology, it is actually used to enhance a planet or angle when in close conjunction with it: it thus amplifies the meaning associated to the point affected by its presence. It is calculated in the following way: Part of Fortune = AS + Moon - Sun (it is the Moons position when the Sun rises) The classical Part of Fortune, of which the calculus method is unchanged whether in a diurnal or nocturnal chart, is usually distinguished from the diurnal/nocturnal Part of Fortune which is calculated by the formula AS + Sun - Moon for a nocturnal chart, and AS + Moon - Sun in a diurnal chart. We currently use the latter formula for our astrological programmes. Interpretation of the 25ï¿½ Cancer symbolic degree "Meteors and shooting stars strike the night sky above a waterfall." ( Janduz version) Generous, dreamy, and artistic character loathing daily routine and dull events. Like the meteor, one follows a personal and quite unusual path. Life is brilliant, and achievements are numerous, though irregular and non-lasting. If one reaches a top position, there is a danger that one is toppled from power. Nevertheless, there is nothing to worry about because a good star is constantly protecting the person influenced by this degree, and life is much happier than that of most people. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. Ascendant 3ï¿½56' Aquarius Ascendant or House I The First House or Ascendant represents one's behaviour in the eyes of others, and also one's health. It corresponds to the way the individual acts in the world. It is the image of the personality seen by others and the person's visible behaviour expressed outwardly. The 1st House is in analogy with Aries and thus Mars too, and then the Sun. It is an angular house, the most important one with the Midheaven, maybe even more so due to its link with the body and health. Ascendant in Aquarius You are particularly sensitive to the values of friendship in the sense that you see yourself as a link within a chain, certainly a different and original one, but with no will to flatter your ego or to individually assert yourself. On the contrary, your aim is to immerge yourself in your friendly relations and to participate in projects and ideals of the whole human community. With this Ascendant, you come across as idealistic, altruistic, detached, independent, original, surprising, gifted, contradictory, innovative, humanistic, likeable, friendly, self-confident, impassive, quiet, intuitive, creative, charitable, elusive, disconcerting, generous, tolerant, paradoxical, and you cannot stand any kind of constraint. But you may also be marginal, resigned, distant, utopian, maladjusted, eccentric and cold. Interpretation of the 3ï¿½ Aquarius symbolic degree "A wealthy man in a lavish costume climbs the first steps of a staircase leading to a palace." ( Janduz version) Calm, reliable, and fair character. One may have inherited a high social position or earned it through personal merits. In both cases, careers in politics, diplomacy, finance, or the transportation industry are very favoured. If in the natal chart, this degree is in conjunction with the Midheaven, it heralds exceptional honours. With the Imum Coeli, huge financial success through real estate or agricultural activities can be expected. However, if the natal chart indicates dishonesty, wealth is acquired through illegal means, including money laundering, embezzlement, and forgery of official documents. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. Midheaven 3ï¿½47' Sagittarius Midheaven or House X The Tenth House still called the Midheaven, is the highest point amidst the houses, at the top of the chart, in the South, and relates to destiny in general and career (and not daily work as meant by the Sixth House). The Midheaven represents our achievements and goals in the social sphere, our social position in society, and becomes more and more important as we get older. It is in analogy with Capricorn and Saturn. The Tenth House is the most important angular house along with the Ascendant. Midheaven in Sagittarius Your destiny is commensurate with the image of your deeply sociable and exuberant nature. You always look at things in broad and optimistic ways, and you rapidly get the status matching your high calibre. You make use of your charm and your boldness, and you have the guts to aim higher than what would be the norm. In this regard, you are the opposite of Virgo people, but it does not matter because your method proves efficient and in any case, the result fulfils your ambition at least. The following professions are most likely to suit you very well: explorer, pilot, taxi and lorry driver, jockey, manager of a racehorse stable, international businessman/woman and any expatriate job, corporate manager, tour operator and travel agent, import-export trader, serviceman/woman, magistrate, politician, ambassador, sociologist, priest/priestess, or spiritual leader. Interpretation of the 3ï¿½ Sagittarius symbolic degree "A man armed with a halberd stands guard on a fortress tower. Behind an arrow loop, an archer is prepared to shoot." ( Janduz version) Courageous, circumspect, and clever character. Ambitions are limited, and one contents oneself with a modest career as a journalist, a musician, a soldier, a bailiff, or a diplomat. The civil servant who is promoted after years of regular and diligent work is a good illustration for this degree. It may indicate a keen interest in matters dealing with altitude, such as mountainous peaks or aviation, but sometimes, it also means that one lives in the top floor of a building. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. Ascendant 3ï¿½56' Aquarius House I (AC) The First House or Ascendant represents one's behaviour in the eyes of others and also one's health. It corresponds to the way the individual acts in the world. It is the image of the personality as seen by others and the person's visible behaviour expressed outwardly. The 1st House is in analogy with Aries and thus Mars too and then the Sun. It is an angular house, the most important one with the Midheaven, maybe even more so due to its link with the body and health; the Ascendant is as important as the Sun in a natal chart. Interpretation of the 3ï¿½ Aquarius symbolic degree "A wealthy man in a lavish costume climbs the first steps of a staircase leading to a palace." ( Janduz version) Calm, reliable, and fair character. One may have inherited a high social position or earned it through personal merits. In both cases, careers in politics, diplomacy, finance, or the transportation industry are very favoured. If in the natal chart, this degree is in conjunction with the Midheaven, it heralds exceptional honours. With the Imum Coeli, huge financial success through real estate or agricultural activities can be expected. However, if the natal chart indicates dishonesty, wealth is acquired through illegal means, including money laundering, embezzlement, and forgery of official documents. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. House II 3ï¿½00' Aries House II The Second House is the sphere of material security, the money we earn, our possessions, also in a symbolic meaning (close people etc). It is in analogy with Taurus and Venus. It is a succedent house, quite important. House III 10ï¿½37' Taurus House III The Third House is the sphere of social and intellectual apprenticeship, studies, relationships with close people and surroundings, short trips, light-hearted and quick contacts, correspondences. It is in analogy with Gemini and Mercury. It's a cadent house, less important than the angular and succedent ones. House IV 3ï¿½47' Gemini House IV (IC) The Fourth House also called Immum Coeli is the sphere of inner emotions, family, the father, home and roots, but also the home one creates. It's Home Sweet Home, security and cocoon. It is in analogy with Cancer and the Moon. It's an angular and important house. Interpretation of the 3ï¿½ Gemini symbolic degree "As two men fight over the sharing of their loot, a third thief who gets hold of it." ( Janduz version) Greedy, quarrelsome, and crafty character. Intellectual capacities are good, but instead of working honestly, one prefers to covet people's goods and use underhanded malpractices to dispossess one's victims. However, sooner or later, one falls prey to a smarter swindler. This degree often indicates weeping, bad luck, and deprivation of liberty. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. House V 21ï¿½52' Gemini House V The Fifth House is the sphere of pleasures and love affairs (but not commitment or marriage), creations and entertainments, children, arts and game. It is in analogy with Leo and the Sun. It's a succedent and quite important house. House VI 9ï¿½48' Cancer House VI The Sixth House is the sphere of apprenticeship and effort in the work environment, daily life, health on a daily basis and not operations or long-term diseases, relationships with co-workers or subordinates, desire for improvement, analysis and detail. It is in analogy with Virgo and Mercury. It is a cadent house, less important than the angular and succedent ones. House VII 3ï¿½56' Leo House VII (DS) The Seventh House also called the Descendant (in front of the Ascendant) is the sphere of partnership, marriage, contracts, relationships with others, the outer world. It is in analogy with Libra and Venus, and Saturn to a lesser extent. It is an angular and important house. Interpretation of the 3ï¿½ Leo symbolic degree "By the bank of a pond, a cat watches a prey." ( Janduz version) Patient, observant, and shrewd character endowed with a great capacity to wait for the good opportunity, no matter how long it takes. One is able to spend much time in thorough analysis, and when the time is ripe, one knows how to swiftly make the right decisions. Success can be achieved in diplomacy and in all occupations requiring self-control, flexibility, and perseverance. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. House VIII 3ï¿½00' Libra House VIII The Eighth House is the sphere of emotional security, the depths of the self, secrets and paranormal, transcendence, sexuality, mysteries, upheavals, surgical operations, others' money (investments, inheritances), crises, transformation after evolution, death. It is in analogy with Scorpio and Pluto, and Mars to a lesser extent. It is a succedent and quite important house. House IX 10ï¿½37' Scorpio House IX The Ninth House is the sphere of high studies, both physical and mental journeys (philosophy, spirituality), rebelliousness, changes of scenery, desire for dealing with the unknown. It is in analogy with Sagittarius and Jupiter. It is a cadent house, less important than the angular and succedent ones. Midheaven 3ï¿½47' Sagittarius House X (MC) The Tenth House still called the Midheaven, is the highest point amidst the houses, at the top of the chart, in the South, and relates to destiny in general and career (and not daily work as meant by the Sixth House). The Midheaven represents our achievements and goals in the social sphere, our social position in society, and becomes more and more important as we get older. It is in analogy with Capricorn and Saturn. The Tenth House is the most important angular house along with the Ascendant. Interpretation of the 3ï¿½ Sagittarius symbolic degree "A man armed with a halberd stands guard on a fortress tower. Behind an arrow loop, an archer is prepared to shoot." ( Janduz version) Courageous, circumspect, and clever character. Ambitions are limited, and one contents oneself with a modest career as a journalist, a musician, a soldier, a bailiff, or a diplomat. The civil servant who is promoted after years of regular and diligent work is a good illustration for this degree. It may indicate a keen interest in matters dealing with altitude, such as mountainous peaks or aviation, but sometimes, it also means that one lives in the top floor of a building. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. House XI 21ï¿½52' Sagittarius House XI The Eleventh House is the sphere of friendship and protection, projects, search for social acceptance and security, collective and humanitarian actions. It is in analogy with Aquarius and Uranus, and Saturn to a lesser extent. It's a succedent and quite important house. House XII 9ï¿½48' Capricorn House XII The Twelfth House is the sphere of hidden things, enemies, closed or remote places (hospital, prison, convent etc.), ordeals, secrecy, solitude, long-term illnesses but also sincere devotion and genuine compassion. It is in analogy with Pisces and Neptune. Vertex 7ï¿½19' Virgo, in House VII The Vertex The Vertex, sometimes called counter-Ascendant, is a fictitious point which is at the intersection of two great circles, the Ecliptic and the great vertical circle (Prime Vertical) in the West of the birthplace, linking the East, the Zenith, the West, and the Nadir. It is always located in the West of the chart around the Descendant. It is the chart's fifth angle, so to speak, less important than the other angles. Its interpretation is controversial, because certain astrologers pay no attention to it. The Vertex is sometimes considered to be the second Descendant because, like the latter, it is related to communication and exchanges. It has to do with associations and fated encounters, those that are not chosen, and reveals the type of sensitivity and reactivity we have in our dealings with other people: a refined and tolerant way in Libra, straightforward and spontaneous in Aries, etc. Interpretation of the 7ï¿½ Virgo symbolic degree "A man, seated at the foot of a tree at the edge of a forest, admires the surrounding landscape and a tower on top of a hill." ( Janduz version) Contemplative, straightforward, and generous character. One is deeply attracted to the beauties of nature and is driven by noble ideals. Success can be achieved in all occupations connected with nature such as alpinism, botany, etc. One enjoys solitude and most probably prefers to live in some remote and quiet place. This degree heralds longevity. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. East Point 29ï¿½40' Aquarius, in House I The East Point The East Point is a fictitious point at the intersection of two great circles, the Ecliptic and the great vertical circle (Prime Vertical) in the East of the birthplace, linking the East, the Zenith, the West, and the Nadir. It is always located in the East of the chart, around the Ascendant. The East Point is sometimes considered to be a second Ascendant, less important, but also related to how one is seen by other people, and to how one expresses one's personality. Interpretation of the 29ï¿½ Aquarius symbolic degree "A man wearing a crown and an ermine coat walks towards the sceptre and the globe which seem to be awaiting him on the throne." ( Janduz version) Honest, rigid, and fair character. Regardless of the social layer to which one belongs, this degree indicates that one rises to an exceptionally prominent position and becomes famous in one's field of competence. This degree describes authority and grandeur. N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports. %DYNAMIQUE_46% Cupido Cupido is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Cupido, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. On the upside, Cupido is related to socialisation, the arts, and marital life. On the downside, it indicates vanity, addiction to pleasures, and being strongly influenced by groups of people. %TEXTES_46% %DYNAMIQUE_47% Hades Hades is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Hades, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. Hades corresponds to intellectual rigour, service rendered to people, the purpose of being useful. On the downside; it leads to carelessness, indifference, apathy, and mess. %TEXTES_47% %DYNAMIQUE_48% Zeus Zeus is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Zeus, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. Zeus is related to creativity, as well as to organisational and leadership capacities. On the downside, it may lead to aggressiveness and to excessive militancy. %TEXTES_48% %DYNAMIQUE_49% Kronos Kronos is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Kronos, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. Kronos is related to authority and cleverness. In tough aspect, it may make the person conceited, presumptuous, or elitist. %TEXTES_49% %DYNAMIQUE_50% Apollon Apollon is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Apollon, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. Apollon is related to the ability to synthesise, as well as to broad-mindedness, and fame. In difficult aspect, it may bring about superficiality or extravagance. %TEXTES_50% %DYNAMIQUE_51% Admetos Admetos is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Admetos, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. Admetos is related to the deepness of the mind, asceticism, simplicity, and analytical mind. In tough aspect, it may make the person nit-picking, inflexible, and narrow-minded. %TEXTES_51% %DYNAMIQUE_52% Vulcanus Vulcanus is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Vulcanus, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. Vulcanus, sometimes said to be the higher octave of Saturn, provides strength to improve collective relations, to structure things, to be efficient, and to get straight to the point. On the downside, he may bring about arrogance and scattered efforts. %TEXTES_52% %DYNAMIQUE_53% Poseidon Poseidon is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Poseidon, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. Poseidon brings about wisdom, a clear mind, and sometimes spirituality. On the downside, it may make the person dogmatic, manipulative, or out of touch with reality. %TEXTES_53% %DYNAMIQUE_54% Proserpina Proserpina, sometimes referred to as Persephone, is a trans-Plutonian hypothetical planet. N.B.: numerous astrologers believe neither in the influence of Proserpina, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points. Proserpina is related to mysteries, revival and reconstruction, as well as cycles. She enriches the unconscious, and gives the possibility to combine modern life with spirituality, the East with the West, and mysticism with concrete life. %TEXTES_54% 5' 9ï¿½" (1.77 m) Early career Between the end of the war and the dawn of television, he worked as a radio performer. His first appearance on television was in 1949 in the television programme Hi There. He continued to work intermittently until his career took off with The Benny Hill Show in 1955 on BBC Television. Recurring players on his show during the BBC years included Patricia Hayes, Jeremy Hawk, Peter Vernon, Ronnie Brody, and his co-writer from the mid-1950s to early 1960s, Dave Freeman. He remained mostly with the BBC through 1968, except for a few isolated sojourns with ITV station ATV in 1957ï¿½1960 and again in 1967. He also had a short-lived radio programme, Benny Hill Time, which ran on BBC Radio's Light Programme service from 1964 to 1966. In addition, he attempted a sitcom anthology, Benny Hill, which ran for three series from 1962 to 1963, in which he played a different character in each episode. In 1964, he played Nick Bottom in an all-star TV film production of William Shakespeare's A Midsummer Night's Dream. Films and recordings Benny Hill's film credits include parts in nine films including Those Magnificent Men in Their Flying Machines (1965); Chitty Chitty Bang Bang (1968), in which he played the relatively straight role of the Toymaker; The Italian Job (1969); and, finally, a clip-show film spin-off of his early Thames shows (1969ï¿½73), called The Best of Benny Hill (1974). Hill's audio recordings include "Gather in the Mushrooms" (1961), "Transistor Radio" (1961), "Harvest of Love" (1963), "Ernie (The Fastest Milkman In The West)" (1971), among many others. He also appeared in the video of the song "Anything She Does" by the band Genesis. Hill's song, "Ernie (The Fastest Milkman In The West)," on the Best of Benny Hill album made the UK Chart as Christmas Number One Single in 1971. A link to the lyrics is provided in the External Links section of this article. The Benny Hill Show In 1969, his show moved from the BBC to Thames Television, where The Benny Hill Show remained until its cancellation in 1989, with an erratic schedule of one-hour specials. Ben Elton criticised him for sexism, as did other comedy performers who came to fame in the 1980s. Curiously, a common criticism was that Hill played a "dirty old man" who chased women in public places, when in point of fact it was an established part of the comedic style of The Benny Hill Show that the women always chased Hill. Hill and his producer Dennis Kirkland believed that this misrepresentation of his show demonstrated that Hill's critics could not have actually watched his programmes. Similar charges were also aimed at the Carry On films which became unfashionable amongst the media elite at the time. To quote his biographer Mark Lewisohn, "In Britain, Benny Hill is taboo . . . I have seen people recoil at the mention of his name." His show is rarely repeated on terrestrial, satellite or cable TV, although it has recently been aired on the BBC America cable channel. An Australian TV channel, Seven Network has shown some episodes lately called "Great Comedy Classics". Celebrity fans Charlie Chaplin, who died in 1977, was an avid fan of Hill's work: Hill had earlier discovered that his childhood idol Chaplin was a fan when he was invited to Chaplin's home in Switzerland by Chaplin's family and discovered that Chaplin had a vast collection of Benny's work on video. Apparently, Hill and Dennis Kirkland were the first people outside of family to be invited into Chaplin's private study. Radio and TV show host Adam Carolla has also claimed that he was an avid fan of Benny Hill and that he considered Hill "as American as the Beatles." Indeed, during an episode of The Man Show, Carolla performed (in what was billed as a tribute to "our favourite Englishman, Sir Benny Hill") in a slightly more risquï¿½ takeoff of the "undercranked" sketches that Hill popularised. Carolla played a rude and lecherous waiterï¿½a role Hill essayed numerous times in his shows ï¿½ and the sketch featured many of the staples of Hill's shows (including a Jackie Wright-esque bald man, as well as the usual scantily clad ladies). Comedian Carlos Mencia is also known to give tributes to Hill at the end of his popular show, Mind of Mencia, saying that he was an inspiration to him. Parramatta Eels legends Peter Sterling and Brett Kenny were ardent fans of Benny Hill, and it has been suggested some of their backline movements were inspired by Hill skits. In a documentary (Benny Hill: The World's Favorite Clown) filmed before Hill's death, a variety of celebrities (Burt Reynolds, Michael Caine, John Mortimer, Mickey Rooney, and Walter Cronkite, among others) expressed their appreciation of and admiration for Hill and his humour (and in Reynolds' case, the appreciation extended to the Hill's Angels as well). In 2006, the broadcaster and critic Garry Bushell launched a campaign to erect a statue of Benny in Southampton, with the support of Barbara Windsor, Brian Conley and many other British comedy favourites. Those taking part in the first fund-raising concert included Neville Staple, Right Said Fred and Rick Wakeman. Death Hill's health began to decline in the early 1990s. He suffered heart problems, and on 11 February 1992, doctors told him that he needed to lose weight, and recommended a heart bypass. He declined, and was diagnosed a week later with renal failure. Benny Hill died on or about 19 April 1992 (Easter weekend), alone in his flat at 7 Fairwater House, Twickenham Road, Teddington, at the age of 68. On 21 April, concerned neighbours had called the police, who then found the deceased Hill sitting in his armchair in front of the television. On the day that Benny Hill died, a new contract arrived in the post to him from Central Independent Television. The cause of death was listed as coronary thrombosis. (His death closely coincided with that of another British comedy icon, Frankie Howerd, who died on 19 April aged 75.) He was buried at Hollybrook Cemetery near his birthplace in Southampton. In October 1992, following rumours that he was buried with large amounts of gold jewellery, an attempt was made by thieves to exhume his body. However, when authorities looked into his open coffin the following morning, there was no treasure within it, and consequently, only the culprits know for sure whether anything valuable was inside. Hill was re-buried with a new coffin lid and a solid slab placed across the top of the grave. These circumstances were similar to that of Romy Schneider after her burial. Last will In Hill's will, he had left his estimated ï¿½10 million (GBP) estate to his late parents. Next in line were his brother Leonard and sister Diana, neither of whom he had enjoyed the closest of relationships with, and both of whom were also deceased. This left his seven nieces and nephews, amongst whom the money ï¿½ approximately ï¿½7.5 million ï¿½ was divided. A note was found among his belongings assigning huge sums of money to his close friends Sue Upton, Louise English, Henry McGee, Bob Todd and Dennis Kirkland, but because it was neither signed nor witnessed, the note had no legal standing. Is Benny Hill Still Funny? On 28 December 2006, Channel 4 broadcast the documentary Is Benny Hill Still Funny?. The programme featured an audience that comprised a cross-section of young adults who had little or no knowledge of Hill's comedy style. The aim was to discover whether or not the "politically incorrect" criticism of Hill was valid to a generation that enjoyed the likes of Little Britain, The Catherine Tate Show and Borat. The participants were asked to watch a 30-minute compilation that included examples of Hill's humour from both his early BBC and later Thames shows. The responses were continuously measured and the results demonstrated that nobody took offence at any of the sketches shown. In addition, the "appreciation" figure was revealed to be very respectable, which would have guaranteed a series commission had it been a modern television pilot programme. Hill's silent "Wishing Well" sketch was discovered to be the most popular. Alternative comedian Ben Elton, a harsh critic of Hill in the 1980s, was interviewed in the programme. Although still having reservations on certain aspects of Hill's sketches, Elton admitted he was an admirer of Hill's talent and abilities as a comic performer. There is now a growing school of thought which recognises Hill as a comic genius who fell foul of social change and was rejected while he was still in his prime. Running Gags Fans have described the usual chase scene included in the Benny Hill Show as a 'running gag that is a running gag'. The tune used in all the chases, "Yakety Sax", is commonly referred to as 'The Benny Hill Theme'. It has been used in form of parody in many ways by television shows, a small number of films and, mostly, videogame parodies. See also Yakety Sax, usually referred as the Benny Hill theme song References ^ The Independent- Why did the British disown Benny Hill?, published 27 May 2006 ^ Benny - The True Story by Dennis Kirkland (with Hilary Bonner), publ. 1993 Benny Hill page at the Museum of Broadcast Communications Benny Hill at the Internet Movie Database Biography at BBC America Funny, Peculiar - The True Story of Benny Hill by Mark Lewisohn The Benny Hill Show page at the Museum of Broadcast Communications GRO - Alfred H. Hill born MAR qtr 1924 2c 52 SOUTHHAMPTON, mmn = Cave GRO - Alfred Hawthorne Hill died: APR 1992 14 1352 Richmond-upon-Thames, aged 68, Date of Birth = 21 Jan 1924	i don't know
What word in our language comes from the French for ‘sour wine’?	12 Words Etymologically Related to the Sense of Taste \| Mental Floss 12 Words Etymologically Related to the Sense of Taste iStock Like us on Facebook We experience the world through our senses, so it makes sense that our language should reflect those senses. This group of words traces back to the basic elements of taste: sour, bitter, sweet, and salty. 1. EAGER The word eager goes back to the French word aigre, meaning sour. In English, it first took on the sense of sharp, biting, or severe. Then it took on the sense of intense or impatient, which developed into the “ready to go!” sense we know today. 2. VINEGAR Vinegar also goes back to aigre—vin aigre, or sour wine. That’s what vinegar is, after all. 3. OXYGEN In the 18th century, when scientists discovered oxygen, they thought of it as the element whose main characteristic was its role in producing acids. The word oxygen was formed from Greek roots to mean “acid generating.” The German word for it—sauerstoff (sour stuff)—was also formed on this idea. 4. ACERBIC Latin acerbus meant harsh, bitter, or exceptionally sour-tasting. It’s the root of acerbic, which means in a bitter or cutting manner. 5. EXACERBATE Exacerbate also goes back to acerbus, meaning to “make intensely bitter” or, more generally, to worsen. 6. MYRRH Myrrh is a bitter-tasting tree resin used in perfume and incense. The word comes from a Semitic root meaning bitter. 7. LICORICE Licorice goes back to ancient Greek glykus, meaning sweet. It’s also the root of glycerine and glucose. 8. DULCIMER The name of this mellow stringed instrument was formed on Latin dulce + melos, or sweet melody. 9. ASSUAGE When you assuage, you soften or mitigate. It goes back to Latin ad + suavis, or “to sweet.” 10. SALARY A salary, was originally, in ancient Rome, a salarium—money given to soldiers for the purchase of salt. 11. SAUSAGE Sausage, a tube of cured meat, goes back to salsus, meaning salted. 12. SALAD Salad, which can now refer to an unseasoned pile of vegetables, also comes from the idea of “salted.” All images courtesy of iStock.	Vinegar
The musical term ‘toccata’ comes to us from what language?	Vinegar \| Define Vinegar at Dictionary.com vinegar noun 1. a sour liquid consisting of dilute and impure acetic acid, obtained by acetous fermentation from wine, cider, beer, ale, or the like: used as a condiment, preservative, etc. 2. Pharmacology. a solution of a medicinal substance in dilute acetic acid, or vinegar. 3. sour or irritable speech, manner, or countenance: a note of vinegar in his voice. 4. Informal. vigor; high spirits; vim. Origin of vinegar 1250-1300; Middle English vinegre < Old French, equivalent to vin wine + egre, aigre sour (see eager 1) Related forms Examples from the Web for vinegar Expand Contemporary Examples Vinaigrettes may be made with any type of vinegar and any type of oil, which is why it is impossible to write lucidly about them. British Dictionary definitions for vinegar Expand noun 1. a sour-tasting liquid consisting of impure dilute acetic acid, made by oxidation of the ethyl alcohol in beer, wine, or cider. It is used as a condiment or preservative 2. sourness or peevishness of temper, countenance, speech, etc 3. (pharmacol) a medicinal solution in dilute acetic acid 4. (transitive) to apply vinegar to Derived Forms C13: from Old French vinaigre, from vinwine + aigre sour, from Latin acer sharp Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012 Word Origin and History for vinegar Expand n. c.1300, from Old French vinaigre, from vin "wine" (from Latin vinum; see wine ) + aigre "sour" (see eager ). In Latin, it was vinum acetum "wine turned sour;" cf. also Greek oxos "wine vinegar," which is related to oxys "sharp" (see acrid ). Online Etymology Dictionary, © 2010 Douglas Harper vinegar vin·e·gar (vĭn'ĭ-gər) n. An impure dilute solution of acetic acid obtained by fermentation beyond the alcohol stage and used as a preservative. The American Heritage® Stedman's Medical Dictionary Copyright © 2002, 2001, 1995 by Houghton Mifflin Company. Published by Houghton Mifflin Company. Slang definitions & phrases for vinegar Expand The Dictionary of American Slang, Fourth Edition by Barbara Ann Kipfer, PhD. and Robert L. Chapman, Ph.D. Copyright (C) 2007 by HarperCollins Publishers. vinegar in the Bible Expand Heb. hometz, Gr. oxos, Fr. vin aigre; i.e., "sour wine." The Hebrew word is rendered vinegar in Ps. 69:21, a prophecy fulfilled in the history of the crucifixion (Matt. 27:34). This was the common sour wine (posea) daily made use of by the Roman soldiers. They gave it to Christ, not in derision, but from compassion, to assuage his thirst. Prov. 10:26 shows that there was also a stronger vinegar, which was not fit for drinking. The comparison, "vinegar upon nitre," probably means "vinegar upon soda" (as in the marg. of the R.V.), which then effervesces. Easton's 1897 Bible Dictionary	i don't know
The use of exaggeration as a rhetorical device or figure of speech is known as what?	Hyperbole - Examples and Definition of Hyperbole Hyperbole Hyperbole Definition Hyperbole, derived from a Greek word meaning “over-casting” is a figure of speech , which involves an exaggeration of ideas for the sake of emphasis. It is a device that we employ in our day-to-day speech. For instance, when you meet a friend after a long time, you say, “Ages have passed since I last saw you”. You may not have met him for three or four hours or a day, but the use of the word “ages” exaggerates this statement to add emphasis to your wait. Therefore, a hyperbole is an unreal exaggeration to emphasize the real situation. Some other common Hyperbole examples are given below. Common Examples of Hyperbole My grandmother is as old as the hills. Your suitcase weighs a ton! She is as heavy as an elephant! I am dying of shame. I am trying to solve a million issues these days. It is important not to confuse hyperbole with simile and metaphor . It does make a comparison but unlike simile and metaphor , hyperbole has a humorous effect created by an overstatement . Let us see some examples from Classical English literature in which hyperbole was used successfully. Hyperbole Examples from Literature Example #1 In American folk lore, Paul Bunyan’s stories are full of hyperboles. In one instance, he exaggerates winter by saying: “Well now, one winter it was so cold that all the geese flew backward and all the fish moved south and even the snow turned blue. Late at night, it got so frigid that all spoken words froze solid afore they could be heard. People had to wait until sunup to find out what folks were talking about the night before.” Freezing of the spoken words at night in winter and then warming up of the words in the warmth of the sun during the day are examples of hyperbole that have been effectively used by Paul Bunyan in this short excerpt. Example #2 From William Shakespeare ’s “ Macbeth ”, Act II, Scene II, “Neptune’s ocean wash this blood Clean from my hand? No. This my hand will rather The multitudinous seas incarnadine, Making the green one red.” Macbeth, the tragic hero , feels the unbearable prick of his conscience after killing the king. He regrets his sin and believes that even the oceans of the greatest magnitude cannot wash the blood of the king off his hands. We can notice the effective use of hyperboles in the given lines. Example #3 From W.H Auden’s poem “As I Walked One Evening”, I’ll love you, dear, I’ll love you Till China and Africa meet, And the river jumps over the mountain And the salmon sing in the street, I’ll love you till the ocean Is folded and hung up to dry The use of hyperbole can be noticed in the above lines. The meeting of China and Africa, the jumping of the river over the mountain, singing of salmon in the street, and the ocean being folded and hung up to be dried are exaggerations not possible in real life. Example #4 From “The Adventures of Pinocchio” written by C. Colloid, “He cried all night, and dawn found him still there, though his tears had dried and only hard, dry sobs shook his wooden frame. But these were so loud that they could be heard by the faraway hills…” The crying of Pinocchio all night until his tears became dry is an example of Hyperbole. Example #5 From Joseph Conrad ’s novel “The Heart of Darkness”, “I had to wait in the station for ten days-an eternity.” The wait of ten days seemed to last forever and never end. Function of Hyperbole The above arguments make clear the use of hyperbole. In our daily conversation, we use hyperbole to emphasize for an amusing effect. However, in literature it has very serious implications. By using hyperbole, a writer or a poet makes common human feelings remarkable and intense to such an extent that they do not remain ordinary. In literature, usage of hyperbole develops contrasts. When one thing is described with an over-statement and the other thing is presented normally, a striking contrast is developed. This technique is employed to catch the reader’s attention.	Hyperbole
What name is given to a star's outer shell from which light is radiated?	Hyperbole \| Literary Devices Literary Devices Hyperbole Definition: A hyperbole is a literary device wherein the author uses specific words and phrases that exaggerate and overemphasize the basic crux of the statement in order to produce a grander, more noticeable effect. The purpose of hyperbole is to create a larger-than-life effect and overly stress a specific point. Such sentences usually convey an action or sentiment that is generally not practically/ realistically possible or plausible but helps emphasize an emotion. Example: “I am so tired I cannot walk another inch” or “I’m so sleepy I might fall asleep standing here”. Average:	i don't know
What role did Henry Travers play in a famous and still-popular 1946 film?	Wonderful life of Henry Travers revealed - The Journal Wonderful life of Henry Travers revealed 00:30, 18 Dec 2010 HENRY Travers is one of those actors you’ll almost certainly recognise – but you might not be quite sure why. Share HENRY Travers is one of those actors you’ll almost certainly recognise – but you might not be quite sure why. Although most famous for his role as bumbling guardian angel Clarence Oddbody in Frank Capra’s heartwarming festive favourite It’s a Wonderful Life, Travers had an astonishing Hollywood career – the highlight being back in 1942 when he was Oscar-nominated as best supporting actor for his role in Mrs Miniver. It is a little-known piece of movie trivia that our region – specifically Berwick-Upon-Tweed – can lay claim to the late star. Allan Foster, author of The Movie Traveller which is a film fan’s guide for the UK and Ireland, found out more about Travers, born Travers Hegarty, when researching his book. “I found it quite difficult to get information,” confesses Allan. “I think what I did in the end is put an advert in a Berwick newspaper. “I found out that his niece or great niece still lived there then – she wrote to me. It was a hand-written letter but she didn’t want it made public that she was his niece and still lived in Berwick. She’d jotted down a few details but that was about it. “I got the impression that the niece was fairly elderly, just by the style of the letter – but I don’t have it any more. That was the only correspondence I had with anyone about him.” According to Allan, Travers was born in Ireland in 1874. However, other sources say he was born in Berwick and some that he was born in Prudhoe. Allan says Travers came to Berwick in the late 1880s when his father Dr Daniel Hegarty settled in Tweedmouth. Educated at Berwick Grammar School, it’s believed he initially trained as an architect before joining the Tweedside Minstrels who performed at local amateur shows. In 1905, he joined the James Wallace Quintet and became a regular on the British theatre scene. But the bright lights of Broadway soon beckoned. Travers changed his name to Henry Travers and became arguably one of Britain’s greatest character actors, often cast as a dignified and amiable senior citizen. As wingless Clarence – ‘angel second class’ – he was sent to earth to save Jimmy Stewart from suicide. “I found that most people didn’t really know who he was – of course as we are coming up to Christmas, a few people might due to his connection with It’s a Wonderful Life,” says Allan, 60, who lives just outside Kelso. “I used to do a spot on Radio Borders about movies where I would ask questions on air. I asked a question about Henry Travers one day, asking if anyone knew who the actor was from a clip I played of It’s a Wonderful Life. Nobody got it! “When you are sat in the studio there are five or six phone lines – all of which have a little light. When people started to phone in five or six lights would flash. With Henry Travers not one flashed. “He is a known face but not a very well- known name. “I know he went to Berwick Grammar School, that he was born in Ireland and that his dad came across to Berwick when Travers was young. “He got involved in amateur dramatics and I think he got involved in a touring drama group. In those days they got booked to go to America – such as the likes of Charlie Chaplin. He saw how good it was over there and never came back.” Allan managed to find his house in Berwick, which still stands. He said: “I can remember the house he lived in – there’s a picture in the book of it. “Berwick has got a railway bridge and a main traffic bridge but it also has an old bridge – one of the single track ones with buttresses. “As you are coming over that bridge with the town behind you – towards the south – you come off the bridge and his house is on the corner. I think it became a care home in later years. It wasn’t a substantial house – just an average looking house.” Film expert Allan – the former chairman of the Scottish Film Society and author of several movie books – rates him highly as an actor. He said: “It’s a Wonderful Life was a bit of a flop when it came out. It got popular when its copyright ran out and TV companies started to grab it and stick it on at Christmas. That’s what really got it to become a classic. “I thought his performance was great. But he only ever seemed to be in things when he was old!” Travers died on October 18, 1965 at 91 in Hollywood, California. Not much is known about his personal life. However despite the little- known Berwick connection, a new generation will learn of Travers and his impressive Hollywood C.V. Miles Gregory, chief executive and artistic director at The Maltings Theatre and Cinema in Berwick, explains why: “We did some research about actors with links to the area and we identified a number of well-known ones including Alexander Knox. “But Henry Travers spent his formative years here in Berwick and that’s why we renamed the studio after him – to recognise his links with the theatrical community here in Berwick,” says Miles. The Travers Studio sits 120 people and there are plans to turn it into a fully equipped black box studio suitable for experimental theatre, live music and as a learning resource. So the Travers legacy lives on. Miles added: “He made a significant contribution. “He’s the kind of chap people would have actually seen many times without possibly realising that it was indeed Henry Travers. He has been in an awful lot of films. “It’s easy to overlook actors who have had a very successful career and who have been in employment throughout their career – the sum of their contribution is far greater than the individual parts they play. “He always retained a great affection for Berwick and so it seemed fitting we renamed the theatre after him. He is remembered with affection here in Berwick.” It’s a Wonderful Life is playing at Tyneside Cinema in Pilgrim Street, Newcastle, over the Christmas period. For more information, visit www.tynesidecinema.co.uk. A SELECTION OF TRAVER’S FILMOGRAPHY: The Invisible Man (1933) Death Takes a Holiday (1934) Born to Be Bad (1934) Four Hours to Kill! (1935) After Office Hours (1935)	Clarence Odbody
What part did Bill Travers play in ‘Born Free’ (1966)?	It's A Wonderful Life (1946) Pages: ( 1 ) ( 2 ) ( 3 ) Background It's A Wonderful Life (1946), originally made for Liberty Films, is one of the most popular and heartwarming films ever made by director Frank Capra. Frank Capra regarded this film as his own personal favorite - it was also James Stewart's favorite of all his feature films. It was actually a box-office flop at the time of its release, and only became the Christmas movie classic in the 1970s due to repeated television showings at Christmas-time when its copyright protection slipped and it fell into the public domain in 1974 and TV stations could air it for free. [Republic Pictures restored its copyright claim to the film in 1993, with exclusive video rights to it. Currently, it can be shown only on the NBC-TV network, and its distribution rights belong to Paramount Pictures.] The film's screenplay (credited as being written by Frances Goodrich, Albert Hackett, and Capra himself, with additional scenes by Jo Swerling) was based on "The Greatest Gift," an original short story first written on a Christmas card by Philip Van Doren Stern. Uncredited for their work on the script were Dorothy Parker, Dalton Trumbo, and Clifford Odets. It is actually a dark, bittersweet post-war tale of a savings-and-loan manager who struggles against a greedy banker and his own self-doubting nature in a small town. Earnest do-gooder George Bailey (James Stewart) recognizes his life as wonderful and truly rich, even in its humdrum and bleak nature, only after suffering many hardships, mishaps and fateful trials (including compromised dreams of youth to leave the town and seek fame and fortune, other sacrifices, dismay, losses and the threat of financial ruin, and suicide). He is given encouragement by a whimsical, endearing, trainee-angel named Clarence (Henry Travers). The story turns Dickensian (similar to A Christmas Carol, although told from Bob Cratchit's point-of-view rather than from Scrooge's) when the hysterical, despairing, and melancholy family man is shown what the small town (Bedford Falls, now renamed Pottersville after the town's evil tycoon) would be like without him. It's a frightening, nightmarish, noirish view of the world (at Christmas-time) that brings him back from self-destruction. He returns to the idyllic, small-town world that he left, with renewed faith and confidence in life itself. Hence, the film's title: It's a Wonderful Life. The plot of the film was copied in the rags-to-riches fantasy storyline (also with a guardian angel played by Michael Caine) of Disney's Mr. Destiny (1990), starring James Belushi, and in Brett Ratner's The Family Man (2000) with Nicolas Cage. The famous "Pottersville" alternate reality scenes were also referenced in Robert Zemeckis' Back to the Future Part II (1989), in which the small town of Hill Valley was transformed into a Las Vegas-like Babylon in 1985, with young Marty McFly (Michael J. Fox) in the role of George Bailey. The picture earned five Academy Award nominations: Best Picture, Best Actor (James Stewart in his first film in almost six years), Best Director (Capra), Best Sound Recording and Best Film Editing, but won no Oscars. (It was eclipsed by William Wyler's award-winning The Best Years of Our Lives .) The Story The film's credits are seen in an illustrated storybook of wintry scenes as the pages turn. As the film opens, the setting is the typical, but imaginary American small town of Bedford Falls, somewhere in New York State, identified by a snow-covered welcome sign. It is Christmas Eve. Prayers from friends in Bedford Falls are heard for a man named George Bailey on the verge of suicide. The camera pans over locations in town, identifying where the voices are coming from - Gower Drug Store, Martini's, the local church, one of the homes, Bedford Falls Garage, and George's own home, where his children's voices are heard. The camera shot dissolves slowly upward into the star-filled, dark night sky where two pulsating galaxies of light come into view. Two heavenly angels are conversing together in the film's otherworldly opening. They have heard the prayers for the film's hero, George Bailey (James Stewart), a man overwhelmed by his problems. Every time one of the heavenly voices speaks, the stars twinkle. In this cosmic fantasy sequence, Angel Joseph tells Angel Franklin that they will appoint a guardian angel for George. But the only angel available is Clarence Oddbody (Henry Travers), Angel Second Class, a sweet but inept, child-like apprentice angel who hasn't yet earned his wings. The apprentice is summoned, and portrayed as a streaking star that appears before the brighter angelic stars. Before being dispatched, Clarence is told that George is despondent and considering suicide, "throwing away God's greatest gift," his life - he obviously needs angelic assistance. Clarence is promised that if he does a good job, he will earn his wings. Before Clarence is given a chance to become a full-fledged angel and sent to Earth, the heavenly powers show, in flashback, key events and background on George's life from his boyhood, to provide Clarence with important information about why George is so despairing. Bedford Falls comes slowly into focus. It is the year 1919 and young native George Bailey (Bobbie Anderson) is 12 years old - born, raised, and educated in Bedford Falls. George and a group of friends are sliding down an icy hill on shovels onto a frozen pond. When his younger kid brother Harry (George Nokes) slides past the safe area and plunges into the freezing water at the end of the icy pond, George jumps in after him and saves him from drowning by forming a human chain, but his heroics cause him to catch a bad cold. From the resulting infection, he goes deaf in his left ear. In the afternoons, George works at the local drugstore owned by "old man" Mr. Gower (H. B. Warner). Walking to work with his friends, they stand in awe and watch a horse-driven, hearse-like carriage pass by, carrying Mr. Henry F. Potter (Lionel Barrymore), "the richest and meanest man" in the county. At the store, he talks with a flirtatious eight year old Violet Bick (Jeanine Anne Roose) who orders candy at the counter and vies for George's attention. Also there is young Mary Hatch (Jean Gale, or Jeanne Gail), the childhood sweetheart he will eventually marry. Mary orders a chocolate sundae, but rejects George's offer of coconuts on top. George tells "brainless" Mary that cocoanuts come from Tahiti, the Fiji Islands, and the Coral Sea. Obviously, he wants to explore and see the world, bragging about being nominated as a member of the National Geographic Society. When he bends down in front of her, she whispers into his deaf ear, vowing: "George Bailey - I'll love you till the day I die." She already knows that the boastful George is the only man she'll ever love, but he doesn't hear her. While finishing fixing her order, George discovers a recent telegram to druggist Mr. Gower informing him of the tragic death of his son Robert, due to influenza. Distraught over the news and drinking as a result, the despondent Mr. Gower mistakenly mixes a pill prescription containing poisonous cyanide. Gower gives the order to George for an emergency delivery. Although obedient and diligent, George realizes that the prescription is fatal, but he faces a dilemma - should he deliver it? As he leaves the store, Mary is still sitting at the soda fountain counter, watching him as he dashes off. Not knowing what to do, young George spots a sign with the words: "Ask Dad - he knows." Young George runs to his dad Peter Bailey (Samuel Hinds) for advice. His father is busy in the Bailey Bros. Building and Loan Association building, confronting Potter in his office. George's lovable Uncle Billy (Thomas Mitchell), (Peter Bailey's brother), known for wearing strings around his fingers to prevent absent-mindedness, prevents George from interrupting, but is called away. George enters his father's office and listens to the conversation between his father and Potter. The contrast between Bailey and Potter is clear - Potter wears black, sits in a wheelchair, and is a "hard-skulled," villainous, miserly banker demanding immediate payments and whose consuming goal in life is to destroy the Building and Loan. And Bailey is a champion and defender of the rights of the little man, refusing to foreclose on the mortgages of families in town. Potter insults Bailey: "Are you running a business or a charity ward?" and young George stands up and comes to his father's defense when Potter calls him a failure. His father rushes him out of the office without giving him a chance to ask about the pills. George returns to the store with the undelivered capsules. Before learning of the mistake, Mr. Gower angrily slaps George's sore ear for disobediently not delivering the order, although the boy describes the druggist's error: "You put something wrong in those capsules. It wasn't your fault, Mr. Gower." When the old man tests the pills and learns the truth, he breaks down and tearfully embraces George, profusely begging him for forgiveness. George promises never to tell anyone about the mistake. The film moves ahead to the summer of 1928. George has grown up into adulthood and as a young man, he finally has his chance to get out of tiny Bedford Falls before entering college. He is about to leave for Europe on an exotic trip aboard an ocean freighter to see the world. He is in a local luggage and bags store purchasing a suitcase. With his hands outstretched, the moving image of George is suddenly stopped on the screen by the angels, as they inspect and comment upon it. When the flashback continues, George insists that his suitcase must be big enough "for a thousand and one nights with plenty of room here for labels from Italy and Baghdad...." He is presented with a second-hand bag with his name inscribed on it, a present from his ex-boss Mr. Gower. On the streets of town, townspeople kid with him about his upcoming trip. With friends Ernie (Frank Faylen), the taxi driver, and Bert (Ward Bond), the cop [it has been hypothesized that the names for the Bert and Ernie characters on Sesame Street were taken from this film], he calls himself "a rich tourist" and asks to be driven home in style. Just then, George sees another childhood friend, Violet (Gloria Grahame), the town flirt. He compliments her on her summer dress, but she shrugs coquettishly and walks away wiggling her hips, stopping traffic and getting them all to crank their gaze in her direction. George spends his last night - the evening of brother Harry's (Todd Karns) high school graduation, with his parents for "his last meal" at the Bailey home. Behind his father on the wall are George's framed butterfly collection. His father tells him that Potter, on the board of directors, continues to harrass them. George calls Potter a "money-grubbing buzzard," although Mr. Bailey excuses Potter's miserliness as a sickness of his mind and soul. George has spent four years since his high school graduation working for his father at the Bailey Bros. Building and Loan Association. George has "it all figured out." His younger brother Harry is to take his place at the Bailey Company for four years while he goes off to college. Mr. Bailey sounds out his "born older" son George about what he wants to do in his future. George boasts about his plans: "Oh well, you know what I've always talked about. Build things. Design new buildings. Plan modern cities." Mr. Bailey also asks about his son's feelings about taking over the Building and Loan. Exuberant about leaving Bedford Falls and traveling in his future, George declines his father's offer to return back home after college to take over the business: "I-I couldn't face being cooped up for the rest of my life in a shabby little office....I'd go crazy. I -, I want to do something big, something important." His father defends the importance of their business, sacrificing his entire life to altruistically help depositors in his bank and his family: "It's deep in the race for a man to want his own roof, walls, and fireplace. And we're helping him get those things in our 'shabby little office.'" George doesn't wish to demean his father's work, but explains that he wants to get away and achieve financial/worldly success: "I just feel like if I didn't get away, I'd bust." His empathic father demonstrates his understanding. At Harry's 1928 high-school graduation party, George is heartily greeted by old friends including Sam Wainwright (Frank Albertson), a recent college graduate. Sam is known for prefacing conversations with "Hee Haw" and pretending to have floppy donkey ears. Violet approaches and offers her dance card to George: "What am I bid?" But George slights Violet when he is interrupted by Mary Hatch's brother Marty Hatch (Harold Landon) - they are all together again for old home week. Marty suggests that George dance with his "kid sister Mary" to give her "the thrill of her life." Violet reacts with mock surprise as George turns to look for Mary. His tall figure makes its way through the crowd to find her. When he sees the grown-up 18 year-old Mary (Donna Reed), the first time they have met since they were childhood friends, she looks exquisitely beautiful in a close-up and he is visibly impressed with her. Although Mary is listening to an obnoxious suitor named Freddie (Carl Switzer, Our Gang's 'Alfalfa') tell her a boring story about an experience he has had, she immediately turns away and shows an interest and fondness for George. He takes her away from her partner and they go off dancing together after George tells Freddie off. Beginning a heart-warming set of dreamlike sequences, George courts his childhood sweetheart and their love grows. At the party, they enter a Charleston dance contest, while unbeknownst to them, the jealous rival Freddie plots his revenge with a prank. With the turn of a key and the push of a button, the gym dance floor is opened up, revealing a swimming pool underneath. When the floor separates beneath them, they are so carried away with their hectic Charleston dancing that they don't notice - and they plunge backwards into the pool. Soon, everyone joins them in the water, including the school principal. George and Mary walk home together, returning from the high school dance after falling in the pool and soaking their party clothes. They wear a hastily-thrown together weird assortment of borrowed clothes - George a tight #3 football jersey and Mary a long, loose-fitting bathrobe. They sing an off-key duet of "Buffalo Gals" under the light of a new moon. Then, he sweet-talks her, calling his eighteen year-old date "the prettiest girl in town" while distancing himself slightly. On their way home while strolling along the street, they pause in front of the old deserted Granville house, and the gawky George accidentally steps on her bathrobe belt, the pretended "train" of her dress. She stops so that they can pretend a chivalrous encounter in a dramatic game. As a courtly lady, she extends her hand for a kiss from her courtier. He approaches closer to her, intending to give her a real kiss, but she coyly and slowly turns away from him. Playful, she walks away and continues to sing "Buffalo Gals." George threatens to hurl a rock through one of the Granville house windows. He wants to make a wish - one that will only come true if he breaks a window. Mary wishes he wouldn't and confesses that she'd like to live in that old abandoned house - a prophetic wish: "I love that old house...It's full of romance, that old place. I'd like to live in it." He throws a rock and his aim is accurate - he breaks a window on the second floor. But then, he loudly describes his "whole hatful" of wishes to see the world and build magnificent buildings: I'm shakin' the dust of this crummy little town off my feet and I'm gonna see the world. Italy, Greece, the Parthenon, the Coliseum. Then, I'm comin' back here to go to college and see what they know. And then I'm gonna build things. I'm gonna build airfields, I'm gonna build skyscrapers a hundred stories high, I'm gonna build bridges a mile long... Mary interrupts George by picking up a rock (unnoticed at first by self-centered George) and silently makes a wish of her own. [Her wish, learned later, is to live with George someday in the Granville house.] Following George's example, she throws it through another window - and seals their fate. George curiously asks about her wish. For a second time, she replies with a sly smile as her answer, and then turns and continues down the street singing "Buffalo Gals." She explains that if she tells him her wish for the future, it wouldn't come true. George asks about her deepest wishes and then offers her a poetic, imaginative fantasy about lasso-ing the moon and bringing it down to Earth so that she can eat it - it's almost a marriage proposal: What is it you want, Mary? What do you want? You-you want the moon? Just say the word and I'll throw a lasso around it and pull it down. Hey, that's a pretty good idea. I'll give you the moon...Well, then you could swallow it. And it'll all dissolve, see. And the moon beams that shoot out of your fingers and your toes and the ends of your hair...Am I talking too much? A bald, overweight neighbor (Dick Elliott) on a nearby back porch hears their romantic, non-sensical conversation and challenges George to do less talking and try more romantic action: "Why don't you kiss her instead of talking her to death?" Just then, George inadvertently steps on Mary's bathrobe again and she accidentally loses it. She jumps into the hydrangea bushes to hide. Aroused by her predicament, he hesitates to throw her robe to her and teases her in a good-natured way, calling it "a very interesting situation." Mary begs for her robe back as he circles the bush with the bathrobe in his hands. George's imaginative and harmonious contemplation of possibilities with Mary is interrupted when a car roars up the street with Harry and Uncle Billy. He abruptly leaves after receiving the tragic news that his father has had a stroke. The beautiful harmony of their mutual attraction is shattered. The last shot of the scene is a long, sustained close-up of Mary (with a mixed expression of sadness, concern and disappointment). She watches the car drive off. Mr. Bailey death means that George's dream of traveling abroad to Europe for the summer before college is short-circuited. He must handle the affairs of his father's business in the few months following his father's death. In a meeting of the board of the Bailey Building and Loan Company that gathers to vote on its future and to choose a successor to Mr. Bailey, George listens to Mr. Potter (one of the board members) present a motion to dissolve the Building and Loan Association in a bold-faced attempt to shut it down. Although Potter calls George's father "a man of high ideals," he criticizes Peter Bailey's business sense - he's "not a business man - that's what killed him," maintaining that the company was always a losing proposition. The crotchety old Potter believes that the loan policies of the company only produce: "a discontented, lazy rabble instead of a thrifty working class." Potter complains about a few idealistic, "starry-eyed dreamers like Peter Bailey (who) stir 'em up and fill their head with a lot of impossible ideas." George delivers an inspired address in defense of his father's character, fighting selfishness and deceitfulness with honesty and decency. He speaks for the hard-working people of the town, and the way his father made them all better citizens and customers: Do you know how long it takes a working man to save five thousand dollars? Just remember this, Mr. Potter, that this rabble you're talking about. They do most of the working and paying and living and dying in this community. Well, is it too much to have them work and pay and live and die in a couple of decent rooms and a bath? Anyway, my father didn't think so. People were human beings to him, but to you, a warped, frustrated old man, they're cattle. Well, in my book, he died a much richer man than you'll ever be. George is committed to keeping alive the company as the only alternative to allowing Bedford Falls to fall completely under the ownership of greedy and unscrupulous Mr. Potter - the only source for borrowing money. "This town needs this measly, one-horse institution if only to have someplace where people can come without crawling to Potter." Potter calls George's ideals "sentimental hogwash." The board votes not to sell out to Potter but to keep the Bailey Building and Loan Company under one condition - if George is kept in charge as Executive Secretary to succeed his father. When they suggest that absent-minded Uncle Billy run the company - an unworkable alternative, George realizes his opportunities to go to college and study architecture are closing down, crying: "This is my last chance." But then, he again agrees to sacrifice and sidetrack his personal dreams as a victim of circumstance. He will remain in Bedford Falls to operate the company, inherit the responsibilities of running the loan company, and instead send his younger brother to college, using his own college savings. Over the next four years, George manages the company while his brother attends college in his place. When Harry graduates from college in 1932, he is to come back to Bedford Falls and run the family business. At the train station, George waits with Uncle Billy for his brother to return from college for the last time - while eagerly clutching travel brochures to Venezuela and the Yukon in his hands. He believes that he can finally be replaced at the company by his brother and turn over the management to Harry - he can, at last, leave Bedford Falls. As the approaching train whistle sounds, George explains the three most exciting sounds in the world: Anchor chains, plane motors, and train whistles. The two brothers greet each other with overlapping lines when Harry bounds off the train. Unexpectedly, Harry is accompanied by his new bride Ruth (Virginia Patton), and George learns of Harry's promise of profitable work (out of town) in the research business for his father-in-law's glass factory in Buffalo. In a close-up of George's despairing, frustrated and dispirited face, he suddenly falls silent, realizing that he is doomed to stay in town. George is left alone as Harry returns to the train for his luggage. His dreams of escape and adventure are dashed, but he keeps his bitterness and discouragement to himself.	i don't know
On the London underground only one station contains a single vowel. Which station?	London Underground: 150 fascinating Tube facts - Telegraph Telegraph 150 London Underground facts (including the birth of Jerry Springer in East Finchley station) It's closed today, but it's still interesting Credit: John Stillwell Jolyon Attwooll , Travel writer 9 January 2017 • 11:00am You can't ride it today, thanks to industrial action. But you can learn a few things about the Tube instead. 1. There is only one Tube station which does not have any letters of the word 'mackerel' in it: St John's Wood. 2. The average speed on the Underground is 20.5 miles per hour including station stops. 3. The busiest Tube station is Waterloo, which was used by around 95 million passengers in 2015. In 2014 Oxford Circus took top spot, in 2009 it was Victoria, and in 2005 it was King's Cross, 4. On the Metropolitan line, trains can reach over 60mph. The Night Tube service started on August 19, 2016 Credit: AFP or licensors/DANIEL LEAL-OLIVAS 5. The shortest distance between two adjacent stations on the underground network is only 260 metres. The tube journey between Leicester Square and Covent Garden on the Piccadilly Line takes only about 20 seconds, but costs £4.90 (cash fare). Yet it still remains one of the most popular journeys with tourists. 6. Many tube stations were used as air-raid shelters during the Second World War, but the Central Line was even converted into a fighter aircraft factory that stretched for over two miles, with its own railway system. Its existence remained an official secret until the 1980s. 7. Angel has the Underground's longest escalator at 60m/197ft, with a vertical rise of 27.5m. 8. The shortest escalator is Stratford, with a vertical rise of 4.1m. 9. Only 45 per cent of the Underground is actually in tunnels. 10. The longest distance between stations is on the Metropolitan line from Chesham to Chalfont & Latimer: a total of only 3.89 miles. The history of the Tube in pictures 11. The longest continuous tunnel is on the Northern line and runs from East Finchley to Morden (via Bank), a total of 17.3 miles. 12. Aldgate Station, on the Circle and Metropolitan Lines, is built on a massive plague pit, where more than 1,000 bodies are buried. 13. The longest journey without change is on the Central line from West Ruislip to Epping, and is a total of 34.1 miles. 14. The deepest station is Hampstead on the Northern line, which runs down to 58.5 metres. 15. In Central London the deepest station below street level is also the Northern line. It is the DLR concourse at Bank, which is 41.4 metres below. Only 45 per cent of the Underground is actually in tunnels 16. The TARDIS, (Dr Who’s transport) can be found outside Earl’s Court station. Or at least an old police call box can. 17. The London Underground manages about 10 per cent of all green spaces in London. 18. Wildlife observed on the Tube network includes woodpeckers, deer, sparrowhawk, bats, grass snakes, great crested newts, slow worms. 19. Over 47 million litres water are pumped from the Tube each day, enough to fill a standard leisure centre swimming pool (25 metres x 10 metres) every quarter of an hour. 20. The London Underground trains were originally steam powered. 21. The station with the most platforms is Baker Street with 10 (Moorgate also has 10 platforms but only six are used by Tube trains - others are used by overground trains). 22.The District Line has the most stations: 60. There are 270 stations on the network Credit: Dominic Lipinski 23. The Waterloo and City Line has the fewest stations (no intermediate stations) 24. The Underground name first appeared on stations in 1908. 25. London Underground has been known as the Tube since 1890 due to the shape of the tunnels. 26. The first deep-level electric railway line also opened in 1890. 27. The Tube's logo is known as “the roundel” (a red circle crossed by a horizontal blue bar) 28. The station with the most escalators is Waterloo with 23. 29. The total number of passengers carried during 2013/14 was 1.265 billion – making it the world's 11th busiest metro. 30. The highest station above sea level is Amersham, at 147 metres. What we love about the London Underground 31. Tube trains travelled 76.4 million kilometres last year. 32. The Northern line has the highest maximum number of trains required for scheduled peak period service: 91. The Tube's logo is known as “the roundel” Credit: Reuters Photographer 33. The Waterloo & City line has the fewest scheduled for peak period service at just five. 34. The total length of the London Underground network is 250 miles. 35. In 1926, suicide pits were installed beneath tracks due to a rise in the numbers of passengers throwing themselves in front of trains. 36. The eastern extension of the Jubilee line is the only Underground line to feature glass screens to deter "jumpers". 37. The earliest trains run from Osterley to Heathrow on the Piccadilly line, starting at 4.45am. 38. The greatest elevation above the ground level is on the Northern line at Dollis Brook viaduct over Dollis road, Mill Hill: it rises a total of 18 metres (60ft). 39. One of the early names proposed for the Victoria Line was the Viking line. 40. In 1924, the first baby was born on the Underground, on a train at Elephant & Castle on the Bakerloo line. The Tube's prettiest stations 41. The American talk show host Jerry Springer was born at East Finchley during the Second World War: his mother had taken shelter in the station from an air raid. 42. Builders working on the Bakerloo Line are reported to have suffered from the bends while tunnelling under the Thames. 43. The inaugural journey of the first Central line train in 1900 had the Prince of Wales and Mark Twain on board. The total length of the London Underground network is 250 miles Credit: PA 44. The tunnels beneath the City curve significantly because they follow its medieval street plan. 45. The Central line introduced the first flat fare when it opened at the turn of the 20th century. The tuppence fare lasted until the end of June 1907 when a threepenny fare was introduced for longer journeys. 46. Charles Pearson, MP and Solicitor to the City of London, is credited with successfully campaigning for the introduction of the Underground. He died in 1862 shortly before the first train ran. 47. The first escalator on the Underground was installed at Earl's Court in 1911. 48. The first crash on the Tube occurred in 1938 when two trains collided between Waterloo and Charing Cross, injuring 12 passengers. 49. Harry Beck produced the well known Tube map diagram while working as an engineering draughtsman at the London Underground Signals Office. He was reportedly paid 10 guineas (£10.50) for his efforts. 50. Harry Beck’s map was considered too big a departure from the norm, but the public liked it and it became official in 1933. 51. Busking has been licensed on the Tube since 2003. 52. Sting and Paul McCartney are both rumoured to have busked on the Underground in disguise. 53. The phrase "Mind the gap" dates back to 1968. The recording that is broadcast on stations was first done by Peter Lodge, who had a recording company in Bayswater. A photo posted by bologna\|2001\|galvani (@_f_r_e_0_1_) on Aug 18, 2016 at 4:53am PDT 54. The Peter Lodge recording of “Mind the Gap” is still in use, but some lines use recordings by a Manchester voice artist Emma Clarke. On the Piccadilly line the recording is notable for being the voice of Tim Bentinck, who plays David Archer in The Archers. 55. The Jubilee Line was the only Underground Line to connect with all the others until the East London line ceased to be part of the Underground in 2007 (now the Central Line does too). 56. Approximately 50 passengers a year kill themselves on the Underground. 57. Fewer than 10 per cent of Tube stations lie south of the Thames. 58. The total number of lifts on the Underground, including four stair lifts, is 167. Ye Olde London Underground Credit: Getty 59. Smoking was banned on the Underground as a result of the King's Cross fire in November 1987 which killed 31 people. A discarded match was thought to be the cause of that inferno. 60. An estimated half a million mice live in the Underground system. London's lost Tube stations: in pictures 61. 1961 marked the end of steam and electric haulage of passenger trains on the London Underground. 62. One of the levels in Tomb Raider 3 is set in the disused Aldwych tube station, featuring scenes of Lara Croft killing rats. 63. In the film Harry Potter and the Philosopher’s Stone, the Hogwarts headmaster has a scar that resembles a map of the London Underground on his knee. 64.There are only two tube station names that contain all five vowels: Mansion House, and South Ealing. 65. Edward Johnston designed the font for the London Underground in 1916. The font he came up with is still in use today. 66. Amersham is also the most westerly tube station, as well as the highest (see above). 67. A macabre statistic is that the most popular tube suicide time is around 11am. 68. In January 2005, in an attempt to alleviate a problem with loitering young people, the London Underground announced it would play classical music at problem stations. Which buildings survived the Great Fire of London? 69. The Underground has the oldest section of underground railway in the world, which opened in 1863. 70. The first section of the Underground ran between Paddington (Bishop's Road) and Farringdon Street. The same section now forms part of the Circle, Hammersmith & City, and Metropolitan lines. London Underground: 10 of the funniest videos 71.The Underground was first used for air raid shelters in September 1940. 72. During the Second World War, part of the Piccadilly line (Holborn - Aldwych branch), was closed and British Museum treasures were stored in the empty spaces. 73. The London Passenger Transport Board was nationalised and became the London Transport Executive in 1948. 74. The first Tube tunnel was opened in 1880, running from the Tower of London to Bermondsey. 75. The Central Line used to be nicknamed as the 'Twopenny Tube' for its flat fare. 76. Dot matrix train destination indicators were introduced onto London Underground platforms in 1983. 77. The single worst accident in terms of fatalities on the Underground occurred on February 28, 1975 at Moorgate, when 42 people died. 78. The Piccadilly line extended to serve Heathrow Terminal 4 in 1986. 79. Penalty fares were only introduced in 1994. 80. The Tube carried one billion passengers in a year for the first time in 2007. London Underground quiz 81.The last manually operated doors on Tube trains (replaced by air-operated doors) were phased out in 1929. 82.The Jubilee Line was named to mark Queen Elizabeth II’s Silver Jubilee in 1977 – but the line did not open until 1979. A photo posted by Merve (@lknmerve) on Aug 1, 2016 at 12:25pm PDT 83. A census carried out on September 27, 1940, found that 177,500 Londoners were sleeping in Tube stations. 84. During the war, special supply trains ran, providing seven tonnes of food and 2,400 gallons of tea and cocoa every night to people staying in the Tube. 85. Covent Garden is believed to be haunted by the ghost of William Terris who met an untimely death near the station in 1897. 86. Another station that is believed to be haunted is Farringdon. The so-called Screaming Spectre is believed to have been a milliner. 87. The Seven Sisters Underground station is believed to have been named after a line of elm trees which stood nearby until the 1830s. 88. The fictitious station of Walford East, which features in the long-running soap opera Eastenders, is supposed to be on the District Line. 89. Every week, Underground escalators travel the equivalent distance of going twice around the world. 90. According to TFL, London Underground trains travel a total of 1,735 times around the world (or 90 trips to the moon and back) each year. 91. A spiral escalator was installed in 1907 at Holloway Road station, but linear escalators were favoured for the rest of the network. A small section of the spiral escalator is in the Acton depot. 92. A small section of the old London Wall survives in the trackside walls of Tower Hill station at platform level. One of the largest pieces of the wall also stands just outside this station. 93. Finsbury Park station has murals that show a pair of duelling pistols, harking back to a time when men would visit the park after hours to defend their honour. The Jubilee line receives the most complaints Credit: © Pixel Youth movement / Alamy Stock Photo/Pixel Youth movement / Alamy Stock Photo 94. In 2012, the most complained about line was the Jubilee. 95. The London Underground is thought to be the third largest metro system in the world, in terms of miles, after the Beijing Subway and the Shanghai Metro. 96. The London Underground is the third busiest metro system in Europe, after Moscow and Paris. 97. The coffin of Dr. Thomas Barnardo was carried in funeral cortege on an underground train in 1905, one of only two occasions this is known to have happened. 98. The Underground helped over 200,000 children escape to the countryside during the Second World War. 99. During the war, some stations (now mostly disused) were converted into government offices: a station called Down Street was used for meetings of the Railway Executive Committee, as well as for the War Cabinet before the Cabinet War Rooms were built. 100. Brompton Road (now disused) on the Piccadilly, Line was apparently used as a control room for anti-aircraft guns. 101. Only five London Underground stations lie outside the M25 motorway The Night Tube is finally here Credit: AFP or licensors/DANIEL LEAL-OLIVAS 102. The Underground runs 24 hours a day at New Year, during special events (such as for the opening and closing ceremonies of the London Olympics), and on selected lines at the weekend. 103. According to a 2002 study air quality on the Underground was 73 times worse than at street level, with 20 minutes on the Northern Line having "the same effect as smoking a cigarette". 104. The former poet laureate John Betjeman created 'Metroland' series, a homage to the people and places served by the Metropolitan line in 1973. Ride the Emirates Air Line cable car with this 360° video 105. The Oyster card was introduced in 2003. 106. The worst civilian death toll on the Underground occurred at Bethnal Green Tube tragedy in 1943, when 173 people died. It is the largest loss of life in a single incident on the London Underground network. 107. The largest number of people killed by a single wartime bomb was 68 at Balham Station. 108. The 100th anniversary of the roundel (the Tube Logo) was celebrated in 2008 by TfL commissioning 100 artists to produce works that celebrate the design. 109. The largest Tube car park is at Epping and has 599 parking spots. 110. The Central Line has the most tube stations with no surface building (Bank, Bethnal Green, Chancery Lane, Gants Hill, Notting Hill Gate) 111. Of the stations that have stairs, Hampstead Station has the most steps (320 in total). 112. There are 14 journeys between stations that take less than a minute on average. 113. King's Cross St Pancras tube station is served by more Underground lines than any other station on the network. 114. Seven London Boroughs are not served by the underground system, six of them being situated south of the River Thames. 115. The total number of carriages in London Underground's fleet, as of January 2013, was 4,134. 116. The total number of stations served on the network is 270. 117. London Underground transferred from the control of the Government to Transport for London (TfL) on July 15, 2003. 118. Scenes from the film Sliding Doors were shot at Waterloo station on the Waterloo & City Line and at Fulham Broadway tube station on the District Line. 119. Filming on location in the Underground costs £500 per hour (plus VAT) unless you have a crew of less than five. 120. You can now no longer go around the Circle Line in a full circle. From 2009, the Circle Line terminated at Edgware Road. 121. Greenford on the Central Line was the last Tube station to use wooden escalators. They were replaced in 2014. 122. Arsenal (originally Gillespie Road) on Piccadilly line is the only station named after a football team. 123. There are three tube stations on the Monopoly board: Liverpool Street Station, King’s Cross and Marylebone. Watch \| How to land at Britain's trickiest airport 03:57 124. The number of stations that only use escalators is 12 125. Nineteen stations just use lifts. 126. The River Westbourne was funnelled above a platform on Sloane Square in a large iron pipe suspended from girders. It remains in place today. 127. The first tube station to be demolished was Westbourne Park on the Metropolitan Line. It was re-sited in 1871. 128. There is a mosquito named after the Tube – the London Underground mosquito, which was found in the London Underground. It was notable for its assault of Londoners sleeping in the Underground during the Blitz. 129.The London Underground Film Office handles over 200 requests a month. 130. In Alfred Hitchcock’s first feature film The Lodger (1926) featured the director making a cameo on the Tube. 131. The record for visiting all the stations on the London Underground network – known as the Tube Challenge – is currently held by Ronan McDonald and Clive Burgess of the United Kingdom, who completed the challenge in 16 hours, 14 minutes and 10 seconds on February 19, 2015 132. The Tube Challenge record did not appear in the Guinness book of records until its eighth edition in 1960, when it stood at 18 hours, 35 minutes. 133. An interactive novel has been published, set on the London Underground. You can read it here . 134. In cockney rhyming slang, the London Underground is known as the Oxo (Cube/Tube). 135. Around 30,000 passengers went on The Metropolitan Line on its first day of public business – January 10, 1863. 136. There were claims the first baby born on the Underground was called Thelma Ursula Beatrice Eleanor (so that her initials would have read TUBE) but this story later proved false – her actual name was Marie Cordery. London brunch 137. On August 3 2012, during the Olympic Games, the London Underground had its most hectic day ever, carrying 4.4 million passengers – but that record was beaten on Friday December 4 2015, when 4.82 million people used it. 138. St James is the only Underground Station to have Grade-I protected status. It includes 55 Broadway, the administrative headquarters of London’s Underground since the 1930s. 139. The most recent Tube birth – a boy – was in 2009. 140. The most common location for filming is Aldwych, a disused station. 141. As Princess Elizabeth, the Queen travelled on the Underground for the first time in May 1939, when she was 13 years old, with her governess Marion Crawford and Princess Margaret. Apr 30, 2016 at 3:30pm PDT 142. Poems on the Underground was launched in 1986, the idea of American writer Judith Chernaik. 143. A series of animal shapes have also been highlighted in the London Underground map, first discovered by Paul Middlewick in 1988. They're created using the tube lines, stations and junctions of the London Underground map. 144. A fragrance known as Madeleine was trialled at St. James Park, Euston, and Piccadilly stations in 2001, intended to make the Tube more pleasant. It was stopped within days after complaints from people saying they felt ill. 145. There were eight deep-level shelters built under the London Underground in the Second World War. One of them in Stockwell is decorated as a war memorial. 146. After the war, the deep level shelter at Clapham South housed immigrants from the West Indies. 147. A 2011 study suggested 30 per cent of passengers take longer routes due to the out-of-scale distances on the Tube map. 148. The first ever air-conditioned, walk-through Underground train ran on the Metropolitan line in 2010. 149. The average distance travelled by each Tube train annually stands at around 114,500 miles. 150. Alcohol was banned on the Tube – and all London Transport – from June 2008. Editor's note: Note that one or two facts have changed since this article was first published in 2014 and this has been updated to reflect those changes. The Best Hotels In London	Bank
Which crime writer created the detectives Jimmy Perez and Vera Stanhope?	Waterloo & City Line \| London Wiki \| Fandom powered by Wikia Waterloo & City Line Depots Waterloo The Waterloo & City line is a short underground railway line in London , which formally opened on July 11 1898. It has only two stations, Waterloo and Bank (formerly called "City", as it is within the City of London ). Between its stations, the line passes under the River Thames . It exists almost exclusively to serve commuters between Waterloo mainline station and the City of London , and does not operate late in the evening or on Sundays (during the line's history there has been only a single four-year period, between 1943 and 1947, when the line did operate on that day). By far the shortest line on the London Underground at only 1.5 miles (2.5 km), it takes only four minutes to travel from end to end. It was the second electric tube railway to open in London , after the City & South London Railway (now part of the Northern Line ). Contents Edit The Waterloo & City is colloquially known as the Drain. The origins of this name are somewhat obscure today. One theory is that this arose when the line was operated by train crew in a link that otherwise operated normal surface suburban routes. In comparison with working surface railways, the Waterloo & City consists of underground tube tunnels. Messroom conversation would include discussion of what turn a driver would be working tomorrow, and if it was a Waterloo & City turn of duty, it was an obvious metaphor to say that the driver was working "down the drain". Another theory is that it was given this name by the maintenance staff, because the tunnels, being under the river Thames, leak considerably allowing much water to enter. This water has to be continually pumped out. This water gives rise to a musty smell which provides a third theory for the name. Uniquely among London's Underground lines, the Waterloo & City runs underground for its entire length, including both stations. (The Victoria Line comes closest to this, with the only non-underground section being that to the depot). The Waterloo & City has no direct rail connection to the rest of the rail network, so that vehicle exchanges now require road vehicle transportation. Before the construction of Waterloo International terminal in 1990, the vehicles were hoisted individually by the Armstrong lift outside the north wall of Waterloo main-line station. The procedure is now carried out using a road-mounted crane in a shaft adjacent to the depot, south of Waterloo mainline station. This is only necessary for major maintenance work that requires lifting of the car body as the Waterloo depot is fully equipped for general maintenance work. The Waterloo & City originally had its own electric power station, and [oal was delivered from Waterloo main line station using a second, smaller lift (known as the Abbotts Lift), which explains the continued presence of a wagon turntable in Waterloo depot. The remaining stub of the siding tunnel that led to the Armstrong Lift can still be seen on the left hand side of the train shortly after leaving Waterloo for Bank. The lift itself was demolished (along with the entire Western sidings) in 1992 due to the construction of Waterloo International — the former Eurostar terminal. In January 2003, the Waterloo & City was closed for over three weeks for safety checks due to a major derailment on the Central Line , which required all London Underground 1992 Stock trains to be modified. That same year, responsibility for the line's maintenance was given to the Metronet consortium under the terms of a Public-Private Partnership arrangement. The line has one unique feature on London Underground operated lines in that all speed limits along the line are in kilometres per hour as are the speed gauges in the driving cabs. All other LUL operated lines are in miles per hour. Trains The line has had three types of rolling stock in its lifetime. Original rolling stock Edit The original wooden stock, consisting of 11 motor and 11 trailer carriages, built by Jackson and Sharp of Wilmington, Delaware, USA, using Siemens electrical motors and control equipment, was used until 1940. The L&SWR was unable to procure the rolling stock from British suppliers at that time. The trains were operated as five trains of four carriages each, with one spare motor and trailer. The trains were of a novel design, being able to be driven from a small semi-open cab at either end of the train. This was achieved by running cables from both motors the length of the train, which allowed the rear vehicle's motors to be controlled by the control equipment on the leading vehicle. Another cable (making nine in all) connected the current collectors at both ends in order to eliminate the power loss that occurs at interruptions in the third rail at points and crossings where the conductor rail is gapped. The Board of Trade was dissatisfied with this arrangement and forbade traction current being conveyed between carriages on any further tube projects, forcing the Central London Railway to use conventional locomotives. Five additional single motor cars were ordered from Dick, Kerr and Co. of Preston in 1899 for single carriage operation outside rush hours. 1940 stock Edit The original rolling stock was replaced in 1940 by electric multiple units manufactured by the English Electric company. The aesthetic design was very modern, representing a railway art deco look inside and out. It is remarkable that the demands of the Second World War did not delay new rolling stock until after the war - virtually every other tube project was either delayed or cancelled altogether; however, having been ordered in 1938 it would have been well advanced when war broke out. This new stock was eventually classified British Rail Class 487 in the TOPS system. The switchgear on this stock was of the older solenoid type that required a large switch compartment behind one of the driving cabs. All other tube stock of the period used the American pneumatic cam (or the later pneumatic cam modified) under the floor, yielding about 33% more passenger space in the motor cars. Unusually for tube trains, the motor cars (the term "carriage" was dropped in the 1930s for tube use) had driving cabs at both ends with the intention of permitting lightweight services to be run during slack periods. This option was never taken up because the design of the cable couplings meant that it was a time consuming operation to separate the motor cars from the rest of the train. In any event only half the cars would be available as the other half were at the 'wrong' end of the remaining train. The inconvenience to passengers of interior lights being momentarily extinguished as the train passes over conductor rail gaps was partially eliminated in this stock by feeding half the car lights from the motor car at one end of the unit, and half from the other. 1992 replacement Edit The stock was replaced by British Rail Class 482 units in 1992, which were virtually identical to the 1992 stock used on the Central Line . The line was converted to four-rail operation in common with other tube lines: the original steel positive rail was retained, with the new negative rail made from aluminium. The positive rail was replaced by an aluminium one in 2008. Since its introduction, this stock on the Waterloo & City has diverged sufficiently from that used on the Central Line through various modifications, primarily to the latter with the introduction of Automatic Train Operation, that the two are no longer interchangeable. It was almost immediately after the introduction of this stock that management of the line was transferred to London Underground . Up to the time of closure for refurbishment (see below) the British Rail Class 482 trains carried the original blue British Rail Network SouthEast livery that they had when they were introduced, despite having been part of London Underground for more than ten years. Map and stations Bank , opened, 8 August 1898 (as City); renamed 28 October 1940. Waterloo , opened August 8 1898. In 1959, a pair of Otis "Trav-O-Lator" moving walkways was installed at Bank, parallel to the original stairway. In the 1980s there was a suggestion that an intermediate station be built at Blackfriars , which is on the route of the line, but nothing further has been heard for many years and the Department for Transport currently considers this to have "no significant transport benefit". Refurbishment Edit The line has been closed on a number of occasions for repairs and vehicle checks, including between March 31 1994 and April 5 1994. The line was shut on April 1 2006 for refurbishment works. It re-opened on September 11 2006, eleven days after the predicted completion date of the project. As well as the repainting and cleaning of the trains, the work included refurbishment of the tunnels, platforms and depot, and an upgrade of the track and signalling systems. These and other works completed by 2007 were expected to boost rush-hour capacity by 25% and line capability by 12% at a cost of tens of millions of pounds. It was also claimed the average journey will be up to forty seconds faster. Four new 75-hp battery-powered locomotives named Walter, Lou, Anne and Kitty were built by Clayton Equipment in Derby to haul materials and plant along the line during the closure. Beyond these changes, Metronet had planned to refurbish Bank station by 2011; this is now uncertain since that company subsequently went into administration before being taken over by TfL. Transport for London have announced plans to install a further entrance to Bank station in Walbrook Square by 2013. Use as a filming location Edit Because of its Sunday closures, the Waterloo & City has become a well-established and convenient location for filming, not least because in the days of British Rail (and predecessor) ownership, it could be used in the event of London Transport being either unable or unwilling to allow access to their stations or lines. It can be seen in the 1962 Norman Wisdom film On the Beat (complete with 1940 stock train); the second series of the BBC's Survivors, representing various parts of the Central and Northern lines; and in the 1984 adaptation of The Tripods, where it masquerades as Porte de la Chapelle station on the Paris Métro. It was also used in the 1998 Peter Howitt film Sliding Doors, portraying Embankment and one other unknown station.	i don't know
Which crime writer created the fictional partnership of Rizzoli and Isles?	Rizzoli and Isles - Partners in crime - Pictures - CBS News Next Det. Lennie Briscoe and many others Jerry Orbach played Det. Lennie Briscoe, right, on "Law & Order" for 12 seasons from 1992-2004. He was joined by Jesse L. Martin, right, as Det. Ed Green from 1999 until Orbach left the show in 2004. Briscoe's other partners were Mike Logan (played by Chris Noth), Rey Curtis (played by Benjamin Bratt) and on the spin-off "Law & Order: Trial by Jury," Hector Salazar (played by Kirk Acevedo). Before Orbach joined the show, Paul Sorvino and George Dzundza played detectives on the series. Credit: AP Photo/NBC Chris Cagney and Mary Beth Lacey Sharon Gless, left, as Chris Cagney, and Tyne Daly as Mary Beth Lacey from "Cagney & Lacey" chased down bad guys and personal demons for 125 episodes. Gless and Daly dominated the Best Actress in a Drama category for six years. Gless won two Emmys and Daly won four. Credit: AP Jimmy McNulty and others At the beginning of HBO's "The Wire," Jimmy McNulty (Dominic West), right, had one true partner, Bunk Moreland (Wendell Pierce). As the show progressed, he worked with lots of other police in a special unit, including Lester Freamon (pictured, left, played by Clarke Peters). McNulty had lots of problems. He was a serious alcoholic, a womanizer and he bent the rules, finally breaking them when created a fictional criminal on the show for the police to pursue. Credit: Paul Schiraldi Maddie and David On "Moonlighting," David Addison (played by Bruce Willis), a quick-thinking private eye, and his business partner, Maddie, frequently bickered and talked to the audience. The show put Willis and his now-famous smirk on the map. After David and Maddie slept together on the show and Cybill Shepherd took a break when she was pregnant with twins, "Moonlighting" often got by on David's charm alone. Plus, the "Taming of the Shrew" episode is great. Photo: Cybill Shepherd and Bruce Willis in "Moonlighting" Credit: Lionsgate Rizzoli and Isles Based on a series of novels by Tess Gerritsen, "Rizzoli & Isles" follows the partnership of Det. Jane Rizzoli and medical examiner Dr. Maura Isles. Like "Castle," this series begins with a copycat killing that brings the two professionals together. Photo: Angie Harmon and Sasha Alexander as Det. Jane Rizzoli and medical examiner Dr. Maura Isles. Credit: Doug Hyun Benson and Stabler Mariska Hargitay, left, as Det. Olivia Benson, and Christopher Meloni as Det. Elliot Stabler on "Law & Order: SVU" are up to their elbows each week in the nastiest cases handled by the NYPD. Meloni will not return to the series for the 2011-2012 season. Who will play Benson's new partner? Credit: NBC Ricardo Tubbs and Sonny Crockett They made pink look macho and introduced slouchy deconstructed Italian suits to the masses. They wore loafers with no socks and t-shirts under suits. And, of course, there was stubble. Oh, and as "Miami Vice" cops, they killed a lot of bad guys, too. Photo: Philip Michael Thomas as Ricardo Tubbs and Don Johnson as "Sonny" Crocket. Credit: AP Ricardo Tubbs and Sonny Crockett Tubbs and Crockett, played here by Jamie Foxx, left, and Colin Farrell in Michael Mann's 2006 film, were grubbier. They still killed lots of criminals, of course. Credit: AP Photo/Universal Pictures Ken Hutchinson and Dave Starsky Robbery-homicide detectives Ken Hutchinson and Dave Starsky tore through the streets of Bay City, Calif., in a Ford Gran Torino for 92 episodes of "Starsky & Hutch" from 1975-1979. Whenever the call sign "Zebra Three" came over their radio, you knew there was going to be some action. Photo: From left, David Soul and Paul Michael Glaser as Ken Hutchinson and Dave Starsky from "Starsky & Hutch" Credit: AP Ken Hutchinson and Dave Starsky For the big screen version of the 1970s show, Ben Stiller played Starsky and Owen Wilson was Hutch. At the end of the movie, the actors shared a scene with their television counterparts, Paul Michael Glaser and David Soul. Photo: From left, Ben Stiller, Paul Michael Glaser, Owen Wilson and David Soul from "Starsky & Hutch," in London Credit: AP Ponch and Jon Baker Erik Estrada, left, and Larry Wilcox played California Highway Patrol motorcycle cops Francis Llewellyn "Ponch" Poncherello and Jon Baker, respectively, on "CHiPs." The show ran from 1977-1983 but Wilcox left after the fifth season. Estrada stayed on for the sixth. Credit: AP Det. Andy Sipowicz and Dets. Kelly, Simone and Clark Dennis Franz, left, played Det. Andy Sipowicz on "NYPD Blue" for the series' entire run, from 1993-2005. Rick Schroder was his partner Danny Sorrenson from 1998-2001. Sorrenson was killed off camera and was replaced by Det. John Clark, Jr., played by Mark-Paul Gosselaar. Sipowicz, who struggled with everything on the series from alcoholism to being a racist to his wife getting shot and killed, was also partnered with Det. John Kelly (David Caruso) from 1993-1994 and Det. Bobby Simone (Jimmy Smits) from 1994-1998. Credit: AP Det. Sgt. Joe Friday Det. Sgt. Joe Friday from "Dragnet" had several partners during the show's two runs. Sgt. Ben Romero (played by Barton Yarborough), Sgt. Ed Jacobs (played by Barney Phillips) and Officer Frank Smith (Herbert Ellis and, later, Ben Alexander) worked with Friday from 1951-1959. When the series returned in 1967, Bill Gannon (played by Harry Morgan) was Friday's partner until the show ended in 1970. There were two more "Dragnet" TV series, but neither featured Friday. Photo: Jack Webb as Joe Friday from the TV series "Dragnet," Aug. 1, 1956. Credit: AP Friday and Streebek Dan Aykroyd, left, and Tom Hanks starred in a misguided big screen version of "Dragnet" in 1987. Aykroyd is Joe Friday, nephew of Jack Webb's Joe Friday, and Hanks is Friday's goofy new partner, Pep Streebek. Credit: CBS/Getty Thomas Magnum Technically, Thomas Magnum didn't have a partner. However, he would have been lost without his friends Rick and T.C. (played by Larry Manetti and Roger E. Mosley, respectively) week in and week out. On "Magnum, P.I.," Magnum's pals were always bailing him out of a situation gone wrong or aiding him in his detective work. Photo: Tom Selleck as Thomas Magnum in "Magnum, P.I." Credit: CBS Bones and Seeley Though technically not partners, where would FBI Special Agent Seeley Booth be without "Bones," Dr. Temperance Brennan? The two solve cases involving unidentified human remains. Photo: Brennan (Emily Deschanel, left) and Booth (David Boreanaz) are surprised at what they find when they examine a sarcophagus in the "Bones" episode "A Night at the Bones Museum." Credit: Greg Gayne/FOX Charlie and Don Eppes "Numb3rs" was a little different than the standard detective show. Don Eppes was an FBI agent and his brother, Charlie, a math genius and professor who consulted for the FBI and NSA. Photo: David Krumholtz, left, and Rob Morrow, who play FBI agent brothers Charlie and Don Eppes, respectively, pose on the set of "Numb3rs." Credit: CBS Mulder and Scully On "The X-Files," David Duchovny played FBI agent Fox Mulder and Gillian Anderson played his partner, Dana Scully (who was also an M.D.). Mulder believed in, among other things, extraterrestrial activity, and Scully was a skeptic. Ironically, Scully seemed to have more dealings with aliens on the show. Photo: David Duchovny and Gillian Anderson as FBI agents Fox Mulder and Dana Scully from "The X-Files" Credit: AP Steve and Danno Alex O'Loughlin, left, and Scott Caan play Steve McGarrett and Daniel Williams on the rebooted "Hawaii Five-O." Jack Lord and James MacArthur played Steve and Danno in the original series, which ran from 1968-1980. Credit: AP Willows and Grissom Technically, they weren't partners, but Catherine Willows (Marg Helgenberger) and Gil Grissom (William Petersen) worked together in the Clark County, Nevada, CSI unit. He was a forensic entomologist. She has a degree in medical science. When Grissom resigned, Willows got command of the night shift. They paved the way for David Caruso as Horatio Cane in "CSI: Miami" and Gary Sinise as Mac Taylor and Melina Kanakaredes as Stella Bonasera on "CSI: NY." Credit: Bill Inoshita/ CBS Beckett and Castle While suffering from writer's block, mystery novelist Richard Castle is questioned by police when a woman is murdered in a similar fashion as a murder in one of his novels. He uses the experience to help him plan his next book. For better or worse, he models the main character after Det. Kate Beckett. Hilarity and murder mysteries ensue on "Castle." Photo: ABC's "Castle" stars Stana Katic as Detective Kate Beckett and Nathan Fillion as Richard Castle. Credit: CBS/ABC/Bob D'Amico Lisbon and Jane Patrick Jane is a psychic (of sorts) who doesn't believe that psychic abilities exist. He's more of a con man. Nonetheless, he works with the California Bureau of Investigation as a consultant. (His goal in life is to bring the serial killer Red John to justice for the murder of his wife and child.) On the show, he works primarily with Teresa Lisbon, a senior agent for the CBI. Photo: CBI Senior Agent Teresa Lisbon (Robin Tunney, left) shows CBI Consultant Patrick Jane (Simon Baker, right) her bridesmaid dress for an upcoming wedding on "The Mentalist." Credit: Michael Yarish/Warner Bros. Curatola and Reagan On "Blue Bloods," Danny Reagan comes from a long line of cops. His father, played by Tom Selleck, is the NYPD commissioner. On the show's fourth episode, Danny was partnered up with Jackie Curatola. Photo: Danny (Donnie Wahlberg) and Jackie (Jennifer Esposito) on "Blue Bloods." Credit: John Paul Filo Renzull and Reagan Jamie Reagan is the youngest cop in a family of cops on "Blue Bloods." He ends up being instrumental in the investigation of his older brother's death, a police detective killed by other cops. Sgt. Anthony Renzull is Reagan's partner and training officer. Photo: Sgt. Anthony Renzull (Nick Turturro) and Jamie Reagan (Will Estes) on "Blue Bloods." Credit: John Paul Filo	Tess Gerritsen
What is the first name of Andy Murray’s elder brother?	Tess Gerritsen’s Rizzoli & Isles Series – A-Thrill-A-Week Born: San Diego, CA on June 12, 1953 Education: B.A. Anthropology-Stanford University, Stanford California M.D.- University of California, San Francisco, CA Thriller Sub-genre: Forensic Thriller Publisher: Ballantine Books Future of the series: Tess Gerritsen has entitled the next book in the series to be I Have A Secret with an expected release date of August 22, 2017. Review of the latest novel in the series-Die Again The Simon Review: For those fans that are in love with the Rizzoli & Isles Series on TNT and want a review that makes a comparison of the TV show with the book series, I am afraid to tell that you won’t find it here. I am not much of TV person mainly because my husband and I have very different taste in what we like to watch on TV. He likes anything about vintage cars and movies with mobsters, which is not my cup of tea, so he watches TV and I work on the computer. With the exception of a few movies and Hoarders: Buried Alive on the TLC network , I watch very little TV. I don’t know what it is about the Hoarders show that I like so much, perhaps it is a fascination with the pathological psychology that makes a person become an excessive hoarder. I guess it is not much different than wanting to understand the psychology into what makes someone a serial killer, which of course is the focus of many of the thrillers that I read and review. Speaking of serial killers, Tess Gerritsen’s Rizzoli & Isles Series will not disappoint if that is something that you love and cherish as part of a good forensic thriller. In fact, the first book in the series, The Surgeon, is all about finding a serial killer nicknamed the surgeon, and I will let you use your imagination to figure out why. Detective Jane Rizzoli and Dr. Maura Isles are the main protagonists in the series. In the first novel, Rizzoli is actually a secondary character and Isles doesn’t actually make her appearance until the second book of the series, The Apprentice. The strength of this series is the relationship that develops between these two women who both feel alone in the male dominant field of law enforcement. Jane Rizzoli is a homicide detective that has a fiery personality and goes above and beyond the call of duty to catch the crook. Maura Isles is the medical examiner for the Boston Police Department and has been branded the ‘Queen of the Dead’ because of her cool and level headed behavior when working with the deceased. The two are actually slow in developing their friendship mainly because they both have developed a tough exterior to shield them from anyone in seeing their weaker side. Eventually the walls crumble and their friendship blossoms. What makes Rizzoli & Isles friendship so enjoyable is the large differences in their personalities. Rizzoli is a family person and we watch her get married, get pregnant, and have a child, as well as dealings with her very colorful Italian parents and siblings throughout the series. She often has to find a balance between her family life and her job and they often overlap with interesting consequences. On the other hand, Isles has virtually no family and falls in love with men that are very unattainable, such as the very untouchable Father Daniel Brophy, a Catholic priest. Isles’ family ties are very complicated in the fact that her mother is estranged for reasons that I won’t elaborate here and she didn’t know she had a sister until the midway into the series (details on both relationships go into greater detail in Body Double). Isles desire to have a family develops as the series progresses and late in the series she becomes a surrogate mother to a teenage boy that she shares a hair-raising adventure with in Ice Cold. Tess Gerritsen is a doctor turned novelist and has been very successful with the changeover. Her medical background adds to the science experience that many of us techno junkies love to relish, though I do have to say that the medical jargon does seem to thin out as the series progresses. Tess Gerritsen is an excellent writer and you can’t lose with this series. The series should be read in order. Simon’s pick: Most Favorite Novel in the Series-The Apprentice, because I probably would pick the The Surgeon as my favorite but it does not have Maura Isles in it, so to be true to the Rizzoli & Isles series, The Apprentice is the next best choice. Least Favorite Novel in the Series–Ice Cold, I like the setting in Boston for the other books in the series and much of the setting of this novel was in Wyoming. It is a minor point but I had to pick on something, because I really like all the books in the series. What about the science? Gerritsen was a practicing physician before she took up the pen to write fictional novels. She took up the cause when she took time off on maternity leave, and in between changing diapers and burping the baby, she found time to write some very good thrillers. She started with romantic thrillers and naturally gravitated to medical thrillers with the Rizzoli & Isles series being more on the side of a forensic thriller. So the the vast majority of the science in the series is in the area of medical science. The Maura Isles Technical Word in Review: Lewis Triple Response– is a skin inflammatory response that was first recognized by cardiologist Sir Thomas Lewis in 1924 when a blunt object brushed up against skin. The first response is formation of a red line on the skin also referred to as the FLUSH which occurs as a result of the dilation of the capillaries under the surface of the skin. The second response is the skin turning bright red in an irregular pattern that surrounds the area of impact also referred to as the FLARE and is due to the dilation of the arterioles (small blood vessels that branch out from an artery). The final response is the formation of the WHEAL which is an elevation of the skin which is usually referred to as a welt, and is a result of protein enriched fluid that released from the capillary to fill in the interstitial space between skin and muscle. Moments later, when Isles lifted the right arm, she spotted the marks on the side of the chest. Beneath the magnifying lens, two faint red bumps stood out. Isles ran her gloved finger over the skin. “Wheals,” she said. “It’s a Lewis Triple Response.” “Lewis what?” asked Rizzoli. “Lewis Triple Response. It’s a signature effect on the skin. First you see erythema-red spots-and then a flare caused by cutaneous arteriolar dilatation. And finally, in the third stage, wheals pop up due to increased vascular permeability.” “It looks like to me a Taser mark,” said Rizzoli. Isles nodded. “Exactly…” –The Apprentice Books in the Series by Order: Vote for your favorite Forensic Thriller on the Forensic Fiction List on Goodreads Listopia. Most Favorite in the series: Die Again with a score of 4.21 Least Favorite in the series: The Mephisto Club with a score of 4.01 Based on overall ratings from Goodreads, Barnes and Nobles, Library Thing and Amazon (US & UK) (Doesn’t include novellas) Winner of the 2001 Reviewer’s Choice Award for Best Suspense Novel Winner of the 2002 RITA Award for Best Romantic Suspense Novel Listed #6 out of 130 on Goodreads Forensic Fiction Book List Listed #104 out of 106 on Goodreads Best Medical Thriller Book List A Sample Clip of the Audiobook First Line: Today they will find her body. Characters Catherine Cordell: The single survivor of a serial killer Lawrence Zucker: Psychologist and criminal profiler Barry Frost: Rizzoli’s partner Darren Crowe: Homicide detective and nemesis to Rizzoli The Setting Boston, Massachusetts In Boston, there’s a killer on the loose. A killer who targets lone women, who breaks into their apartments and performs terrifying ritualistic acts of torture on them before finishing them off. His surgical skills lead police to suspect he is a physician – a physician who, instead of saving lives, takes them. But as homicide detective Thomas Moore and his partner Jane Rizzoli begin their investigation, they make a startling discovery. Closely linked to these killings is Catherine Cordell, a beautiful medic with a mysterious past. Two years ago she was subjected to a horrifying rape and attempted murder but she shot her attacker dead. Now she is being targeted by the new killer who seems to know all about her past, her work, and where she lives. The man she believes she killed seems to be stalking her once again, and this time he knows exactly where to find her… “Blood was the first thing that she saw, bright ribbons of it streaming down the wall. Then she looked at her patient, sprawled face down on the floor. Nina had fallen halfway between the bed and the door, as though she had managed to stagger a few steps before collapsing. Her IV was disconnected and a stream of saline dribbled from the open tube onto the floor, where it formed a clear pool next to the larger pool of red. He was here. The Surgeon was here.” From The Best Bad Reviews: Meghan from Goodreads gave Tess Gerritsen’s novel The Surgeon a two star rating. I almost forgot! I intensely dislike books with blank pages in between each chapter. Aside from the fact that is a serious waste of paper, the only real purpose I see is to truly separate the chapters. To force the reader to digest one chapter before plowing headfirst into the next. I find this slightly insulting. As ifI am unable to control my reading habits and need you to step in and stop me. Or as if my eyes might stray from reading the backside of one page and greedily begin reading the next page and spoil whatever mini-cliffhanger the chapter ended with. So, from the paper wasting standpoint, eBooks make the blank page presentation slightly less offensive. But frankly, they are a pain in the back side. Unlike a real book where two pages are presented to the reader at once and they will read the left side, then move to the right, an eBook only presents one page at a time. So, If page 1 ends with a cliffhanger, it isn’t until I press the button that I see the next page. But, with the blank-page-between-each-chapter-books instead of taking me to the next chapter, there is an entirely blank screen, which never fails to make my brain think “what’s going on? Did my battery die?” and then have to click next page again. My point is, blank pages are dumb…quit it. To make your life a living hell! Looking for a review of The Surgeon? Check out: Listed #35 out of 130 on Goodreads Forensic Fiction Book List Listed #106 out of 106 on Goodreads Best Medical Thriller Book List First Line: Today I watched a man die. Characters Jane Rizzoli, Det. Thomas Moore, Det. Barry Frost, Det. Darren Crowe and Dr. Lawrence Zucker Maura Isles: The Boston Police Department Medical Examiner Agent Gabriel Dean: FBI agent sent to investigate and becomes a romantic interest for Jane Rizzoli Frankie Rizzoli: Jane’s older brother Frank Rizzoli: Jane’s father Angela Rizzoli: Jane’s mother Michael Rizzoli: Jane’s other brother The Setting Boston, Massachusetts Although serial killer Warren Hoyt is behind bars, a copycat acolyte continues his diabolical legacy of murders performed with twisted medical techniques, and Detective Jane Rizzoli races against time to stop the vicious crime spree. Looking for a review of The Apprentice? Check out: Listed #105 out of 106 on Goodreads Best Medical Thriller Book List First Line: The driver refused to take him any farther. Notable Quote: Only the forgotten are truly dead. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, Det. Darren Crowe, Frankie Rizzoli, Frank Rizzoli, Michael Rizzoli and Angela Rizzoli Daniel Brophy: Priest of Our Lady Devine Light, romantic subject of Isles Ursala Rowland: Nun at Our Lady Devine Light The Setting Boston, Massachusetts Within the walls of a cloistered convent, a scene of unspeakable carnage is discovered. On the snow lie two nuns, one dead, one critically injured – victims of a seemingly motiveless, brutally savage attack. Medical examiner Maura Isles’ autopsy of the murder victim yields a shocking surprise, but the case takes a disturbing twist. The body of another woman has been found. And someone has gone to a lot trouble to remove her face, hands and feet. As long buried secrets are revealed so Dr Isles and homicide detective Jane Rizzoli, find themselves part of an investigation that leads to an awful, dawning realization of the killer’s identity… Maura crossed over to cubicle #10, where the patient was getting her final sponge bath. Standing at the foot of the bed, Maura watched the nurse peel back the sheets and remove Ursula’s gown, revealing not the body of an ascetic, but of a woman heavily indulged in meals, generous breasts spilling sideways, pale thighs heavy and dimpled. In life, she would have appeared formidable, her stout figure made even more imposing by her voluminous nun’s robes. Now, stripped of those robes, she was like any other patient. Death does not discriminate; whether saint or sinners, in the end, all are equal. Looking for a review of The Sinner? Check out: Amazon Rating-US: 4.30 out of 5 stars based on 413 ratings Amazon Rating-UK: 4.50 out of 5 stars based on 209 ratings GoodReads Rating: 4.12 out of 5 stars based on 29,047 ratings Barnes & Nobel Rating: 4.08 out of 5 stars based on 430 ratings Library Thing Rating: 3.87 out of 4 stars based on 542 ratings Total Score 4.12 (updated 6/1/16) Winner of the 2004 Reviewer’s Choice Award for Best Contemporary Mystery Novel Listed #101 out of 106 on Goodreads Best Medical Thriller Book List A Sample Clip of the Audiobook First Line: Matty Purvis did not know if it was day or night. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, and Daniel Brophy The Setting Boston, Massachusetts Dr. Maura Isles makes her living dealing with death. As a pathologist in a major metropolitan city, she has seen more than her share of corpses every day-many of them victims of violent murder. But never before has her blood run cold, and never has the grim expression “dead ringer” rung so terrifyingly true. Because never before has the lifeless body on the medical examiner’s table been her own. Yet there can be no denying the mind-reeling evidence before her shocked eyes and those of her colleagues, including Detective Jane Rizzoli: the woman found shot to death outside Maura’s home is the mirror image of Maura, down to the most intimate physical nuances. Even more chilling is the discovery that they share the same birth date and blood type. For the stunned Maura, an only child, there can be just one explanation. And when a DNA test confirms that Maura’s mysterious doppelganger is in fact her twin sister, an already bizarre murder investigation becomes a disturbing and dangerous excursion into a past full of dark secrets. Searching for answers, Maura is drawn to a seaside town in Maine where other horrifying surprises await. But perhaps more frightening, an unknown murderer is at large on a cross-country killing spree. To stop the massacre and uncover the twisted truth about her own roots, Maura must probe her first living subject: the mother that she never knew . . . an icy and cunning woman who could be responsible for giving Maura life-and who just may have a plan to take it away. Looking for a review of Body Double? Check out: Amazon Rating-US: 4.54 out of 5 stars based on 403 ratings Amazon Rating-UK: 4.67 out of 5 stars based on 197 ratings GoodReads Rating: 4.15 out of 5 stars based on 30,360 ratings Barnes & Nobel Rating: 4.30 out of 5 stars based on 423 ratings Library Thing Rating: 3.88 out of 4 stars based on 571 ratings Total Score 4.16 (updated 6/1/16) Winner of the 2005 Reviewer’s Choice Award for Best Suspense Novel Winner of the 2006 Nero Wolfe Award Listed #103 out of 106 on Goodreads Best Medical Thriller Book List A Sample Clip of the Audiobook First Line: My name is Mila, and this is my journey. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, Det. Darren Crowe, Frank Rizzoli, Angela Rizzoli and Thomas Moore The Setting Boston, Massachusetts A blessed event becomes a nightmare for pregnant homicide detective Jane Rizzoli when she finds herself on the wrong side of a hostage crisis. A nameless, beautiful woman appears to be just another corpse in the morgue. An apparent suicide, she lies on a gurney, awaiting the dissecting scalpel of medical examiner Maura Isles. But when Maura unzips the body bag and looks down at the body, she gets the fright of her life. The corpse opens its eyes. Very much alive, the woman is rushed to the hospital, where with shockingly cool precision, she murders a security guard and seizes hostages . . . one of them a pregnant patient, Jane Rizzoli. Who is this violent, desperate soul, and what does she want? As the tense hours tick by, Maura joins forces with Jane’s husband, FBI agent Gabriel Dean, to track down the mysterious killer’s identity. When federal agents suddenly appear on the scene, Maura and Gabriel realize that they are dealing with a case that goes far deeper than just an ordinary hostage crisis. Only Jane, trapped with the armed madwoman, holds the key to the mystery. And only she can solve it-if she survives the night. “These are slaves, serving against their will. Thousands of girls brought into the US where they simply vanish.” Looking for a review of Vanish? Check out: Amazon Rating-US: 4.53 out of 5 stars based on 435 ratings Amazon Rating-UK: 4.69 out of 5 stars based on 191 ratings GoodReads Rating: 4.15 out of 5 stars based on 32,874 ratings Barnes & Nobel Rating: 4.20 out of 5 stars based on 377 ratings Library Thing Rating: 3.85 out of 4 stars based on 574 ratings Total Score 4.16 (updated 6/1/16) Listed #80 out of 106 on Goodreads Best Medical Thriller Book List A Sample Clip of the Audiobook First Line: They looked like the perfect family. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, Det. Darren Crowe, Frank Rizzoli, Angela Rizzoli and Daniel Brophy Anthony Sansone: Wealthy and head of the Mephisto Club The Setting Boston, Massachusetts PECCAVI The Latin word is scrawled in blood at the scene of a young woman’s brutal murder: I HAVE SINNED. It’s a chilling Christmas greeting for Boston medical examiner Maura Isles and Detective Jane Rizzoli, who swiftly link the victim to controversial celebrity psychiatrist Joyce O’Donnell, Jane’s professional nemesis and member of a sinister cabal called the Mephisto Club. On top of Beacon Hill, the club’s acolytes devote themselves to the analysis of evil: Can it be explained by science? Does it have a physical presence? Do demons walk the earth? Drawing on a wealth of dark historical data and mysterious religious symbolism, the Mephisto scholars aim to prove a startling theory: that Satan himself exists among us. With the grisly appearance of a corpse on their doorstep, it’s clear that someone or something is indeed prowling the city. The members of the club begin to fear the very subject of their study. Could this maniacal killer be one of their own or have they inadvertently summoned an evil entity from the darkness? Delving deep into the most baffling and unusual case of their careers, Maura and Jane embark on a terrifying journey to the very heart of evil, where they encounter a malevolent foe more dangerous than any they have ever faced . . . one whose work is only just beginning. Jane looked around the table at Sansone and his guest. The so-called Mephisto Club. Even though Maura claimed not to be part of it, there she was, seated in their circle. These people might think they understood evil, but they couldn’t recognized it, even when it was sitting right here at the same table. From The Best Bad Reviews: ‘If you like Tess…’ from Amazon gave Tess Gerritsen’s The Mephisto Club a 1 rating. It seems that her review is a bit of an oxymoron. this is a great book – story gives a different slant on the TV portrayal of the characters – but a great read Looking for a review of The Mephisto Club? Check out: Amazon Rating-US: 4.29 out of 5 stars based on 580 ratings Amazon Rating-UK: 4.50 out of 5 stars based on 214 ratings GoodReads Rating: 4.00 out of 5 stars based on 24,262 ratings Barnes & Nobel Rating: 4.10 out of 5 stars based on 322 ratings Library Thing Rating: 3.73 out of 4 stars based on 551 ratings Total Score 4.01 (updated 6/1/16) #7-The Keepsake (Keeping the Dead-UK title)– 2008 Listed #91 out of 106 on Goodreads Best Medical Thriller Book List A Sample Clip of the Audiobook First Line: He is coming for me. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, Det. Darren Crowe, Frank Rizzoli, Angela Rizzoli and Daniel Brophy The Setting Boston, Massachusetts For untold years, the perfectly preserved mummy had lain forgotten in the dusty basement of Boston’s Crispin Museum. Now its sudden rediscovery by museum staff is both a major coup and an attention-grabbing mystery. Dubbed “Madam X,” the mummy–to all appearances, an ancient Egyptian artifact– seems a ghoulish godsend for the financially struggling institution. But medical examiner Maura Isles soon discovers a macabre message hidden within the corpse–horrifying proof that this “centuries-old” relic is instead a modern-day murder victim. To Maura and Boston homicide detective Jane Rizzoli, the forensic evidence is unmistakable, its implications terrifying. And when the grisly remains of yet another woman are found in the hidden recesses of the museum, it becomes chillingly clear that a maniac is at large–and is now taunting them. Archaeologist Josephine Pulcillo’s blood runs cold when the killer’s cryptic missives are discovered, and her darkest dread becomes real when the carefully preserved corpse of yet a third victim is left in her car like a gruesome offering–or perhaps a ghastly promise of what’s to come. The twisted killer’s familiarity with post-mortem rituals suggests to Maura and Jane that he may have scientific expertise in common with Josephine. Only Josephine knows that her stalker shares a knowledge even more personally terrifying: details of a dark secret she had thought forever buried. Now Maura must summon her own dusty knowledge of ancient death traditions to unravel his twisted endgame. And when Josephine vanishes, Maura and Jane have precious little time to derail the Archaeology Killer before he adds another chilling piece to his monstrous collection. “He didn’t want to let them go, so he turned them into keepsakes that would last forever.” “So why kill them at all?” asked Detective Crowe. “Why not just keep them as prisoners?” Looking for a review of The Keepsake? Check out: Amazon Rating-US: 4.40 out of 5 stars based on 390 ratings Amazon Rating-UK: 4.60 out of 5 stars based on 207 ratings GoodReads Rating: 4.08 out of 5 stars based on 23,074 ratings Barnes & Nobel Rating: 4.20 out of 5 stars based on 346 ratings Library Thing Rating: 3.83 out of 4 stars based on 447 ratings Total Score 4.09 (updated 6/3/16) #8-Ice Cold (The Killing Place, UK Edition) – 2010 First Line: She was the chosen one. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, Anthony Sansone, and Daniel Brophy Julian Perkins: Also nicknamed ‘Rat’, is a teenaged boy who befriends Maura Isles The Setting Boston, Massachusetts and Wyoming In Wyoming for a medical conference, Boston medical examiner Maura Isles joins friends on a spur-of-the-moment ski trip. But when their SUV stalls on a snow-choked mountain road, the group seeks refuge in the remote village of Kingdom Come, where twelve eerily identical houses stand dark and abandoned. The town’s residents seem to have vanished, but footprints in the snow betray the presence of someone who still lurks in the cold darkness. Days later, Boston homicide detective Jane Rizzoli receives the grim news that Maura’s charred body has been found in a mountain ravine. Determined to learn what happened to her friend, Jane plunges into the twisted history of Kingdom Come. As horrifying revelations come to light, Jane closes in on an enemy both powerful and merciless-and the chilling truth about Maura’s fate. Looking for a review of Ice Cold? Check out: The queen of the dead had arrived. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, and Det. Barry Frost The Setting Boston, Massachusetts Homicide cop Jane Rizzoli and medical examiner Maura Isles have seen their fair share of mortal crimes, but the death of Kimberly Rayner may qualify as inhuman in more ways than one. When corpse of the emaciated seventeen-year-old girl is discovered next to an empty coffin in an abandoned church, mysterious bruises around the throat suggest foul play. Caught fleeing the scene is the victim’s closest friend, Lucas Henry, an equally skeletal, pale teenager who claims he’s guilty only of having a taste for blood—a craving he shared with Kimberly. But the victim’s distraught father doesn’t believe in vampires, only vengeance. And now, another life may be at risk unless Rizzoli and Isles can uncover the astonishing truth. Looking for a review of Freaks? Check out: Listed #86 out of 106 on Goodreads Best Medical Thriller Book List A Sample Clip of the Audiobook First Line: All day, I have been watching the girl. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, Frankie Rizzoli, Frank Rizzoli, Angela Rizzoli, Anthony Sansone, Daniel Brophy and Julian Perkins The Setting Boston, Massachusetts Every crime scene tells a story. Some keep you awake at night. Others haunt your dreams. The grisly display homicide cop Jane Rizzoli finds in Boston’s Chinatown will do both. In the murky shadows of an alley lies a female’s severed hand. On the tenement rooftop above is the corpse belonging to that hand, a red-haired woman dressed all in black, her head nearly severed. Two strands of silver hair—not human—cling to her body. They are Rizzoli’s only clues, but they’re enough for her and medical examiner Maura Isles to make the startling discovery: that this violent death had a chilling prequel. Nineteen years earlier, a horrifying murder-suicide in a Chinatown restaurant left five people dead. But one woman connected to that massacre is still alive: a mysterious martial arts master who knows a secret she dares not tell, a secret that lives and breathes in the shadows of Chinatown. A secret that may not even be human. Now she’s the target of someone, or something, deeply and relentlessly evil. Cracking a crime resonating with bone-chilling echoes of an ancient Chinese legend, Rizzoli and Isles must outwit an unseen enemy with centuries of cunning—and a swift, avenging blade. How many bodies are lying here, she wondered. How many silent girls who will finally be able to speak? Suddenly she felt overwhelmed by the task ahead.. Looking for a review of Silent Girl? Check out: Dr. Maura Isles did not enjoy cocktail parties. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, and Det. Barry Frost The Setting Boston, Massachusetts Maura is at a party. A handsome man approaches. He’s charming and sophisticated. She flirts and drinks champagne. And then nothing. Total blackness. Nothing, that is, apart from these two facts: a man is dead and her address is found in his pocket . . . “Olmstead Park. A body was found on the bank of the Muddy River, just south of Leverett Pond.” “It’s not my case, not today. Why are you telling me about it?” “Because we have a reason to think you might know him.” Maura sat up straight, staring. “Who?” “That’s just it, we don’t know. There’s no wallet, no phone on the body. At the moment, he’s a John Doe.” “Why do you think I know him?” “Because we found your business card tucked into his breast pocket.” Looking for a review of John Doe? Check out: Amazon Rating: 4.36 out of 5 stars based on 325 ratings Amazon Rating-UK: 4.35 out of 5 stars based on 210 ratings GoodReads Rating: 3.92 out of 5 stars based on 2,642 ratings Barnes & Nobel Rating: 4.00 out of 5 stars based on 130 ratings Library Thing Rating: 3.79 out of 4 stars based on 24 ratings Total Score 3.99 (updated 6/3/16) Listed #73 out of 106 on Goodreads Best Medical Thriller Book List First Line: We call him Icarus. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, Det. Darren Crowe, Frankie Rizzoli, Frank Rizzoli, Angela Rizzoli, Anthony Sansone, Daniel Brophy and Julian Perkins The Setting Boston, Massachusetts For the second time in his short life, Teddy Clock has survived a massacre. Two years ago, he barely escaped when his entire family was slaughtered. Now, at fourteen, in a hideous echo of the past, Teddy is the lone survivor of his foster family’s mass murder. Orphaned once more, the traumatized teenager has nowhere to turn—until the Boston PD puts detective Jane Rizzoli on the case. Determined to protect this young man, Jane discovers that what seemed like a coincidence is instead just one horrifying part of a relentless killer’s merciless mission. Jane spirits Teddy to the exclusive Evensong boarding school, a sanctuary where young victims of violent crime learn the secrets and skills of survival in a dangerous world. But even behind locked gates, and surrounded by acres of sheltering Maine wilderness, Jane fears that Evensong’s mysterious benefactors aren’t the only ones watching. When strange blood-splattered dolls are found dangling from a tree, Jane knows that her instincts are dead on. And when she meets Will Yablonski and Claire Ward, students whose tragic pasts bear a shocking resemblance to Teddy’s, it becomes chillingly clear that a circling predator has more than one victim in mind. Joining forces with her trusted partner, medical examiner Maura Isles, Jane is determined to keep these orphans safe from harm. But an unspeakable secret dooms the children’s fate—unless Jane and Maura can finally put an end to an obsessed killer’s twisted quest. All killed within days of each other. Now it’s two years later, and the sole survivors of those families are attacked again. It’s like someone’s determined to wipe out the bloodlines. And these three kids will be the last to die. Looking for a review of Last to Die? Check out: Listed #58 out of 130 on Goodreads Forensic Fiction Book List Listed #93 out of 163 on Goodreads Science Thriller Book List Listed #51 out of 106 on Goodreads Best Medical Thriller Book List A Sample Clip of the Audiobook Check here for my review on Die Again First Line: In the slanting light of dawn I spot it, subtle as a watermark, pressed into the bare patch of dirt. Characters Jane Rizzoli, Dr. Maura Isles, Agent Gabriel Dean, Det. Barry Frost, Det. Darren Crowe, Frank Rizzoli, and Angela Rizzoli Millie Jacobson: Member of the Botswana safari group Johnny Posthumus: The bush guide for the safari expedition Richard Renwick: Novelist of thrillers, boyfriend to Jacobson and me member of Botswana group Elliot Gott: Member of Botswana safari group and son to Leon Gott Leon Gott: Well know taxidermist, murder victim The Setting Boston, Massachusetts, Botswana, South Africa, and Maine When Boston homicide detective Jane Rizzoli and medical examiner Maura Isles are summoned to a crime scene, they find a killing worthy of the most ferocious beast—right down to the claw marks on the corpse. But only the most sinister human hands could have left renowned big-game hunter and taxidermist Leon Gott gruesomely displayed like the once-proud animals whose heads adorn his walls. Did Gott unwittingly awaken a predator more dangerous than any he’s ever hunted? Maura fears that this isn’t the killer’s first slaughter, and that it won’t be the last. After linking the crime to a series of unsolved homicides in wilderness areas across the country, she wonders if the answers might actually be found in a remote corner of Africa. Six years earlier, a group of tourists on safari fell prey to a killer in their midst. Marooned deep in the bush of Botswana, with no means of communication and nothing but a rifle-toting guide for protection, the terrified tourists desperately hoped for rescue before their worst instincts—or the wild animals prowling in the shadows—could tear them apart. But the deadliest predator was already among them, and within a week, he walked away with the blood of all but one of them on his hands. Now this killer has chosen Boston as his new hunting ground, and Rizzoli and Isles must find a way to lure him out of the shadows and into a cage. Even if it means dangling the bait no hunter can resist: the one victim who got away. “Six years ago, in the bush, I found out what it’s like to die.” I shake my head. “Don’t ask me to die again.” From The Best Bad Reviews: Paper or Kindle “I live to read!” on Amazon reviewed Tess Gerritsen’s novel Die Again and gave it a so-so rating. Personally I think the “missing bus stop” novel deserves a 5 star rating. This isn’t the best book in the series, but it was gripping enough to make me miss my bus stop because I was so wrapped up in it. Dagnabbit! Another thriller does it again. Wikimedia Common Looking for a review of Die Again? Check out: Amazon Rating-US: 4.56 out of 5 stars based on 1,155 ratings Amazon Rating-UK: 4.67 out of 5 stars based on 568 ratings GoodReads Rating: 4.15 out of 5 stars based on 10,885 ratings Barnes & Nobel Rating: 4.40 out of 5 stars based on 60 ratings Library Thing Rating: 4.08 out of 4 stars based on 163 ratings Total Score 4.21 (updated 6/3/16) #12-I Have A Secret (Expected Release Date August 22, 2017) The crime scene is unlike any that Detective Rizzoli and medical examiner Maura Isles have ever before encountered. The woman lies in apparently peaceful repose on her bed, and Maura finds no apparent cause of death, but there is no doubt the woman is indeed dead. The victim’s eyes have been removed and placed in the palm of her hand, a gesture that echoes the terrifying films she produces. Is a crazed movie fan reenacting scenes from those disturbing films? When another victim is found, again with no apparent cause of death, again with a grotesquely staged crime scene, Jane and Maura realize the killer has widened his circle of targets. He’s chosen one particular woman for his next victim, and she knows he’s coming for her next. She’s the only one who can help Jane and Maura catch the killer. But she knows a secret. And it’s a secret she’ll never tell.	i don't know
Which capital city was supposedly founded by Yuri the log armed?	Capital of Russia \| Article about Capital of Russia by The Free Dictionary Capital of Russia \| Article about Capital of Russia by The Free Dictionary http://encyclopedia2.thefreedictionary.com/Capital+of+Russia Related to Capital of Russia: capital of Singapore , Stalingrad Moscow (mŏs`kou, –kō), Rus. Moskva, city (1991 est. pop. 8,802,000), capital of Russia and of Moscow region and the administrative center of the Central federal district, W central European Russia, on the Moskva River near its junction with the Moscow Canal. Moscow is Russia's largest city and a leading economic and cultural center. Moscow is governed by a city council and a mayor and is divided into boroughs. The five major sections of Moscow form concentric circles, of which the innermost is the Kremlin (see under kremlin kremlin , Rus. kreml, citadel or walled center of several Russian cities; the most famous is in Moscow. During the Middle Ages, the kremlin served as an administrative and religious center and offered protection against military attacks. ..... Click the link for more information. ), a walled city in itself. Its walls represent the city limits as of the late 15th cent. The hub of the Russian railroad network, Moscow is also an inland port and has several civilian and military airports. Moscow's major industries include machine building, metalworking, oil refining, publishing, brewing, filmmaking, and the manufacture of machine tools, precision instruments, building materials, automobiles, trucks, aircraft, chemicals, wood and paper products, textiles, clothing, footwear, and soft drinks. Points of Interest Adjoining the Kremlin in the east is the huge Red Square, originally a marketplace and a meeting spot for popular assemblies; it is still used as a parade ground and for demonstrations. On the west side of Red Square and along the Kremlin wall are the Lenin Mausoleum and the tombs of other Soviet political figures; on the north side is the completely rebuilt Kazan Cathedral (constructed in the 17th cent., razed by Stalin, and rebuilt in 1993); and at the southern end stands the imposing cathedral of Basil the Beatified (constructed 16th cent.). One of the most exuberant examples of Russian architecture, the cathedral has numerous cupolas, each a different color, grouped around a central dome. In front of the cathedral stands a monument to the liberators Menin and Pozharski. To the E of Red Square extends the old district of Kitaigorod [Tatar city], once the merchants' quarter, later the banking section, and now an administrative hub with various government offices and ministries. Tverskaya Street (formerly Gorky Street), a main thoroughfare, extends N from the Kremlin and is lined with modern buildings, including the headquarters of the council of ministers; it is connected with the St. Petersburg highway, which passes the huge Dynamo stadium and the central airport. Near the beginning of Tverskaya Street is Theater Square, containing the Bolshoi and Maly theaters. Encircling the Kremlin and Kitaigorod are the Bely Gorod [white city], traditionally the most elegant part of Moscow and now a commercial and cultural area; the Zemlyanoy Gorod [earth city], named for the earthen and wooden ramparts that once surrounded it; and the inner suburbs. In the Bely Gorod is Christ the Savior Cathedral; demolished in 1931 to be replaced by a never-built Palace of Soviets, it was rebuilt in the 1990s. A notable feature of Moscow are the concentric rings of wide boulevards and railroad lines on the sites where old walls and ramparts once stood. Except for its historical core, Moscow was transformed into a sprawling, often drab, but well-planned modern city under the Soviets. Post-Soviet Moscow has seen renewed construction, including the Triumph-Palace (866 ft/264 m, 2003), which echoes Stalin's Gothic-influenced Seven Sisters skyscrapers and is the tallest building in Europe. The tallest freestanding structure in Moscow is the Ostankino Tower (1967), a broadcast tower and tourist attraction that rises 1,771 ft (540 m). Among Moscow's many cultural and scientific institutions are the Moscow State Univ. (founded 1755), the Russian Academy of Sciences (founded 1725 in St. Petersburg and moved to Moscow in 1934), a conservatory (1866), the Tretyakov art gallery (opened in the 1880s), the Museum of Oriental Cultures, the State Historical Museum, the Agricultural Exhibition, the Institute of World Economy and International Relations (IMEMO), the Plekhanov Economic Academy, the Moscow State Law Academy, the Moscow Energy Institute, and the Peoples' Friendship Univ. of Russia (for foreign students). Theaters include the Moscow Art Theater Moscow Art Theater, Russian repertory company founded in 1897 by Constantin Stanislavsky and Vladimir Nemirovich-Danchenko. Its work created new concepts of theatrical production and marked the beginning of modern theater. ..... Click the link for more information. , the Bolshoi (opera and ballet), and the Maly Theater (drama). Moscow is the see of a patriarch, head of the Russian Orthodox Church. The many large parks and recreation areas include Gorky Central Park, the forested Izmailovo and Sokolniki parks, and Ostankino Park, with its botanical gardens. The ornate subway system opened in 1935. History Although archaeological evidence indicates that the site has been occupied since Neolithic times, the village of Moscow was first mentioned in the Russian chronicles in 1147. Moscow became (c.1271) the seat of the grand dukes of Vladimir-Suzdal, who later assumed the title of grand dukes of Moscow (see Moscow, grand duchy of Moscow or Muscovy, grand duchy of, state existing in W central Russia from the late 14th to mid-16th cent., with the city of Moscow as its nucleus. ..... Click the link for more information. ). During the rule of Dmitri Donskoi Dmitri Donskoi , 1350–89, Russian hero, grand duke of Moscow (1359–89). He successfully resisted Lithuanian attempts to invade Moscow, and was the first Russian prince since the Mongol conquest who dared to wage open war on the Tatars. ..... Click the link for more information. the first stone walls of the Kremlin were built (1367). Moscow, or Muscovy, achieved dominance through its location at the crossroads of trade routes, its leadership in the struggle against and defeat of the Tatars, and its gathering of neighboring principalities under Muscovite suzerainty. By the 15th cent. Moscow had become the capital of the Russian national state, and in 1547 Grand Duke Ivan IV became the first to assume the title of czar. Moscow was also the seat of the Metropolitan (later Patriarch) of the Russian Orthodox Church from the early 14th cent. It has been an important commercial center since the Middle Ages and the center of many crafts. Burned by the Tatars in 1381 and again in 1572, the city was taken by the Poles during the Time of Troubles (see Russia Russia, officially the Russian Federation, Rus. Rossiya, republic (2005 est. pop. 143,420,000), 6,591,100 sq mi (17,070,949 sq km). The country is bounded by Norway and Finland in the northwest; by Estonia, Latvia, Belarus, and Ukraine in the west; by Georgia ..... Click the link for more information. ). In 1611 the Muscovites, under the leadership of Kuzma Minin (a butcher) and Prince Dmitri Pozharski Pozharski, Dmitri Mikhailovich, Prince , 1578–1642, Russian hero. During the "Time of Troubles" (1598–1613), when various pretenders vied for the Russian throne, he fought against the Poles, who, taking advantage of unstable political conditions, had invaded Russia. ..... Click the link for more information. , attacked the Polish garrison and forced the remaining Polish troops to surrender in 1612. The large-scale growth of manufacturing in 17th-century Moscow, which necessitated an outlet to the sea, was instrumental in Peter I Peter I or Peter the Great, 1672–1725, czar of Russia (1682–1725), major figure in the development of imperial Russia. Early Life Peter was the youngest child of Czar Alexis, by Alexis's second wife, Natalya Naryshkin. ..... Click the link for more information. 's decision to build St. Petersburg on the Baltic. The capital was transferred to St. Petersburg in 1712, but Moscow's cultural and social life continued uninterrupted, and the city remained Russia's religious center. Built largely of wood until the 19th cent., Moscow suffered from numerous fires, the most notable of which occurred in the wake of Napoleon I's occupation in 1812. Count Rostopchin Rostopchin, Feodor Vasilyevich, Count , 1763–1826, Russian general and statesman. He rose rapidly under Czar Paul I, serving as foreign minister from 1798–1800. He was made a count in 1799. In 1812, Czar Alexander I appointed him governor-general of Moscow. ..... Click the link for more information. denied accusations that he had ordered the blaze ignited to drive out the French. The fire was most likely accidentally begun by French looters and was fanned by fanatic patriots among the few Russians who had remained behind when Napoleon entered the city. Whatever the cause, the fire sparked an anti-French uprising among the peasants, whose raids, along with the cruel winter, helped force Napoleon's retreat. Rebuilt, Moscow developed from the 1830s as a major textile and metallurgical center. During the 19th and early 20th cent. it was the focus of the zemstvo zemstvo [Rus., from zemlya=land], local assembly that functioned as a body of provincial self-government in Russia from 1864 to 1917. The introduction of the zemstvo system was one of the major liberal reforms in the reign of Alexander II. ..... Click the link for more information. cooperative and Slavophile movements and became a principal center of the labor movement and of social democracy. In 1918 the Soviet government transferred the capital back to Moscow and fostered spectacular economic growth in the city, whose population doubled between 1926 and 1939 and again between 1939 and 1992. During World War II Moscow was the goal of a two-pronged German offensive. Although the spearheads of the German columns were stopped only 20 to 25 mi (32–40 km) from the city's center, Moscow suffered virtually no war damage. The city hosted the Olympic Games in 1980. Due to inadequate public funds, Moscow's infrastructure suffered after the 1991 demise of the Soviet Union. Also, an increase in automobile ownership brought traffic congestion and worsened air pollution. The city, however, began to attract foreign investment and became increasingly westernized. In the 1990s its energetic mayor, Yuri Luzhkov, launched many ambitious reconstruction projects and by the end of the decade Moscow was experiencing a real-estate boom. Moscow (mŏs`kō), city (1990 pop. 18,519), seat of Latah co., NW Idaho, at the Wash. line; inc. 1887. It is a trade center for a lumber and farm area where wheat, peas, lentils, and dairy items are produced. There are factories that manufacture semiconductors, erosion control blankets, concrete, and wooden cabinets. Originally part of the Nez Percé Reservation, it was first settled by whites in 1871. The Univ. of Idaho is there, as well as a historical museum and a U.S. government forest sciences laboratory. Moscow Moscow is the capital of the USSR and the RSFSR and the administrative center of Moscow Oblast. It is the country’s leading political, scientific, industrial, and cultural center and one of the world’s most important cities in these respects. Moscow has been designated a Hero City. Among the world’s most populous cities, Moscow ranks first in public services and amenities and relatively clean air. Located in the industrial Central Economic Region, it is a nexus of the country’s transportation routes. Moscow lies in the central part of the European USSR, between the Oka and Volga rivers. It is situated on the Moskva River at an average elevation of 120 m. The city’s highest points are in the southwest, where the Teplyi Stan Upland (with elevations exceeding 200 m) descends toward the Moskva River, and in the northwest, around Khimki Reservoir, situated along the edge of the Moscow Upland’s southern slope. The eastern and southeastern parts of the city lie on the edge of the flat Meshchera Lowland. Many features of the terrain are linked with the changes brought about by many centuries of human habitation. The “cultural stratum,” consisting of reworked earth with remnants of old foundations and pavements, reaches 10 to 20 m in the heart of the city. The climate is moderately continental. The average temperature during the coldest month (January) is —10.2°C; the absolute minimum is —42°C. The warmest month is July (18.1°C), and the highest recorded temperature in the shade was 36.8°C. The temperature in the city’s central areas differs considerably from that of the outskirts. In winter the temperature in the outlying areas is sometimes 10° to 13° lower than in the center. The average annual precipitation is 582 mm, most of which occurs in July. About 150 streams and brooks flow through the city; the largest tributaries of the Moskva River within the city limits are the Iauza and Setun’. Most of the smaller streams and brooks flowing into the Moskva, such as the Neglinnaia, Presnia, and Khodynka, have been channeled into underground pipelines. Moscow has about 240 open bodies of water covering an area of more than 820 hectares. Since the October 1917 Revolution, Moscow’s territory has increased fivefold. By directives of the Presidium of the Supreme Soviet of the RSFSR, issued Aug. 18, 1960, and Nov. 11, 1961, the city limits were established along the Moscow Beltway, so that Moscow now includes the former cities of Babushkin, Liublino, Kuntsevo, Perovo, and Tushino, as well as a number of settlements and other population centers (see Table 1). In addition to the area within the Beltway, the Moscow City Council of Workers’ Deputies administers Zelenograd and a number of settlements beyond the Beltway: Vnukovo, Vostochnyi, Meshcherskii, Nekrasovka, Rublevo, Severnyi, and Zapadnyi. The extension of Moscow’s city limits has stimulated the construction of housing, cultural and consumer facilities, and an improved communal services system (including public utilities). It has also led to an expansion of the city’s public services and amenities. Much attention has been given to the creation of public parks and gardens, now covering 30.7 percent of the city’s total area. Table 1. Growth of Moscow’s territory (in sq km, at end of years cited) 1970 1972 1 This change in area resulted from the more precise definition of Moscow’s city limits in 1971 Total area.......... 242.1 269.5 Moscow is the capital of a multinational state. Among its inhabitants are members of the nationalities of all the Union and autonomous republics, the autonomous oblasts, and national okrugs, as well as representatives of many other nationalities and ethnic groups. According to the 1970 census, 89 percent of the residents were Russians (Moscow’s population growth is shown in Table 2). Table 2. Growth of Moscow’s population 1912 (census of Mar. 19) 1, 618, 000 1939 (census of Jan. 17) 4, 542, 000 1959 (census of Jan. 15) 6, 044, 000 1970 (census of Jan. 15) 7, 061, 000 44.0 As of Jan. 1, 1974, the city had 7.5 million inhabitants and an average population density of 8, 300 persons per sq km. Large-scale housing construction and the rapid growth of the city have resulted in a redistribution of the population, chiefly from the city’s center to the newer districts. Consequently, a directive was issued by the Presidium of the Supreme Soviet of the RSFSR on Nov. 25, 1968, forming 29 raions in place of the previous 17. The city’s local agency of state power is the Moscow City Council of Workers’ Deputies, elected by the city’s inhabitants for a two-year term; there is one deputy for every 6, 000 voters. The fourteenth convocation of the Moscow Council, elected on June, 17, 1973, comprised 1, 160 deputies. The Moscow Council is convened regularly at least four times a year and considers questions within its exclusive jurisdiction as defined by law. It ratifies plans for developing the municipal economy, the municipal budget, and plans for carrying out voters’ instructions. The Moscow Council forms its own executive bodies and standing committees and discusses reports concerning their work. The council has created 19 standing committees consisting of 473 deputies. They are the committees for mandates, budget planning, industry, transportation and communications, construction and the building-materials industry, housing, public education, culture, youth affairs, public health, trade, consumer services, communal services (such as utilities), socialist legality and the maintenance of public order, social services and amenities, city planning, public food service, social security, and physical education and sports. The committees supervise the work of the corresponding departments and boards, and they implement the resolutions of the council and its executive committee, as well as their own recommendations. The executive and administrative body of the Moscow Council is its executive committee, formed from among the deputies attending the first session of each new convocation of the council and functioning for the duration of the convocation. The executive committee consists of 25 deputies, including a committee chairman, nine deputy chairmen, a secretary and 14 committee members; the chairman, deputy chairmen, and committee secretary form the council’s presidium. Between sessions of the council the executive committee carries out all the council’s administrative functions, with the exception of those powers that are reserved to the council alone. The executive committee’s administrative apparatus consists of the chairman’s secretariats, the deputy chairmen, the committee’s secretary, supervisory groups, an organizational and instructional department, and a general department. To administer the various branches of the city’s economy and culture, the Moscow Council has formed central boards, functional boards, and branch boards. There are central boards for architecture and city planning, housing and civil engineering, industrial construction, construction of engineering works, capital construction, the building-materials industry, truck transport, housing facilities, commerce, public food service, public health, culture, and internal affairs. Among the functional boards are a finance board, a planning commission, a board for technical personnel and educational institutions, and a board for foreign relations. Branch boards have been created to maintain roads and manage public services and amenities, fuel and power, water supply and sewage, passenger transportation, woods and parks, and motion-picture facilities. There are also departments dealing with public education, social security, archives, veterinary services, prices, and premises other than housing. The people of each raion elect for a two-year term a raion council of workers’ deputies, which functions as an agency of state authority. The raion councils elect their own executive bodies, the executive committees. The oldest traces of human settlement on the territory of Moscow date from the Stone Age (the Shchukino Neolithic site on the Moskva River). Within the present city limits a considerable number of archaeological remains from later periods have been discovered at a burial ground belonging to the Bronze Age Fat’ianovo culture unearthed near the village of Davydkovo and at the sites of fortified towns of the D’iakovo culture, discovered near the village of D’iakovo not far from Kolomenskoe, in the Kremlin, on the Lenin Hills, along the Setun’ River, and in the Kuntsevo park. Many relics dating from the period of primitive communal society have been unearthed in various sections of Moscow. At the end of the first millennium A.D. the area was inhabited by Slavs—the Viatichi and, to the northwest of present-day Moscow, the Krivichi. Clusters of barrows near the Iauza railroad station and in Tsaritsyno, Chertanovo, Kon’kovo, Derevlevo, Ziuzino, Cheremushki, Matveevskoe, Fili, and Tushino attest to the existence of Viatichi villages between the 11th and 13th centuries. The Viatichi were the primary nucleus of the population of Moscow. Excavations conducted in the Kremlin and the Zariad’e have shown that at the end of the 11th century Moscow was a small town situated at the mouth of the Neglinnaia River with a feudal stronghold and a small artisan and trading suburb. The tip of the promontory between the Neglinnaia and Moskva rivers was protected by a rampart and moat extending along the southwestern corner of the present Great Kremlin Palace. The unfortified part of the town reached about as far as the present Kremlin Palace of Congresses; along the bank of the Moskva River the town extended considerably farther, to the present Hotel Rossiia, where there was probably a landing. The oldest finds—fragments of glazed vessels and a seal of the Kievan metropolitanate (no later than 1096)—attest to trade and political links between Moscow and Kiev. The city is first mentioned in the chronicles (as Moskov) under the year 1147 as a possession of the Suzdal’ prince Iurii Dolgorukii. According to the chronicles, a new and larger fortress was built in 1156; part of its wooden structure was uncovered in 1960 in digging the foundation for the Kremlin Palace of Congresses. The area encompassed by the fortress tripled, and the artisans’ and merchants’ suburb covered the entire bank of the Moscow River adjacent to the fortress, reaching the present Arsenal in the Kremlin in the north. In the first half of the 13th century, Moscow became an appanage and was sometimes bestowed on the younger sons of the grand princes of Vladimir. Devastated by the Mongol-Tatars during the winter of 1237–38, it was soon rebuilt. In the second half of the 13th century, Moscow became the center of an independent principality; the founder of its princely dynasty was Daniil Aleksandrovich, the son of Alexander Nevsky. Moscow owed its growth and ascendancy chiefly to its location at the intersection of trade routes and to its central position in the Slavic lands where the Russian nationality was evolving. Another important factor was the development of its crafts (iron working, jewelry-making, and the production of leather and footwear), commerce, and agriculture. During the 14th century Moscow emerged as the center of the Grand Principality of Moscow, one of the most powerful principalities in northeastern Russia. From the time of Iurii Danilovich (1281–1325), the Muscovite princes occupied the throne of the Grand Principality of Vladimir. In the 14th century, Moscow became the residence of the Russian metropolitans, and in 1589 it became the seat of the patriarchs and the ecclesiastical capital of Russia. During the second half of the 14th century, during the reign of Dmitrii Ivanovich Donskoi, Moscow led the Russian people’s struggle against the Mongol-Tatar yoke. In the 14th and first half of the 15th centuries, Moscow was a large city with many artisans and merchants, who lived in the suburb known as the Great Posad (later Kitai-Gorod) and in settlements in the Zarech’e (later Zamoskvorech’e) area beyond the Moskva River, in the Zaneglimen’e west of the Neglinnaia River, and later in the Zaiauz’e beyond the Iauza River. In the last quarter of the 15th century, during the reign of the Grand Prince Ivan III Vasil’evich, Moscow became the capital of a centralized Russian state, which in 1480 threw off the Mongol-Tatar yoke. As its political importance grew, Moscow also became the country’s most important economic and cultural center. Production of weapons, fabrics, leather goods, pottery, and jewelry increased, and the building trades developed. The names of Moscow streets reflect the occupations of their former inhabitants, for example, Bronnye (weapons) streets, Kotel’nicheskaia (cauldrons) and Goncharnaia (pottery) quays, and Bol’shie and Malye Kamenshchiki (stonemasons) streets. The Pushechnyi Dvor (cannon foundry), where cannons and bells were cast, was established in the late 15th century. Muscovite architecture attained a high level (see below: Architecture and city planning). The development of crafts and trade stimulated population growth and territorial expansion. In the 16th century Moscow, essentially coinciding with the area within the present Sadovoe Ring, was larger than London, Prague, and other European cities. At the beginning of the 17th century the population fluctuated between 80, 000 (during the Polish-Lithuanian intervention) and 200, 000. By that time Moscow had wooden pavements and a good drainage system. During the 16th and 17th centuries three rings of fortifications were erected, called Kitai-Gorod, Belyi Gorod, and Zemlianoi Gorod. At the time of the Polish-Lithuanian intervention the enemy succeeded in capturing Moscow on Sept. 21, 1610. The people’s struggle for the independence and unity of the Russian state culminated in the victory of the people’s militia led by Minin and Pozharskii and the expulsion of the foreign invaders from Moscow in October 1612. During the struggle against the invaders large areas were devastated; within a short time, however, the city was not only rebuilt but in many places even extended beyond the Zemlianoi rampart. Here, along the roads radiating in all directions, a new belt of tax-exempt settlements sprang up: the Dorogomilovskaia Iamskaia, Kudrinskaia, Novinskaia, Tverskaia Iamskaia, Sushchevskaia, Naprudnaia, Pereiaslavskaia Iamskaia, Alekseevskaia, Grecheskaia, Rogozhskaia Iamskaia, Kozhevnicheskaia, Semenovskaia, Vorontsovskaia, and Kolomenskaia Iamskaia. During the 17th century Moscow was the center of an evolving Russian market, and its importance as an international market grew. Along with artisan workshops, the number of factory-type enterprises also increased: a second cannon foundry was established, as well as gunpowder factories, a shell and grenade factory, brickyards, the Khamovnaia Linen Factory, and a glassworks. Great changes also occurred in the city’s cultural life (see below: Education, science, and culture). Moscow’s population during the 17th century reflected the complex structure of the Russian feudal serf-owning state during the final stages of centralization, when a feudal-absolutist monarchy was emerging. Most of the inhabitants belonged to various feudally dependent groups, known as tiagletsy (persons required to pay taxes and perform labor services), living in the chernye slobody (artisans’ and traders’ suburbs administered by the state), in the kazennye slobody (state-owned settlements), and in the dvortsovye slobody attached to the tsar’s palace. The household serfs serving the boyars and nobility were another feudally dependent group. At the other end of the social spectrum were the secular and ecclesiastical aristocracy, high government officials, and rich merchants. Moscow was the seat of the tsar’s court with its numerous courtiers and had a garrison of streltsy (musketeers), who lived in the suburban settlements known as streletskie slobody. Profound social contrasts exacerbated class conflicts and gave impetus to the struggle of the urban lower classes against the city’s feudal and merchant upper classes. Moscow was the center of the antifeudal struggle of the masses during the 17th century, and the city’s working people took an active part in the peasant uprising led by I. I. Bolotnikov in 1606–07. The most important antifeudal urban uprisings were the Moscow uprising of 1648, the Moscow uprising of 1662, the Moscow uprising of 1682, and the streltsy uprising of 1698. The 18th century saw the beginnings of urban self-government. An organ of local self-government called the Burmister-skaia Palata (soon renamed Town Hall) was created under the municipal reform of 1699. It was composed of burmistry, representatives elected at assemblies of the posadskie liudi (merchants and artisans). In 1720 the Town Hall was replaced by the Magistrat, whose members were elected not by all the posadskie liudi, but only by those of the “first rank”—rich merchants and manufacturers who belonged to the First Guild. After Peter I’s death the organs of Moscow’s municipal self-government were gradually transformed into an appendage of the tsarist administration. Moscow’s merchant elite came to play an ever larger role in municipal self-government, dominating the Six-Member Duma created in 1785. After the transfer of Russia’s capital to St. Petersburg in 1712, Moscow became the “second capital” of the empire, but it retained its previous importance as a political, administrative, and cultural center. Almost all of Russia’s main government departments—the Senate, Synod, ministries, and central boards—had branches in Moscow. Industry developed, particularly the manufacture of textiles, and Moscow continued to be the most important commercial center. In 1708, Moscow became the administrative center of Moscow Province and the residence of its governor general. During the 18th century the class struggle became more acute, flaring up in the disturbances of workmen employed in Moscow’s factories during the 1720’s, 1730’s, and 1740’s, in the “plague revolt” of 1771, and in the strike at privately owned brickyards in July 1779. The popular masses of Moscow represented a genuine threat to the tsarist government during the peasant war led by E. I. Pugachev in 1773–75. Moscow expanded rapidly, covering 8, 698 hectares by the mid-18th century. The construction of cobblestone pavements began in 1700, and a street-lighting system was introduced in November 1730. Between 1781 and 1804 the Mytishchi water pipeline, the first of its kind in Russia, was constructed to bring water from the Mytishchi springs to five fountains within the Sadovoe Ring, where the water was drawn by the townspeople. In the early 19th century the city’s large factories employed tens of thousands of workers, and it became the country’s trading center, particularly for industrial products. The bourgeoisie, numerically predominating over the gentry element, strengthened its social position by accumulating capital and seizing the key positions in the city’s economy. From the outbreak of the Patriotic War of 1812, Moscow organized the patriotic movement for the defense of the motherland: partisan detachments operated around the city and the Russian Army gathered its forces in its vicinity. Even Napoleon understood the role of Moscow as the center of Russia’s resistance. “If I take Kiev,” he said, “I will take Russia by the feet; if I capture St. Petersburg, I will take it by the head; but if I occupy Moscow, I will pierce it through the heart.” The battle of Borodino, fought near Moscow in 1812, was largely responsible for the collapse of Napoleon’s predatory plans. On September 2 (14), Napoleon’s troops entered Moscow, which had been abandoned by most of its inhabitants. The French Army remained in Moscow for 39 days. Retreating, Napoleon ordered the Kremlin blown up, but because of the threat of encirclement, the order was never carried out. The returning population found the city in ruins, but the Muscovites not only raised it out of the ashes and ruins, but made it even more beautiful. After 1812, Moscow steadily declined as a gentry city. Capitalist industry grew; in 1814 about one-sixth of Russia’s workers were concentrated in Moscow enterprises. The population rose from more than 275, 000 in 1811, to 378, 000 in 1862, to more than 1 million in 1897. In its class structure Moscow became a capitalist city. This process accelerated in the late 19th and early 20th centuries, so that by 1902, Moscow had 108, 000 factory workers and 38, 000 railroad workers. By the late 19th century the city had become the country’s largest center of light industry. Its economic importance increased when it became the nexus of the Russian railroad network. A polarization occurred in the population’s social composition: the big bourgeoisie accounted for 2 percent of the economically active population and the proletarian and semiproletarian strata for 55 percent. The bourgeois-gentry center differed markedly from the workers’ districts on the outskirts. Typical of capitalist Moscow were the slums of Khitrovo Market, Drachevka, Zariad’e, and other areas. Intracity affairs were conducted by the Municipal Duma, which had been established under the Statute of 1870 and was elected on the basis of property qualifications, thereby assuring the domination of the big bourgeoisie, factory owners, merchants, and rich gentry. In 1892 a new statute was implemented (remaining in effect until 1917), which limited even the few rights granted to townspeople by the Statute of 1870. The number of eligible voters was considerably reduced, declining from 3.4 percent of the population in 1870 to 0.5 percent in 1892. Public transportation consisting of large wagonettes was introduced in the late 1840’s, and a railroad between Moscow and St. Petersburg was opened on Nov. 1, 1851. In 1867 many streets acquired gas lighting. Horse-drawn streetcars were introduced in 1872. That year a telegraph line connecting Moscow with St. Petersburg went into operation, and a telephone station was established in 1882. In 1883 arc lamps were installed near the Prechistenka Gate, present-day Kropotkin Square. On Dec. 31, 1898, the first intercity telephone line was opened between Moscow and St. Petersburg. Streetcars appeared in 1899, and a modern water supply system—the Moskvoretskaia system—was constructed in 1903 (a sewer system had been installed in the late 19th century). With respect to public services and amenities, the Municipal Duma pursued a class policy. The water supply system for the most part brought filtered water to houses situated within the Sadovoe Ring, inhabited chiefly by the well-to-do, and sewer lines were installed only in the vicinity of the main thoroughfares. More than half of the outlying streets were unpaved. The entire history of the revolutionary movement in Russia during the 19th and early 20th centuries is linked with Moscow. The leading ideologists and organizers of the gentry revolutionary-Decembrist movement—P. I. Pestel’ and N. M. Murav’ev —were born and lived here. The future members of the Northern Society, notably P. G. Kakhovskii, V. F. Raevskii, and I. D. Iakushkin—were educated at the boarding school affiliated with Moscow University. A. I. Herzen’s revolutionary self-awareness developed here; on Vorob’evo Hills (now Lenin Hills) “in the sight of all Moscow,” Herzen, together with N. P. Ogarev, took an oath to sacrifice his life for the revolution if necessary. In the post-reform period the raznochintsy intelligentsia was imbued with revolutionary fervor. A branch of the secret Land and Liberty society functioned here during the 1860’s, as well as the Narodnik (Populist) Ishutin, Nechaev, and Dolgushin circles. In 1874 the Moscow worker P. A. Alekseev, aided by other working-class propagandists, began his revolutionary activity among textile workers at 20 Moscow factories. The city played an important role in the spread of Marxism in Russia. In the early 1890’s Marxist-oriented circles were organized in the city by V. A. Vannovskii, G. M. Krukovskii, G. N. Mandel’shtam, A. I. Riazanov, and N. N. Shaternikov. In 1894 the Moscow Marxist circles united to form the Moscow Workers’ Union, which helped organize the First Congress of the RSDLP. The Moscow Committee of the RSDLP was formed on Mar. 10, 1898. In the early 20th century Moscow, along with St. Petersburg, was a leading center of monopoly capital in Russia. In 1900, Moscow’s 38 enterprises with 500 or more workers accounted for only 5.6 percent of all the factories in the city but employed 42.4 percent of all the workers. Moscow’s workers played a prominent role in the Revolution of 1905–07 in Russia. The political strike of October 1905, which they began, spread throughout Russia, and the December armed uprising in Moscow was the culminating point of the revolution. After the uprising was suppressed, the Moscow party organization adapted its work to the new, illegal conditions of struggle. Because they were well organized the Moscow Bolsheviks were able to go underground and still maintain their strong ties with the working class. During the reactionary years the Moscow Bolsheviks vigorously opposed the Mensheviks, the Liquidators, and the Otzovists and upheld the revolutionary Leninist policy. Under their leadership a widespread political movement developed among the workers of Moscow during the time of new revolutionary upsurge. Table 3. Structure of industry Enterprises 49.2 51.5 In the years of industrial boom the number of large enterprises increased by 7 percent, from 909 in 1910 to 973 in 1913, and the number of workers grew by 16.8 percent, from 136, 400 to 159, 300. Moscow’s industry attained a high level of concentration (see Table 3). The greatest concentration occurred in the textile industry, in which factories with more than 500 workers employed 67.5 percent of all the textile workers. The leading textile factories were large capitalist enterprises such as the Prokhorov (Trekhgornaia) Factory and the Emil’ Tsindel’ Textile Printing Factory, each employing more than 2, 000 workers. In machine building and metalworking, 34.4 percent of all workers were employed at plants with more than 500 workers, such as the Bromlei Brothers Machine Plant, the Guzhon Metallurgical Plant, the Gakental’ Plant, and the Dangauer and Kaiser Plant. The process of concentration also spread to clothing manufacture, which had always been a handicraft industry. The factories of the Mandel’ and Raits Company alone employed approximately 2, 500 workers, or 28.5 percent of all garment workers in the city. The concentration of production was accompanied by the formation of industrial syndicates. In addition to factories and plants there were many small-scale enterprises and domestic and artisans’ workshops. They employed a total of 245, 400 workers by 1913, of whom 104, 800 were handicraft workers. The period of industrial boom was marked by a growing influx of foreign capital. In Moscow all the electrical-engineering and chemical enterprises were controlled by foreigners, chiefly German firms, such as Siemens-Halske and the Russian General Electric Company. After the victory of the bourgeois democratic revolution of February 1917, Moscow and Petrograd became the most important centers for the preparation of the Great October Socialist Revolution. After seven days of fighting, Soviet power emerged victorious in Moscow on the night of Nov. 3 (16), 1917. The victory of the October Revolution in Petrograd and subsequently in Moscow laid the foundation for the triumphant spread of Soviet power throughout the country. On Mar. 12, 1918, when the Soviet government moved from Petrograd to Moscow, the city became the capital of the world’s first socialist state. The Fifth All-Russian Congress of Soviets, which adopted Soviet Russia’s first constitution, was held here in July 1918. Since the Eighth Congress of the RCP (Bolshevik), all the congresses of the CPSU have been held in Moscow. In July 1918 the workers of Moscow under the leadership of V. I. Lenin suppressed the left Socialist-Revolutionary revolt. During the Civil War (1918–20), Moscow was the center from which the Bolshevik Party, the Soviet government, and V. I. Lenin directed the struggle against the White Guards and the interventionists. The Moscow party organization and the Moscow trade unions sent battle-hardened workers’ cadres into the Red Army and food-requisitioning detachments into the countryside, and they organized the sending of arms, ammunition, and uniforms to the front. Moscow’s workers struggled to prevent economic collapse and to restore industry, and they helped strengthen the administrative apparatus of the Soviet government and economic organizations. The labor heroism of Muscovites during the war years manifested itself in the communist subbotniki (unpaid mass workdays). Lenin maintained that “the great initiative” of Moscow’s workers laid the foundation for a new, communist attitude toward labor. The imperialist and civil wars wrecked Moscow’s economy and depleted its population. During the period of reconstruction Moscow’s entire industry was rebuilt, and the living standard of Moscow’s workers was raised. In the first years of Soviet power housing conditions were improved; many proletarian families were resettled in the comfortable homes formerly occupied by the bourgeoisie. V. I. Lenin’s activity was closely associated with Moscow. Establishing contact with Moscow’s workers at the outset of his revolutionary career, he visited the city in 1893–95, 1897, 1900, and 1906 and met with representatives of the revolutionary proletariat. The Moscow party organization was established on the organizational, tactical, and ideological principles developed by Lenin, and the Leninist newspaper Iskra (Spark) played a large role in creating and strengthening the organization. Lenin lived and worked in Moscow from Mar. 11, 1918. Here he wrote many of his works and spent the last years of his life. A sarcophagus containing Lenin’s body has been placed in the mausoleum on Moscow’s Red Square. In memory of the leader, many enterprises, educational institutions, streets, and squares, as well as one of the city’s raions, have been named after Vladimir Il’ich Lenin. From 1920 to 1924, Lenin was elected a member of the Moscow city council. By the council’s decree of Feb. 7, 1924, Lenin was made a perpetual member of the council as a deputy of the Moscow workers, and since that time Deputy Card No. 1 has been assigned to him. The First Congress of the Soviets, at which the Union of Soviet Socialist Republics was formed, was held in Moscow on Dec. 30, 1922. The All-Union Congresses of the Soviets, sessions of the Supreme Soviet of the USSR, and Congresses of the Communist Party convened in Moscow have adopted important resolutions determining the entire course of the Soviet Union’s socialist development. Moscow has been the center from which the country’s industrialization, collectivization of agriculture, and cultural revolution have been directed. Moscow’s workers have been active in creating the new Soviet society, strengthening the economy, advancing science and technology, and developing a socialist culture. The formation of the Comintern (Communist International) was announced in Moscow, and its congresses were held in the city. During the years of socialist industrialization the city’s industrial structure changed. Textiles gave way to machine building and electrical engineering. In 1940, Moscow’s industrial output was 21 times that of 1913. The metalworking industry developed especially rapidly, its production increasing 96 times between 1913 and 1940. Large aviation and automotive plants were built and equipped with advanced technology. These industries played a large role in industrializing the country and strengthening its defense capabilities. The output of the textile and food and condiments industries increased sevenfold between 1913 and 1940. During the prewar building of socialism the city’s population grew rapidly, rising from some 1.5 million inhabitants in 1923 to about 2.8 million in 1931 and about 3.6 million in 1936. There were radical changes in the population’s social composition: in 1912 the economically active segment of the population (industrial workers, office employees, servants) constituted 72.3 percent of the total and members of the exploiting classes accounted for 9 percent; by 1926 the latter category was reduced to 0.6 percent of the population. In 1939 industrial and office workers and their families represented 94.3 percent of Moscow’s population. The group of persons living on income not derived from their own labor had entirely disappeared. In June 1931, at the plenary session of the Central Committee of the ACP (Bolshevik), a plan was worked out for a socialist reconstruction of Moscow’s municipal economy. On July 10, 1935, the Central Committee of the ACP(B) and the Council of People’s Commissars of the USSR adopted the resolution On the General Plan for the Reconstruction of Moscow. The 1930’s saw the development of all types of communal services (such as public utilities) and urban transport, particularly buses (introduced in 1924), trolleybuses (1933), and subways (1935). All principal squares and thoroughfares were paved with asphalt. The network of cultural, consumer, and medical institutions expanded. During the Great Patriotic War (1941–45), Moscow was not only the political but also the military center of the country. It was from here that the Central Committee of the Communist Party, the Soviet government, the State Committee for Defense, and the General Headquarters of the Supreme Command directed military operations at the front and work in the rear. The workers of Moscow, like the entire Soviet people, resisted the fascist German invaders. During the first six months of the war alone, about 100, 000 Communists and 260, 000 Komsomol members (half of the Moscow Komsomol) joined the Red Army. In 1941, Muscovites formed 16 divisions of the people’s militia (more than 160, 000 persons), 25 assault battalions (18, 000), 25 local antiaircraft defense battalions, four repair and reconstruction regiments, and other units. By Oct. 1, 1941, 90, 600 persons were studying in the various branches of universal military training (Vsevobuch). Some 3, 600 self-defense groups (81, 600 persons) under the direction of housing offices, and about 13, 000 fire-fighting teams (more than 200, 000 persons) were formed. Some 450, 000 Muscovites built defense installations at the approaches to Moscow and within the city. By the beginning of August 1941 the inhabitants of Moscow had contributed 75 million rubles, 5, 247 gold coins, 7 kg of gold, and 340 kg of silver to the Fund for the Defense of the Motherland. The Moscow factories that were evacuated during the war became the basis for many new factories in the country’s eastern regions. Between October 1941 and April 1942 the greatest battle of the Great Patriotic War—the battle of Moscow—was fought on the outskirts of the city. The fascist German Army suffered its first major defeat in World War II, dispelling the myth of its invincibility. The defeat of the fascist German troops outside Moscow enabled the city to increase its arms production and render more aid to the front. Heavy industry, particularly defense plants, gradually returned. New military units were formed, and hospitals were established. Moscow’s workers helped restore the economy in regions liberated from the occupation forces. On May 1, 1944, a medal For the Defense of Moscow was instituted, and a victory parade was held in Moscow on June 24, 1945. On Sept. 6, 1947, during the celebration of the city’s 800th anniversary, Moscow was awarded the Order of Lenin for its workers’ outstanding services to the motherland in the struggle against the fascist German invaders and for their success in building socialism. In commemoration of this historic moment a medal In Commemoration of the 800th Anniversary of Moscow was instituted. Muscovites were in the vanguard of the Soviet people in the restoration and further development of the national economy in the postwar years. During the first postwar five-year plan (1946–50), Moscow became the most important center for technical progress in industry and for integrated mechanization and automation of production. In 1947, Moscow’s industry attained its prewar level of production, providing the country with 43 percent of its automobiles and trucks, 34 percent of its motorcycles, 42 percent of its bearings, 47 percent of its specialized and unit machine tools, 44 percent of its tools, 97 percent of its casting equipment, and 41 percent of its clocks and watches. Moscow’s construction industry was established during the fifth five-year plan (1951–55). By the end of 1958 dozens of specialized plants were producing various components for the prefabricated housing industry. Moscow’s large construction enterprises served as a basis and a model for developing this branch of the economy in the Soviet Union and the fraternal socialist countries. The city has played an important part in creating the material and technical base of communism. Between 1961 and 1965 the output of automatic and semiautomatic transfer lines increased 1.7 times; precision machine tools, 1.2 times; and automation equipment and instruments, 1.5 times. In 1965 the total output of Moscow’s industry was 509 percent that of 1940. Muscovites have undertaken many patriotic projects, including the integrated mechanization and automation of production and drives to upgrade their trademarks and to produce goods comparable with the best domestic and foreign products.The mass movement for a communist attitude toward labor originated in Moscow. By the beginning of 1965, 513 plants and factories and 915 commercial enterprises and public dining facilities were competing for the title of Groups of Communist Labor. About 2 million Muscovites have participated in the movement. Some 40, 000 teams, shops, sections, and groups at 50 Moscow enterprises have won the honorary title of Communist. More than 500, 000 workers have earned the honorary title of Shock Worker of Communist Labor. The all-Union competition for a fitting commemoration of the 50th anniversary of the Great October Revolution and the 100th anniversary of the birth of V. I. Lenin had its origin in Moscow. The Muscovites’ traditional socialist emulation with the workers of Leningrad has played a major role in their labor achievements. The most important events of the postwar decades were the Nineteenth, Twentieth, Twenty-first, Twenty-second, Twenty-third, and Twenty-fourth Congresses of the CPSU. Their resolutions have played an important role in the life of the party and the people and in the development of Soviet society, and they have strengthened the Soviet Union’s authority in the international arena. In carrying out the resolutions of these congresses, the workers, guided by the Moscow Municipal Organization of the CPSU, have achieved new successes in developing the economy, science, and culture and in raising the standard of living for workers. Large-scale reconstruction of the city is under way. Since the war Moscow has become the most important center of socialist culture and science (see below: Education, science, and culture). The capital of the Soviet state plays a prominent role in the struggle for peace. Here on Mar. 12, 1951, the Supreme Soviet of the USSR adopted the historic Law on the Protection of Peace. Moscow has hosted a number of important international congresses for peace, disarmament, national independence, and international cooperation, notably the World Congress of Peace-loving Forces, held in 1973. Moscow’s political and ideological influence has grown; it is the militant headquarters of the builders of communism and the center of world progress. International conferences of communist and workers’ parties were held here in 1957, 1960, and 1969. They played a decisive role in consolidating, on the basis of Marxism-Leninism, the worldwide communist movement in the struggle for peace, democracy, and socialism. At the Twenty-fourth Congress of the CPSU, L. I. Brezhnev, general secretary of the Central Committee of the CPSU, said of Moscow: “It is dear to all Soviet people as the capital of our motherland, the most important center of industry, culture, and science, and as a symbol of our great socialist power” (Materialy XXIVs”ezda KPSS, 1971, p. 44). Speaking in the name of the party, Brezhnev set forth the task of transforming the capital into a model communist city. The appeal found a warm response among the workers of Moscow. On May 8, 1965, for its outstanding services to the motherland and in commemoration of the 20th anniversary of victory in the Great Patriotic War, Moscow was awarded the honorary title of Hero City. It was also awarded a second Order of Lenin and the Gold Star Medal. On Nov. 4, 1967, on the eve of the 50th anniversary of Soviet power, Moscow was awarded the Order of the October Revolution. V. E. P OLETAEV Table 4. Average annual number of workers in various branches of Industry (as a percentage of the total) 5.7 5.7 In prerevolutionary Russia, Moscow’s industry consisted chiefly of light-industry and food-processing enterprises. During the building of socialism the structure of industry was radically transformed; machine building and metalworking developed rapidly and today occupy the leading place in industrial production (see Table 4). Automotive, bearing, electrical-engineering, aviation, radio engineering, and instrument-making industries were established. While retaining its importance as a manufacturer of consumer goods, Moscow became a strong production and technical base for further industrialization. Between 1913 and 1973 industrial output increased 173 times, and labor productivity grew 27 times. Between 1940 and 1973 the total industrial output increased eight times. In all branches of industry there are leading enterprises that determine the industry’s pattern of development. In electrical engineering these enterprises include the Vladimir II’-ich Electrical Machinery Plant, the V. V. Kuibyshev Electrical Equipment Plant, the S. M. Kirov Dinamo Moscow Plant, and the Elektroprovod Cable Plant. In the machine-tool and tool industries such enterprises are the A. I. Efremov Krasnyi Proletarii Machine Tool Plant, the S. Ordzhonikidze Machine Tool Plant, and the Kalibr and Frezer tool plants. The leading instrument-making enterprises are plants producing automatic devices for heat engineering and measuring instruments for the petroleum industry, the Manometr Plant, and watch factories. The automotive industry has expanded rapidly. Enterprises include the I. A. Likhachev Truck Plant, the Lenin Komsomol Compact-Car Plant, and a plant for manufacturing motor vehicle bodies. Other machine-building enterprises includethe Kompressor Plant, which manufactures refrigeration equipment, the Borets Compressor Plant, the M. I. Kalinin Pump Plant, the Kuntsevo Platinum Products and Needle Plant, and the Perovo Commercial Machines Plant. Ferrous metallurgy is represented by the Serp i Molot Metallurgical Plant, a pipe-manufacturing plant, and the Proletarskii Trud Hardware Plant. Light-industry enterprises include the Trekhgornaia Manufaktura Cotton Combine, the Pervaia Textile Printing Factory, the Krasnokholmskii Worsted Combine, the P. P. Shcherbakov and Krasnaia Roza silk combines, and the Vostok Burevestnik, and Zaria garment-making associations. The food-processing industry is represented by the Krasnyi Oktiabr’, the P. A. Babaev, and the Bolshevik confectionery factories; the Dukat and lava tobacco factories; a margarine plant; a meat-packing combine; and dairy combines. Moscow’s industry plays an important role in the reequipment of the USSR’s industry. Between 1966 and 1970 alone 1, 808 new types of machines and equipment were created, including 298 pieces of electrical equipment, 245 pieces of chemical and compressor-pump equipment, and more than 170 metal-cutting machine tools. In addition, during the same period, 1, 085 new kinds of instruments and automatic devices were introduced. The reequipment of enterprises has caused the fixed capital of Moscow’s industries to increase by 38 percent between 1966 and 1970. Capital investments by state and cooperative enterprises between 1966 and 1973 totaled 23.7 billion rubles, including 12.9 billion rubles invested in building and installation projects. (See Table 5 for the output of selected industrial products.) Transportation. Moscow is the largest railroad nexus in the USSR, with 11 railroad lines connecting it with other parts of the country. The capital is also directly linked by rail with many foreign countries. The Great Belt Railroad, built from 50 to 120 km from the city limits, is used to haul transit freight. In 1972 the volume of incoming and outgoing freight at the Moscow railroad nexus was seven times that of 1913. There has also been a steady growth in the volume of passenger traffic. Great progress has been made in reequiping and electrifying the railroad nexus and in improving and increasing its rolling stock. All stations of the Moscow railroad nexus have been equipped with automatic signalling and control systems and with radio communication and television (see Table 6). With the construction of the Moscow Canal in 1937, Moscow’s importance as a river port increased. The construction of the Volga-Baltic Waterway and the Volga-Don Shipping Canal opened a waterway from Moscow to the Caspian, Azov, Black, Table 5. Output of selected Industrial products 19.2 18.9 Moscow is also a major trucking center, linked by 13 highways with many of the Union republics and large cities of the USSR. Freight haulage has increased from 7 million tons in 1940 to 114 million tons in 1965 and 174 million tons in 1973. An increasingly larger proportion of passenger and freight traffic is being handled by air transport. Moscow has four airports—Vnukovo, Sheremet’evo, Domodedovo, and Bykovo. Regular flights link Moscow with the capitals of the Union republics, major cities, and health resorts, and airline connections have been established with many foreign countries. Trade and commerce. The total volume of Moscow’s retail sales increased from 2.1 billion rubles in 1940 and 6.1 billion rubles in 1960 to 12.1 billion rubles in 1973, or about 7 percent of the total sales in the country. In 1973 the population bought 68 percent more meat and meat products than in 1965, 72 percent more fish and fish products, 30 percent more butter, 45 percent more milk and dairy products, 75 percent more woolen fabrics, 86 percent more clothing and underwear, 53 percent more furniture, 76 percent more watches, and 67 percent more refrigerators. These figures attest to a rapid growth of prosperity among the city’s inhabitants. The commercial network of the capital has expanded. Large stores and a complex of commercial enterprises have been built on Kalinin Prospect, and shopping centers have been built in Kuntsevo, Tushino, and Zelenograd (see Table 8). Municipal economy. Housing construction has increased rapidly, and emphasis has shifted to the erection of high-rise apartment houses with improved layouts for the apartments. New large residential complexes have been built in the southwestern part of the city and in the districts of Izmailovo, Khoroshevo-Mnevniki, Fili-Mazilovo, Novye Kuz’minki, Perovo, Medvedkovo, Beskudnikovo, and Tushino. The center of the city is being renovated. Between 1961 and 1970, 4.9 million residents (70 percent of Moscow’s inhabitants) improved their housing conditions, and an average of more than 500 families obtained housing space every day. In 1971 more than half (51.2 percent) of Moscow’s housing had been built between 1961 and 1970. The housing-construction combines of Moscow and Moscow Oblast play an important role in construction (see Table 9). During the Soviet period the communal services system has been rebuilt. The water-supply system has been enlarged, purification plants have been built, natural-gas facilities have been installed, and centralized district heating systems have been introduced. To increase the reliability of the water supply, the Mozhaisk, Ruza, and Ozernyi reservoirs have been built, and in 1974 a new source of water supply—a hydraulic engineering system on the Vazuza River—was under construction. Several gas pipelines connect Moscow with major deposits of natural gas (the Dashava-Moscow, Stavropol’-Moscow, and Middle Asia-Central Zone pipelines). A system of high-capacity heat and power plants supply the city with electric power and heat. As part of the Moscow Energy System, the city is linked by a network of high-voltage lines to the electric power plants of the Central Zone, as well as to the largest hydroelectric power plants on the Volga—the V. I. Lenin Volga Hydroelectric Power Plant and the Twenty-second Congress of the CPSU Hydrolectric Power Plant. The city’s housing has been well supplied with basic amenities. By 1973, 99 percent of the city’s socialized housing had running water, sewage disposal, gas, and central heating; 90 percent was equipped with baths. Measures have been undertaken to improve passenger transportation. In prerevolutionary Moscow passenger transport consisted of horse-drawn streetcars, streetcars, and horse-drawn cabs (in 1913 there were 21, 000 cabs in Moscow). During the years of socialist construction, urban transport changed radically: a subway was built and trolleybus, bus, and taxi systems were established. Table 8. Growth In the number of retail enterprises and public dining facilities 7, 419 7, 780 The number of passengers carried by all types of urban transportation increased many times: 289 million passengers in 1917, 2, 640 million in 1940, 3, 659 million in 1960, 4, 561 million in 1970, and more than 5 billion in 1973 (see Table 10). The telephone system has been modernized and expanded. By 1972, 1, 533, 000 telephones had been installed by the Ministry of Communications, as compared with 50, 000 in 1913 and 168, 000 in 1940. Automatic long-distance service has been established with all capitals of the Union republics and the major cities of the USSR, as well as with foreign countries. Education. During the 16th century instruction in reading and writing was given in schools attached to monasteries, and several Greek-Latin schools were founded in the early 17th century. The Slavic, Greek, and Latin Academy, a higher educational institution, was established in 1687; in 1814 it was reorganized as the Moscow Theological Academy and moved to the St. Sergius Trinity Monastery. In the early 18th century a Table 9. Housing1 630 626 number of specialized educational institutions were founded to train engineers, civil servants, and officers. In 1701, Peter I opened the School of Mathematical and Navigational Sciences, which was housed in the Sukharev Tower; among its teachers was L. F. Magnitskii. An artillery school was also founded that year. In 1707 a medical school was established under the auspices of the military hospital, and an engineering school was opened in 1712. The first university in Russia, the present M. V. Lomonosov Moscow University, was founded in the city in 1755. Two Gymnasiums were organized under its auspices—one for noblemen’s children and the other for the children of the lower middle class. Prior to the mid-19th century Moscow University was Russia’s leading scientific and educational institution. Few general schools were organized during the first half of the 19th century. The children of the gentry, civil servants, and merchants were given a primary education by domestic tutors. There were several parish and district primary schools, and a few children received instruction at the Foundling Hospital, opened in 1764. During the second quarter of the 19th century several factories opened primary schools; in 1848 there were 15 such schools attended by more than 1, 000 pupils. There were four Gymnasiums by the mid-19th century. A military school was established in 1824. By 1839 there were 25 private boarding schools, which charged tuition and whose curriculum was similar to that of the Gymnasiums. The Gymnasiums and boarding schools were in practice gentry educational institutions. In addition to the private boarding schools, the Catherine, Alexander, and Nicholas “institutes for wellborn girls” provided a secondary education for daughters of the gentry. Specialized education developed during the first half of the 19th century. The Academy of Commercial Sciences and the Commercial School were opened in 1804, and the Lazarev Institute of Oriental Languages, in 1815. The Constantine Surveying School was founded in 1819 to supersede a school for surveyors founded in 1779; in 1835 it was renamed the Land Surveying Institute. A crafts school for the wards of the Moscow Foundling Hospital was opened in 1826, and S. G. Stroganov founded a drawing school in 1825. After the adoption of the Statute on Public Primary Schools in 1864, the number of primary schools increased rapidly, and by the early 1890’s 77 such schools had been established by the Municipal Duma (prior to 1864 there were 13 state-supported primary schools). There were also several schools affiliated with government departments or owned by private persons, which together had a total enrollment of more than 13, 000 pupils. In 1893 there were 558 general schools numbering 48, 500 pupils and 56 specialized schools with 11, 100 pupils. The principal types of primary schools were the three-year municipal schools and the church-affiliated parish schools. Secondary schools included 73 Gymnasiums, 19 Realschulen, and seven women’s institutes. At the beginning of the 1914–15 school year there were 752 general schools of all types (with a total of 140, 200 pupils), 22 specialized secondary schools (6, 000 pupils), and 20 higher educational institutions (33, 900 students). After the October Revolution of 1917 the measures adopted by the Soviet government permitted the immediate construction of a new, socialist system of public education, based on the principles of true democracy. The content of education and the entire upbringing of the new generation was completely reorganized. Children of workers and peasants were given access to higher educational institutions, and rabfaki (workers’ schools) were organized to prepare them for admission to higher schools. The first such school was opened in 1919 under the auspices of the G. V. Plekhanov Institute of the National Economy. The number of pupils enrolled in general day schools increased from 131, 000 in 1922–23 to 393, 000 in 1932–33 and 403, 000 in 1944–45. At the beginning of 1973, the city’s 2, 418 preschools had an enrollment of 337, 500 children. In the 1973–74 school year there were 1, 223 general schools of various types, with a total enrollment of 887, 200 pupils; 156 vocational training schools, with an enrollment of 76, 100, including 65 schools providing secondary education (28, 400 students); and 138 specialized secondary schools (225, 200 students). There were also 78 higher educational institutions (622, 000 students), including the M. V. Lomonosov Moscow State University, the N. E. Bauman Higher Technical School, the Power Engineering Institute, the Mining Institute, the Institute of Aviation, the Architectural Institute, the Lenin Pedagogical Institute, three medical institutes, the Conservatory, the All-Union State Institute of Cinematography, and the State Institute of Theatrical Arts. Also located in Moscow are the Academy of Social Sciences under the Central Committee of the CPSU, the Higher Party School under the Central Committee of the CPSU, and military academies. In 1973 general schools and specialized secondary schools employed more than 55, 600 teachers, and the higher educational institutions were staffed by some 38, 000 professors and instructors. Science and scholarship. Moscow is the most important center of learning in the USSR and one of the world’s leading scientific and scholarly centers. Prior to the October Revolution of 1917 research was conducted at higher educational institutions, primarily Moscow University, the Technical School, and the Petrovskoe Academy. A number of eminent Russian scientists and scholars have worked in Moscow, including the astronomers F. A. Bredikhin and V. K. Tseraskii; the physicists A. G. Stoletov, N. A. Umov, and P. N. Lebedev; the specialist in hydro-aerodynamics N. E. Zhukovskii, the chemist V. V. Markovnikov; the anthropologist and geographer D. N. Anuchin; the geologist A. P. Pavlov; the biologists I. M. Sechenov and K. A. Timiriazev; the physicians M. Ia. Mudrov, G. A. Zakhar’in, A. A. Ostroumov, N. V. Sklifosovskii, and N. F. Filatov; the historians T. N. Granovskii, S. M. Solov’ev, and V. O. Kliuchevskii; and the philologists F. I. Buslaev and F. F. Fortunatov. Since 1917 important contributions to Soviet and world science have been made by the specialist in hydroaerodynamics S. A. Chaplygin; the mathematician, astronomer, and arctic explorer O. Iu. Shmidt; the mathematicians N. N. Luzin and I. G. Petrovskii; the physicists L. I. Mandel’shtam, S. I. Vavilov, I. V. Kurchatov, L. D. Landau, I. E. Tamm, and L. A. Artsimovich; the chemists S. S. Nametkin and N. D. Zelinskii; the biochemist A. N. Bakh; the agrochemist D. N. Prianishnikov; the biologists N. K. Kol’tsov, A. N. Severtsov, and K. I. Skriabin; the geologists I. M. Gubkin, A. D. Arkhangel’skii, V. I. Vernadskii, and V. A. Obruchev; the geographers N. N. Baranskii and A. A. Grigor’ev; the surgeon N. N. Burdenko, the specialists in engineering V. G. Shukhov, I. P. Bardin, A. A. Skochinskii, S. P. Korolev, and A. N. Tupolev; the power engineer and economist G. M. Krzhizhanovskii; the historian M. N. Tikhomirov; the economist S. G. Strumilin; and the philologists E. E. Bertel’s, N. I. Konrad, and V. V. Vinogradov. About 80 streets are named after Russian and Soviet scientists and scholars. As of Jan. 1, 1973, the city’s research and higher educational institutions employed some 260, 000 research workers, as compared with 48, 800 in 1950, 99, 100 in 1960, and 167, 600 in 1965. Moscow’s research workers account for 27 percent of the country’s scientific personnel and include 9, 400 doctors of sciences and 67, 600 candidates of sciences. Some 61 percent of the researchers are specialists in technology, physics, mathematics, and chemistry, and about 24 percent are engaged in social science research. Since 1934 the Academy of Sciences of the USSR has been based in Moscow. As of 1974 the presidium of the Academy of Sciences of the USSR comprised such prominent Moscow scientists and scholars as M. V. Keldysh, president of the Academy of Sciences since 1961; the mathematicians N. N. Bogoliubov and M. A. Lavrent’ev; the physicists A. P. Aleksandrov, N. G. Basov, P. L. Kapitsa, V. A. Kotel’nikov, M. A. Markov, and A. M. Prokhorov; the specialist in power engineering M. A. Styrikovich; the specialists in mechanics B. N. Petrov and N. A. Piliugin; the chemists N. M. Zhavoronkov, A. N. Nesmeianov, and N. N. Semenov; the biochemists A. A. Baev and Iu. A. Ovchinnikov; the agrochemist la. V. Peive; the geochemist A. P. Vinogradov; the geologist V. I. Smirnov; the geophysicist L. M. Brekhovskikh; the mining specialist N. V. Mel’nikov; the historians P. N. Pospelov and B. A. Rybakov; the philosophers F. V. Konstantinov and P. N. Fedoseev; the economists A. M. Rumiantsev and N. P. Fedorenko; and the literary scholar and critic M. B. Khrapchenko. Most of the research institutions affiliated with the Academy of Sciences of the USSR are located in Moscow, including the V. A. Steklov Institute of Mathematics, the Institute of Applied Mathematics, the P. N. Lebedev Institute of Physics, the S. I. Vavilov Institute of Physical Problems, the A. V. Shubnikov Institute of Crystallography, the Institute of Radio Engineering and Electronics, the N. S. Kurnakov Institute of General and Inorganic Chemistry, the N. D. Zelinskii Institute of Organic Chemistry, the Institute of Chemical Physics, the Institute of Hetero-Organic Compounds, the A. N. Bakh Institute of Biochemistry, the Institute of Molecular Biology, the O. Iu. Shmidt Institute of Earth Physics, the Institute of Geology, and the A. A. Baikov Institute of Metallurgy. Also affiliated with the Academy of Sciences of the USSR and located in Moscow are the Institute of Economics, the Institute of History of the USSR, the Institute of General History, the N. N. Miklukho-Maklai Institute of Ethnography, the Institute of the International Working-class Movement, the Institute of Russian Language, and the Gorky Institute of World Literature. Moscow is the leading center for scholarly work on the legacy of K. Marx, F. Engels, and V. I. Lenin and the site of the central party research institution—the Institute of Marxism-Leninism under the Central Committee of the CPSU. In addition, Moscow has several academies devoted to particular fields of specialization. The Lenin All-Union Academy of Agricultural Sciences incorporates various research institutes, including the D. N. Prianishnikov Institute of Fertilizers and Agricultural Soil Science and the Institute of Experimental Veterinary Science. The Academy of Medical Sciences of the USSR directs the N. F. Gamalei Institute of Epidemiology and Microbiology, the A. L. Miasnikov Institute of Cardiology, the A. V. Vishnevskii Institute of Surgery, the Institute of Experimental and Clinical Oncology, and other research institutes. The Academy of Pedagogical Sciences of the USSR sponsors the Institute of General Pedagogics, the Institute of General and Educational Psychology, the Institute of the Content and Methods of Teaching, and the Institute of Defectology. Moscow is also the site of the Academy of Arts of the USSR. The principal research institutes of the leading branches of technology and industry are located in Moscow, including the F. E. Dzerzhinskii All-Union Institute of Heat Engineering, the G. M. Krzhizhanovskii Power Engineering Institute, the Lenin All-Union Institute of Electrical Engineering, the I. V. Kurchatov Institute of Atomic Energy, the Institute of Experimental and Theoretical Physics, the N. E. Zhukovskii Central Aerohydrodynamics Institute, the All-Union Institute of Aviation Materials, the All-Union Institute of Railroad Transportation, the Central Institute of Automobiles and Automobile Engines, the I. P. Bardin Central Institute of Ferrous Metallurgy, the State All-Union Institute for the Design of Metallurgical Plants, the L. Ia. Karpov Physicochemical Institute, the All-Union Institute of Mineral Raw Materials, the Institute of Experimental Metal-cutting Machine Tools, and the Central Institute of Machine-building Technology. The scientific-production associations Neftekhim, VNIImet-mash, and Plastik have been established in Moscow. Research is also conducted by scientific societies, scientific and engineering societies, higher educational institutions, and museums. Moscow is the site of international scientific congresses and conferences. Culture. The center of Russian and Soviet culture, Moscow played an important role in the creation of a national literature. During the 14th and 15th centuries the first all-Russian chronicles, such as the Trinity Chronicle and the Compilation of Fotii, were compiled in Moscow. Tales about the battle of Kulikovo glorify the Muscovite prince Dmitrii Donskoi as the unifier of Russia in its struggle against the Mongol Tatars. In the 16th century several large works of group authorship were written to regulate religious, social, and home life, notably the Velikie Chet’i Minei, compiled under the supervision of Metropolitan Makarii, the Stoglav, and the Domostroi. In the 18th century the founders of modern Russian poetry—A. D. Kantemir, A. P. Sumarokov, and G. R. Derzhavin—lived in Moscow, as well as the writers D. I. Fonvizin, N. I. Novikov, and N. M. Karamzin. During the 19th century such classics of Russian literature as A. S. Pushkin, M. Iu. Lermontov, A. S. Griboedov, L. N. Tolstoy, A. N. Ostrovskii, and A. P. Chekhov lived in Moscow for long periods of time. During the Soviet period, Moscow was the home of such masters of socialist realism as M. Gorky, V. V. Mayakovsky, A. N. Tolstoy, A. A. Fadeev, N. A. Ostrovskii, A. S. Serafimovich, I. G. Ehrenburg, and A. T. Tvardovskii. The first Soviet literary organizations—the Smithy, Young Guard, and October—were founded in Moscow. Today, the country’s largest writers’ organization, the Moscow Section of the Writers’ Union of the RSFSR, is located in Moscow. Moscow’s writers, working in prose, poetry, drama, criticism, and translation, are making an important contribution to the country’s literary development. From the earliest days Moscow has been the center of the Russian book trade. The oldest known Muscovite handwritten book is the Siia Gospel (1339). From the 14th to the 16th century manuscripts produced in the Moscow scriptoria were illuminated by artists belonging to the schools of Theophanes the Greek, Andrei Rublev, and other icon painters. The first, “anonymous” printing press, founded around 1553, is known to have published seven books. On Mar. 1, 1564, Ivan Fedorov and Petr Mstislavets finished printing the Acts of the Apostles, the first precisely dated Russian printed book. Among the highly skilled printers at the Moscow Printing House in the 16th and early 17th centuries were Andronik Nevezha, Anisim Radishevskii, and Anikita Fofanov. In 1634, V. F. Burtsov-Protopopov published the first Moscow primer. In all more than 500 book titles were published in the 16th and 17th centuries. From the first quarter of the 18th century educational, scientific, and technical books began to appear in greater numbers. L. F. Magnitskii’s Arithmetic was issued in 1703, and Geometry, the first book printed in the Civil alphabet, was published in 1708. The first Russian printed newspaper, Vedomosti (News), began appearing regularly in January 1703. The University Press (1756), the Senate Press, and several other printing houses were founded during the second half of the 18th century. At the height of his publishing activity, N. I. Novikov was associated with the University Press. N. M. Karamzin contributed to the development of Moscow’s literary journals in the late 18th century. The leading literary journals were Moskovskii zhurnal (Moscow Journal, 1791–92) and Aglaia (1794–95). The magazine Moskovskii telegraf (Moscow Telegraph), published between 1825 and 1834, played an important role in 19th-century Russian journalism. Large capitalist publishing enterprises, such as the I. D. Sytin Publishing House, were founded in the second half of the 19th century, followed by V. Dumnov’s publishing house Razvlechenie (Entertainment) and E. I. Konovalova’s Torgovyi Dom (Trade House) in the early 20th century. Several illegal presses, such as the press on Lesnaia Street (1905–06), printed Marxist writings, leaflets, and proclamations. Bolshevik newspapers were published in 1904–05, and the Izvestiia Moskovskogo soveta rabochikh deputatov (News of the Moscow Soviet of Workers’ Deputies) was issued during the December 1905 armed uprising. After the October Revolution of 1917 and the transfer of the Soviet government to Moscow in March 1918, the Kommunist Publishing House of the Central Committee of the RCP (Bolshevik) and the publishing house of the All-Russian Central Executive Committee were founded. The editorial offices of the newspaper Pravda were moved to Moscow. The newspaper Izvestiia VTsIK (News of the VTsIK) was founded in 1918; in 1938 it was renamed Izvestiia Sovetov deputatov trudiashchikhsia SSSR (News of the Soviets of Working People’s Deputies of the USSR). The Gosizdat (State Publishing House) of the RSFSR was established in 1919 and soon became the country’s largest publishing organization. The central publishing houses of the USSR and republic-level publishing houses of the RSFSR are located in Moscow, as are the editorial offices of the all-Union newspapers and the republic-level newspapers of the RSFSR. Most scientific, technical, and cultural magazines are published in the city. Other publishing enterprises include the Moskovskii Rabochii Publishing House, the publishing house of the newspaper Moskovskaia pravda (Moscow Pravda), and the many publishing departments attached to scientific research institutes, higher educational institutions, and other organizations. In addition to the central newspapers, various local newspapers are available to Moscow’s inhabitants, including the city newspapers Moskovskaia pravda (Moscow Pravda) and Vecherniaia Moskva (Evening Moscow), the city and oblast newspaper Moskovskii komsomolets (Moscow Komsomol Member), and the weeklies Moskovskaia sportivnaia nedelia (Moscow Sports Weekly), Moskovskaia reklama (Moscow Advertising), Shakhmatnaia Moskva (Chess Moscow), and Moskovskaia kinonedelia (Moscow Cinema Weekly). The Moscow writers’ organization, in collaboration with the Writers’ Union of the RSFSR, issues the journal Moskva. The Executive Committee of the Moscow Council publishes the journals Gorodskoe khoziaistvo Moskvy (Moscow Municipal Economy) and Stroitel’stvo i arkhitektura Moskvy (Moscow Construction and Architecture). Also in Moscow are TASS (Telegraph Agency of the Soviet Union) and the Novosti Press Agency. The first Soviet printing combine—the printing plant of Izvestiia—was built in 1926, and the largest printing enterprise, the combine of the newspaper Pravda, was opened on May 5, 1934. Other large printing plants include the Pervaia Obraztsovaia, the Krasnyi Proletarii, the Moscow Press No. 2, and Fabrika Detskoi Knigi. Among the city’s 184 bookstores are Dom Knigi, Moskva, and Druzhba. As of Jan. 1, 1973, the city had 1, 379 public libraries, housing 39.4 million volumes of books and magazines; more than 2, 000 technical libraries with some 250 million holdings; the Lenin State Library of the USSR, one of the largest libraries in the world; a library of foreign literature; historical and polytechnic libraries; and public scientific and technical libraries. Among the city’s 61 museums are the Central Museum of the Revolution of the USSR, the Central Lenin Museum, the Marx-Engels Museum, the Historical Museum, the Polytechnic Museum, the Tret’iakov Gallery, the Pushkin Museum of Fine Arts, the Museum of the History and Reconstruction of Moscow, the Armory, the Museum of Art of the Oriental Peoples, the Museum of People’s Art, the A. V. Shchusev Architectural Museum, the Andrei Rublev Museum of Ancient Russian Art, and the Museum of the Battle of Borodino. There are 37 palaces and houses of Young Pioneers, including the Municipal Palace of Young Pioneers and Schoolchildren; six young technicians’ stations; two children’s excursion and tourist stations; a city club for young motorists; a club for young sailors, riverboat workers, and polar explorers; and 14 children’s parks. From earliest times Moscow played an important role in the development of Russian pictorial art. During the 15th century Andrei Rublev and Dionisii worked here, and in the 17th century the Armory, where many painters worked, became a unique art school. The embroidered shrouds, silver bratiny (globe-shaped vessels for beverages), goblets, tiles, and wood carvings that were made in Moscow were considered the best in Russia, becoming models for other workshops. During the 18th century the painters I. N. Nikitin, I. P. Argunov, and F. S. Rokotov worked in Moscow. The School of Painting and Sculpture, founded in the 1830’s and 1840’s, played a major role in the developnent of democratic realistic art in Russia. Among the noteworthy artists associated with the school were V. G. Perov, V. E. Makovskii, I. M. Prianishnikov, K. A. Savitskii, and A. K. Savrasov. During the last quarter of the 19th century and the beginning of the 20th, the famous painters V. I. Surikov, V. A. Serov, V. M. Vasnetsov, A. M. Vasnetsov, S. A. Korovin, K. A. Korovin, V. D. Polenov, and M. A. Vrubel’ worked in Moscow. Such well-known Soviet painters as A. E. Arkhipov, A. M. Gerasimov, S. V. Gerasimov, I. E. Grabar’, A. A. Deineka, B. V. Ioganson, N. A. Kasatkin, P. P. Konchalovskii, P. D. Korin, P. V. Kuznetsov, M. V. Nesterov, and K. F. Iuon have worked in Mocow. The city has also been the home of the sculptors N. A. Andreev, E. F. Belashova, E. V. Vuchetich, S. T. Konenkov, S. D. Lebedeva, M. G. Manizer, S. D. Merkurov, V. I. Mukhina, and I. D. Shadr and the graphic artists V. A. Favorskii, A. I. Kravchenko, and B. I. Prorokov. The city’s theatrical life dates from the 17th century, when skomorokhi (itinerant performers) were invited to perform at the “amusement hall” (poteshnaia palatd) at the tsar’s court. The first court theater, Pastor J. Gregori’s company, was founded in 1672. Its productions were held first in the Kremlin and later in the village of Preobrazhenskoe near Moscow in the specially built Comedy House. The first public theater, headed by I. Kh. Kunst, opened in 1702 at the Comedy House on Red Square. The University Theater, established in 1757 at Moscow University, became the basis for the Russian professional theater in Moscow. In 1780, M. Medoks built a municipal public theater —the Petrovskii Theater—at the corner of Petrovka Street and Petrovskaia Square, later renamed Theater Square. The theater staged operas and plays. Imperial theaters, supported by the state, were established in 1806. Among the first famous actors were P. A. Plavil’shchikov, S. N. Sandunov, and E. S. Sandunov. After the Malyi Theater opened in the home of the merchant Vargin on Oct. 14 (26), 1824, the dramatic actors from the Petrovskii Theater moved there. On Jan. 6 (18), 1825, the Bolshoi Theater for operatic and ballet performances opened in a building constructed in 1824 on the site of the Petrovskii Theater, which had burned down. The Conservatory was founded in 1866. Soon after the abolition of the imperial theaters’ monopoly on theatrical productions in 1882, several private theaters were opened, such as the F. A. Korsh Theater and the S. I. Mamontov Moscow Private Russian Opera. The greatest actors of the 19th and early 20th centuries were P. S. Mochalov, M. S. Shchepkin, the Sadovskiis, M. N. Ermolova, A. I. Iuzhin, and A. P. Lenskii. The leading singers were F. I. Chaliapin, L. V. Sobinov, and A. V. Nezhdanova, and the most famous ballet dancers were E. A. Sankovskaia, L. A. Roslavleva, and E. V. Gel’tser. The eminent composers S. V. Rachmaninoff, S. I. Taneev, and A. N. Scriabin worked in Moscow. In 1898, K. S. Stanislavsky and V. I. Nemirovich-Danchenko founded the Moscow Art Theater, which opened on October 14 (26). A. Ia. Tairov established the Kamernyi Theater in 1914. During the Soviet period many new theaters were opened: the First Theater of the RSFSR, founded in 1920 and called the Meyerhold Theater between 1926 and 1938; the Theater of the Revolution (1922), later renamed the Mayakovsky Theater; the Moscow City Soviet of Trade Unions Theater (1923), which later became the Moscow Mossovet Theater; the Theater of the Moscow Art Theater’s Third Studio (1921), later renamed Vakhtangov Theater; theaters for children; and theaters for working youth. Among prominent Soviet composers who have worked in Moscow are D. D. Shostakovich, S. S. Prokofiev, N. Ia. Miaskovskii, R. M. Glière, Iu. A. Shaporin, D. B. Kabalevskii, A. I. Khachaturian, T. N. Khrennikov, G. V. Sviridov, and R. K. Shchedrin. Leading performing artists have included the pianists G. G. Neigauz, K. N. Igumnov, E. G. Gilel’s, and S. T. Rikhter; the violinists D. F. Oistrakh and L. B. Kogan; the singers I. S. Kozlovskii, S. Ia. Lemeshev, M. D. Mikhailov, M. O. Reizen, A. S. Pirogov, N. A. Obukhova, V. V. Barsova, and I. K. Arkhipova. The conductors N. S. Golovanov, K. K. Ivanov, and E. F. Svetlanov have worked in Moscow, as well as the director B. A. Pokrovskii. Famous ballet dancers and choreographers have included G. S. Ulanova, O. V. Lepeshinskaia, M. T. Semenova, M. M. Plisetskaia, K. Ia. Goleizovskii, R. V. Zakharov, L. M. Lavrovskii, and Iu. N. Grigorovich. Among outstanding directors and actors who have contributed to the city’s cultural life are E. O. Liubimov-Lanskoi, A. D. Popov, R. N. Simonov, Iu. A. Zavadskii, N. P. Okhlopkov, V. I. Kachalov, I. M. Moskvin, O. L. Knipper-Chekhova, L. M. Leonidov, N. P. Khmelev, A. K. Tarasova, B. N. Livanov, A. N. Gribov, M. M. Ianshin, A. A. Iablochkina, V. N. Ryzhova, E. D. Turchaninova, A. A. Ostuzhev, V. N. Pashennaia, M. I. Tsarev, M. I. Zharov, I. V. Il’inskii, B. I. Babochkin, B. V. Shchukin, I. N. Bersenev, A. G. Koonen, S. M. Mikhoels, V. P. Maretskaia, N. D. Mordvinov, R. Ia. Pliatt, M. I. Babanova, Iu. K. Borisova, M. A. Ul’ianov, and O. N. Efremov. Famous motion-picture directors have included S. M. Eisenstein, V. I. Pudovkin, A. P. Dovzhenko, D. Vertov, G. V. Aleksandrov, I. A. Pyr’ev, M. I. Romm, Iu. Ia. Raizman, G. L. Roshal’, S. A. Gerasimov, and S. I. Iutkevich. In 1974, Moscow’s theaters included the Bolshoi Academic Theater, the Malyi Academic Theater, the Gorky Moscow Art Academic Theater, the Vakhtangov Academic Theater, the Mossovet Academic Theater, the Mayakovsky Academic Theater, the Central Theater of the Soviet Army, the Theater of Satire, the Lenin Komsomol Theater, the Ermolova Theater, the Pushkin Theater, the Stanislavsky Dramatic Theater, the Gogol Theater, the Sovremennik Theater, the Theater of Drama and Comedy on the Taganka, the Dramatic Theater on Malaia Bronnaia, the Central Children’s Theater, the Children’s Music Theater, the Young People’s Theater, the K. S. Stanislavsky and V. I. Nemirovich-Danchenko Music Theater, the Moscow Theater of Operetta, the Romen Theater, the Central Puppet Theater under the direction of S. V. Obraztsov, the Puppet Theater, the Estrada Theater, and the Film Actor’s Studio. The city has two circuses. Other cultural facilities include the Kremlin Palace of Congresses, the Large and Small Halls of the Conservatory, the P. I. Tchaikovsky Concert Hall, and the Central Concert Hall. As of Jan. 1, 1973, the city had 321 clubs. A number of motion-picture studios are based in Moscow: Mosfil’m, the M. Gorky Central Motion-Picture Studio of Children’s and Young People’s Films, studios producing documentaries and popular-science films, and Soiuzmul’tfil’m (cartoons). The city has 606 units for showing motion pictures, including 531 stationary ones. The P. I. Tchaikovsky international competition for pianists and violinists has been held in the city since 1958, and international ballet competitions have been held here since 1969. The city has sponsored international film festivals since 1959. Radio broadcasting from Moscow began on Nov. 7, 1922, when the Comintern Central Radiotelephony Station went into operation. Regular broadcasting was instituted in 1924, and today all the city’s inhabitants have radios. In 1973, Muscovites were able to listen to four programs of the Central Union Radio, including the city’s broadcasts Moscow and Muscovites, Working People’s Moscow, and Letters From Muscovites, totaling 2 hours and 24 minutes daily. The city’s first television center was built in 1938 on Shabolovka Street, and television broadcasting began on Mar. 10, 1939 (it was interrupted from 1941 to 1945). Regular color television broadcasts were introduced Oct. 1, 1967. After the construction of the 50th Anniversary of the October Revolution All-Union Television Center at Ostankino in 1969, television broadcasting expanded considerably. In 1973, Central Television offered four programs, of which the second (six hours daily) and fourth (3.6 hours) are intended for the inhabitants of Moscow and surrounding areas. Broadcasts of local interest include Moscow, Moscow News, and Moscow at Work. Russia’s first large medical institutions were founded in Moscow. In 1707, during the reign of Peter I, a general hospital with a medical school was opened to serve the army and navy. Today the hospital is called the N. N. Burdenko Central Military Hospital. In 1764 a faculty of medicine was organized at Moscow University. The first large hospital for civilians, the Pavel Hospital (now the Fourth Municipal Hospital), was established in 1763. Subsequently, the large Catherine Hospital (present Moscow Oblast Clinical Research Institute) was founded in 1776, and the Golitsyn Hospital (present First Municipal Hospital) was established in 1798. The Moscow Section of the Academy of Medicine and Surgery was founded in 1798. The Almshouse, also called the Sheremetev Hospital, was built between 1794 and 1807; today it is the N. V. Sklifosovskii First Aid Research Institute. In 1913 there were 60 hospitals with 11, 100 beds (6.5 beds per 1, 000 inhabitants) and 29 outpatient clinics at factories and plants. Most of the physicians were in private practice, and pharmacies were privately owned. First aid, given at four police stations, was maintained by private donations. The city had about 2, 300 physicians (one per 714 inhabitants) and 900 medical assistants. Social diseases, such as venereal diseases, tuberculosis, and alcoholism, were combated by philanthropic organizations. Child and maternity care was very limited: in 1913 there were only 14 municipal maternity homes (700 beds) with a few consultation clinics, six municipal nursery-orphanages with 615 beds, and 50 nursery-orphanages run by charitable organizations with 1, 700 beds. The sanitary inspection service employed 45 physicians, and there was one hygiene laboratory. With the establishment of Soviet power in 1917, public health care in Moscow was quickly transformed. Beginning in 1918 the administration of medical and sanitary institutions was centralized and placed under the jurisdiction of the public health section of the Moscow City Council. In 1921 public health sections were established in the raion councils, and a municipal first-aid station was created in 1922. The fight against tuberculosis, dermatovenereal diseases, and alcoholism was waged through a system of raion dispensaries. At all the large industrial enterprises outpatient facilities developed into large medical-preventive institutions. By Jan. 1, 1973, there were 260 hospitals with 99, 400 beds (13.4 beds per 1, 000 inhabitants), as compared with 190 hospitals with 36, 600 beds in 1940 (8.4 beds per 1, 000 inhabitants). Outpatient care was given by 988 medical institutions with specialized sections. The city had some 59, 000 physicians (one per 126 inhabitants), as compared with 18, 200 in 1940 (one per 240 inhabitants). There were also more than 110, 000 medical assistants, as compared with 29, 400 in 1940. In 1973 the city had 479 permanent nurseries with 47, 000 beds and 370 pharmacies. The number of first-aid substations grew from seven in 1940 to 24 in 1972. By Jan. 1, 1973, Moscow had 39 sanatoriums and houses of rest, both seasonal and year-round, with 4, 600 beds. The city has more than 70 medical research institutes and laboratories, three higher medical institutions, and 27 medical schools. V. I . I L’IN Physical culture and sports. Moscow is one of the world’s major sports centers. In 1973 there were about 4, 000 physical culture groups (forming ten trade union and departmental sports societies), and 1.5 million persons were involved in physical culture. The country’s first school sports society, Iunost’ (Youth), was created in 1958, and by 1973 some 250, 000 schoolchildren belonged to 970 physical culture groups. In 1973 the city had 143 sports schools for children and young people with an enrollment of 55, 000. Moscow has trained 12, 500 Masters of Sports and more than 600 international Masters of Sports, and about 1, 000 Muscovites have won the title Honored Master of Sports. More than 3, 000 athletes from Moscow have been champions of the USSR, 614 have been world and Olympic champions, and 415 have been European champions. Moscow is represented in USSR championship games for the A League by 28 teams. Some of these teams have been USSR champions many times and have won important international competitions in basketball (the Central Army Sports Club), volleyball (the Central Army Sports Club, Dinamo, and Lokomotiv), water polo (the Central Water-Sports Club of the Navy, Moscow University Sports Club, and Dinamo), soccer (Spartak, Dinamo, and the Central Army Sports Club), and ice hockey (the Central Army Sports Club, Spartak, and Dinamo). Moscow has more than 5, 000 sports facilities, including 59 stadiums. The largest stadiums are the Lenin Central Stadium with more than 100, 000 seats, the Dinamo Stadium with 56, 000 seats, and the Lokomotiv Stadium, which has a seating capacity of 40, 000. Among other facilities are six sports palaces, 30 swimming pools, 1, 300 halls for games and gymnastics, 240 soccer fields, the modern sports complexes of the Central Army Sports Club, the State Central Institute of Physical Culture in Izmailovo, a rowing channel in the Tatarovo bottomlands (with two courses 2, 300 m long; the principal course is 125 m wide and the return course 74 m wide; the stands have a seating capacity of 10, 000), the Khimki Rowing Base, the Serebrianyi Bor Water-Sports Base, the Dinamo Water-Sports Stadium, the bicycle track in the Young Pioneers’ Stadium, the track and field arena in Sokol’niki, the Kurkino Road for bicycle races, and the Dinamo Shooting Range. Moscow has the facilities for organizing the world’s largest competitions, such as the Spartakiad of the peoples of the USSR, held in Moscow every four years since 1956; world championships; European championships; and the Olympics. Between 1946 and 1973, Moscow hosted world, European, and other international championships in most of the Olympic sports; in 1973 the World Universiada (Universities’ Games) was held here. Moscow’s oldest section is the Kremlin, which, with its magnificent cathedrals, vertical fortress towers, and the Bell Tower of Ivan the Great, is the historical, political, and cultural nucleus of the capital. Alongside the Kremlin is the city’s central square, Red Square (name originated in the 15th century), on which stands the multipillared St. Basil’s Cathedral. Moscow’s radial-ring plan derives from two elements: the radial streets have been constructed on the sites of roads that extended in various directions from the Kremlin; the principal ring thoroughfares arose on the sites of the city’s fortifications. The fortifications, which were constructed at various stages in the city’s development, include the fortress walls of Kitai-gorod (1535–38), Belyi Gorod (1585–93, now the Bul’varnoe Ring), and Zemlianoi Gorod (1591, 1641, and 1659; now the Sadovoe Ring). From the 14th through 16th centuries fortified monasteries were built on the main approaches to Moscow. Among these were the Andronik Monastery, Simonov Monastery (founded in 1379; still preserved are its southern wall and towers, 1640’s, and its refectory, 1677–80, architects O. D. Startsev and others), Novospasskii Monastery (founded in 1462), Don Monastery, and Novodevichii Monastery. In the 15th and 16th centuries there was an increase in the number of masonry residential buildings, as well as of stone churches in the posady (merchants’ and artisans’ quarters). Noteworthy examples of church architecture of this period are the columnless, cruciform, vaulted churches of the Conception of St. Anne in the Corner (1478–93), St. Nikita Beyond the Iauza River [1595], and St. Trifon in Naprudnoe (late 15th and early 16th centuries) The 16th century witnessed the construction of pillarlike, tent-shaped churches (for example, Voznesenie Church in Kolomenskoe, 1532) and the erection of monumental, five-domed churches (for example, the Church of the Beheading of St. John the Precursor in D’iakovskoe, 1547). During the 17th century substantial changes occurred in Moscow’s appearance. The Kremlin’s role as a fortress diminished; its towers, embellished with elegant, tent-shaped spires, assumed a decorative nature. A large number of stone churches and public buildings sprang up, with complex outlines, splendid carved details in white stone, ornamental brickwork, and colored tiles (for example, Troitsa Church in Nikitniki, 1628–53; Church of the Nativity of the Virgin in Putinki, 1649–52; and Church of St. Nicholas in Khamovniki, 1679–80). In the late 17th century, the Naryshkin style of architecture was introduced (for example, Znamenie Church in the Sheremetev Yard, 1704; Voskresenie Church in Kadashi, 1687–1713; Pokrov Church in Fili, 1690–93; Troitsa Church in Troetskoe-Lykovo, 1698–1704; and Rizpolozhenie Church on Donskaia Street, 1701). Stone residences, such as the palace of the Duma official Averkii Kirillov on the Bersenevskaia Esplanade (1657), the palace of the Volkovs on Bol’shoi Khariton’evskii Lane (late 17th century), and the palace of the Troekurovs on Georgievskii Lane (1696), stood out sharply amid the wooden structures that surrounded them. In the late 17th and the early 18th century, the first attempts were made at regular city planning. A special ukase of 1704 established the Kamer-Kollezhskii Rampart as Moscow’s new city limit; it also required that only stone buildings be constructed in the center of Moscow and that they be erected within a prescribed zone. Most buildings, however, continued to be made of wood. In order to regulate further construction, the architects I. F. Michurin and I. A. Mordvinov drew up the first plan for Moscow (1731–39). Structures were built that repeated traditional 17th-century architectural forms but also used the classical orders. A baroque style developed, as seen in the Church of the Archangel Gabriel (often referred to as the Menshikov Tower; begun 1701; 1704–07; architect I. P. Zarudnyi), the Church of St. John the Warrior (1709–13, attributed to Zarudnyi), and the Apraksin house (1766). During the second half of the 18th century, there was a great deal of large-scale and diverse construction in the Russian classical style in Moscow. Large public buildings were erected, and a type of urban estate for the gentry reached a high state of development (for example, the Pashkov house [now one of the buildings of the Lenin State Library of the USSR, 1784–86, architect V. I. Bazhenov]). The architect M. F. Kazakov designed a number of classical buildings, including the Noblemen’s Assembly building (now the House of Trade Unions), the Golitsyn Hospital (now the main building of the First Municipal Hospital, 1796–1801), the Demidov house (now the Institute for Geodesy, Aerial Photography, and Cartography, 1779–91), the Baryshnikov house (now the Institute of Health Education, 1797–1802), the Church of the Metropolitan Philip (1777–88), and the Church of Saints Cosmas and Damian. Other classical buildings of this period include the Foundling Hospital (1764–70, architect K. I. Blank, in collaboration with Kazakov) and the Almshouse (now the N. V. Sklifosovskii First-Aid Research Institute, 1794–1807; architects E. S. Nazarov, G. Quarenghi, and others). In the late 18th century, boulevards were laid around the ring of the Belyi Gorod, with squares where they intersected the radial streets (architect S. A. Karin; the first was Tverskoi Boulevard, 1796). In the late 18th and early 19th centuries, a number of estates sprang up outside Moscow, for example, in Kuskovo, Ostankino, and Tsaritsyno (these areas are now within the Moscow city limits). At the same time, residences for craftsmen and Moscow factory workers were built haphazardly in the outskirts of Moscow, in the vicinity of former slobody (tax-exempt settlements). Small wooden houses, shops, and workshops were scattered throughout the city. After the fire of 1812, which destroyed more than two-thirds of Moscow’s buildings, a commission for the construction of Moscow was created to restore the city. One of the directors of the commission, which existed from 1813 to 1843, was the architect O. I. Bove. Under the commission’s supervision, large-scale urban construction projects were carried out. Ensembles were designed for Moscow’s central squares—Red Square and Teatral’naia Square (now Sverdlov Square). The Alexander Garden was laid out near the Kremlin, on the site of the then canalized and underground Neglinnaia River. Monumental public buildings were constructed, including the Bolshoi Theater, the Riding School, Moscow University (the old building, 1786–93, architect M. F. Kazakov; rebuilt in 1817–19, architect D. I. Zhiliardi), Catherine Institute (now the House of the Soviet Army), the Triumphal Arch, and the Widows Home (now the Institute for the Advanced Training of Doctors, 1809–11, architect I. D. Zhiliardi; rebuilt 1818, architect D. I. Zhiliardi), the Kuz’minki estate (1820’s, architect D. I. Zhiliardi), the Usachev-Naidenov estate on Chkalov Street (1829–31, architect D. I. Zhiliardi), and the Food Warehouses (1821–35, architects V. P. Stasov and F. M. Shestakov). During this period standardized plans for apartment houses and standardized components played an important role. During the second half of the 19th century and the beginning of the 20th, new types of buildings appeared (income-producing [speculative] houses, commercial structures, banks, and railroad stations). There was a sharp contrast between the bourgeois quarters, with their commercial centers, and the workers’ districts, which lacked even the most basic conveniences. Every attempt to replan the city rationally, to increase public landscaping, or to straighten out curving lanes, was treated as a violation of private property. Despite progress in building technology, the architecture of this period declined in quality. During the late 19th century, eclecticism prevailed in masonry construction. The Nikolaevskaia (now the Leningradskaia Railroad Station (1849, architect K. A. Ton) was built in the Russo-Byzantine style. The Historical Museum, the Municipal Duma Building (now the Lenin Central Museum), the Kazan Railroad Station (1914–26, 1941, architect A. V. Shchusev), and the main facade of the Tret’iakov Gallery (early 1900’s, based on drawings by V. M. Vasnetsov) are marked by motifs of 17th-century “patterned” or Naryshkin architecture. The Museum of Fine Arts was built in the neoclassical style. The art nouveau style was used by the architect F. O. Shekhtel’ in the construction of the Art Theater (1902), the Riabushinskii private home on Kachalov Street (1900), and the Yaroslavl Railroad Station (1902). A fundamental reorganization of Moscow, based on new principles of urban planning, was begun after the October Revolution of 1917. Between 1918 and 1925 a plan for the “New Moscow” was worked out by a group of architects headed by A. V. Shchusev. The plan called for the socialist transformation of the city and anticipated some of the principal concepts of the 1935 general plan. In order to improve the living conditions of the working class and to eliminate slums in the city’s outskirts, complexes of apartment houses with standardized sections were erected during the 1920’s along Usachev Street (1924–30, architect A. I. Meshkov, engineer G. A. Maslennikov), Dubrovskie Street (1926–27, architects M. I. Motylev, D. N. Molokov, A. V. Iuganov), and the Dangauerovka area (1929–35, architects M. I. Motylev, B. N. Blokhin, A. M. Vagner). The apartment complexes represented in principle a new type of working-class housing. Spacious landscaped yards, good ventilation, rationally designed apartments, and the presence of balconies and communal amenities (including utilities) all indicate a turning point in mass housing construction. The public buildings of this period are characterized by a freedom of composition using simple geometric volumes, rational structural solutions, and the expressive juxtaposition of vitrified and blank surfaces. Examples are the radio tower (1921, engineer V. G. Shukhov), the building housing the newspaper Izvestiia (1925–27, architect G. B. Barkhin), the Pravda newspaper complex (1929–35, architect P. A. Golosov), the Ministry of Agriculture of the USSR (1928–33, architect A. V. Shchusev), the Central Board of Statistics of the USSR (1928–35, architect Le Corbusier, in collaboration with the architect N. D. Kolli), the new buildings of the Lenin Library, the Planetarium (1928, architects M. O. Barshch and M. I. Siniavskii), the I. V. Rusakov Club (1927–29, architect K. S. Mel’nikov), and the Palace of Culture of the I. A. Likhachev Truck Plant (1930–34, architects the Vesnin Brothers). Between 1924 and 1930 the Lenin Mausoleum—an outstanding example of Soviet architecture—was built on Red Square (architect A. V. Shchusev). On July 10, 1935, the Central Committee of the ACP(B) and the Council of People’s Commissars of the USSR adopted the decree On the General Plan for the Reconstruction of Moscow. The plan, which had been worked out by the architects V. N. Semenov, S. E. Chernyshev, and others, preserved the historically formed radial-ring layout of the city and provided for the addition of new districts and for the creation of new ring and radial main thoroughfares. On the basis of the plan, large-scale urban construction projects were undertaken. Old Moscow with its chaotic construction along narrow streets and lanes was transformed into a city of spacious squares and main thorough-fares, which were integrated with well-designed esplanades and parks. During the reconstruction of the center of Moscow, Manezhnaia Square was created (now the 50-letiia Oktiabria Square). The Hotel Moskva (1932–38, architects A. V. Shchusev, O. A. Stapran, and L. I. Savel’ev) and the building of the State Planning Committee of the USSR (1932–36, architect A. Ia. Langman) were constructed on the site formerly occupied by the small shops of Okhotnyi riad (Hunters’ Row). It was at this time that the major thoroughfares were reconstructed: Gorky Street (1937–39, architect A. G. Mordvinov, engineer P. A. Krasil’nikov), Bol’shaia Kaluzhskaia Street (now part of Lenin Prospect, 1939–40, architects A. G. Mordvinov, D. N. Chechulin, G. P. Gol’ts, and others), and Mozhaiskoe Road (now part of Kutuzov Prospect, 1938–40, architects Z. M. Rozenfel’d and others). Many multistory apartment houses, including some made with large prefabricated panels, were built along Valovaia Street, Bol’shaia Polianka Street, and Leningrad Prospect (1938–41, architects A. K. Burov and B. N. Blokhin). Numerous schools, clubs, motion-picture theaters, and administrative and government institutions were built in all of Moscow’s districts. One of the new buildings was the M. V. Frunze Academy (1937, architects L. V. Rudnev and V. O. Munts). As part of the reconstruction of Moscow, problems of transportation and diversion of water to the Moskva River were resolved. Between 1935 and 1939 the first sections of the subway were put into operation; the Kropotkinskaia station (1933–35, architects A. N. Dushkin and others), the Lermontovskaia station (1935, architects I. A. Fomin and others), and the Mayakovskaia station (1938–39, architect A. N. Dushkin) are quite beautiful in design. The construction of the Moscow Canal (1932–37, architects A. M. Rukhliadev and V. F. Krinskii; engineers V. M. Perlin and others) facilitated the supply of water to the capital and the development of shipping on the Moskva River. Between 1936 and 1939 the bridges were completely rebuilt, including the Moskvoretskii (architect A. V. Shchusev, engineer V. S. Kirillov) and the Krymskii (architect A. V. Vlasov, engineer B. P. Konstantinov). In 1939 the All-Union Agricultural Exhibition was set up (rebuilt in 1954, now the Exhibition of the Achievements of the National Economy of the USSR). Landscaping projects were carried out, and a number of parks were established or redesigned, including the Gorky Central Park of Culture and Recreation (1935–41, principal architect A. V. Vlasov), Izmailovo Park (1931, architects M. P. Korzhev and M. I. Prokhorova), and Sokol’niki Park (in existence since 1878, redesigned in 1931). In addition, a number of small, well-designed public gardens were created, such as the Alexander Garden. After 1945, the development of Moscow was renewed on a broader scale. Work on the subway continued, residential districts were developed in Izmailovo, in the Oktiabr’skoe Pole, and on Peschanye Street, and a residential district was built in the southwestern part of the city. Boulevards were redesigned, and large parks and gardens were planned for the southwestern district. In 1949 and 1950, a small public garden was created at Pushkin Square (architects A. M. Zaslavskii and M. A. Minkus). The rational development of Moscow and the creation of new architectural complexes were spurred on by a ten-year plan for Moscow (1951–60), carried out under the direction of architect D. N. Chechulin, and by the establishment in 1950 of an institute for highway architects (Mosproekt). In planning main thoroughfares as integrated complexes the architects have striven to combine a high level of technology and basic conveniences with the requirements of urban construction. The following high-rise buildings emphasize the radial-ring plan and the historical skyline of Moscow: Moscow University on the Lenin Hills (1949–53, architects L. V. Rudnev, S. E. Chernyshev, P. V. Abrosimov, and A. F. Khriakov; engineer V. N. Nasonov), the Ministry of Foreign Affairs on Smolensk Square (1948–52, architects V. G. Gel’freikh and M. A. Minkus, engineer G. M. Limanovskii), the apartment houses on Vosstanie Square (1950–54, architects M. V. Posokhin and A. A. Mndoiants, engineer I. V. Vokhomskii) and on Kotel’nicheskaia Esplanade (1948–52; architects D. N. Chechulin and A. K. Rostkovskii; engineer L. M. Gokhman), the administrative and residential building on Lermontov Square (1953, architects A. N. Dushkin and B. S. Mezentsev, engineer V. M. Abramov), and the Hotel Ukraina (1957, architects A. G. Mordvinov and others, engineer P. A. Krasil’nikov). Since 1955, construction has shifted to vacant land, and there has been a rapid increase in the housing stock. Major urban districts have been created, divided into neighborhood units, and laid out according to standardized plans. The districts include one in the southwestern part of the city (architects B. S. Mezentsev, E. N. Stamo, and others), Novye Cheremushki (including block nos. 9 and 10, architects N. A. Osterman and others), Khimki-Khovrino (architects K. S. Alabian, N. N. Selivanov, and others), Chertanovo (architects V. L. Voskresenskii and others), Troparevo and Matveevskoe (both designed by architects E. N. Stamo and others), Davydkovo (architects V. G. Gel’-freikh, A. V. Afanas’ev, and others), and Kon’kovo-Derevlevo, Beliaevo-Bogorodskoe, and Teplyi Stan (all three designed by architect Ia. B. Belopol’skii and others). Komsomol’skii Prospect (1958–65, architects A. G. Mordvinov, E. G. Vulykh, and others) and Kalinin Prospect (1964–69, architects M. V. Posokhin, A. A. Mndoiants, and others) were built in the central city. Apartment houses were constructed with new building materials, such as vibration-formed slabs (for example, the 25-story house on Mir Prospect, 1969, architect V. S. Andreev, engineer I. V. Bellavin and others). In 1955 and 1956 the huge Lenin Central Stadium Complex was built in Luzhniki (architects A. V. Vlasov, I. E. Rozhin, A. F. Khriakov, and N. N. Ullas; engineers V. N. Nasonov and others). Since the 1960’s a number of large-scale public buildings have been constructed that are characterized by simple forms, a functional volumetric design, and an organic use of monumental paintings and sculpture. Such buildings include the Kremlin Palace of Congresses, the palace of young pioneers and schoolchildren named in honor of the 40th anniversary of the young pioneer organization (1959–63, architects I. A. Pokrovskii, V. S. Egerev, V. S. Kubasov, and others), the motion-picture theaters Rossiia (1961, architects Iu. N. Sheverdiaev and others) and Oktiabr’ (1967, architects M. V. Posokhin, A. A. Mndoiants, and V. A. Svirskii; mosaics by the artists A. V. Vasnetsov and others), the city airport terminal (1965, architects D. I. Burdin and others), the television center at Ostankino (1968, architects L. I. Batalov and V. V. Zharov; the 533-meter-high tower, 1967, engineer N. V. Nikitin and B. A. Zlobin, architects D. I. Burdin and others), and the School of Choreography (1967, architects V. V. Lebedev and A. D. Larin). Other buildings following these design principles include the building of the Council for Mutual Economic Assistance (1969, architects M. V. Posokhin, A. A. Mndoiants, and V. A. Svirskii, engineers Iu. V. Ratskevich and others), the computer center of the Gosplan USSR (1970, architect L. N. Pavlov and others), the Hotel Rossiia (1970, architects D. N. Chechulin, P. P. Shteller, and others), the circus (1971, architects Ia. B. Belopol’skii and E. P. Vulykh, engineer A. F. Sudakov), the clinical and laboratory building of the A. V. Vishnevskii Institute of Surgery (1971, architects V. L. Voskresenskii and others), the Kursk Railroad Station (1972, principal architect G. I. Voloshinov), and the new building of the Art Theater (1972, architects V. S. Kubasov and others). In 1971 the General Plan for the Development of Moscow was approved (architects M. V. Posokhin, N. N. Ullas, and others); its execution was expected to take 25 to 30 years (beginning in 1961). In the words of L. I. Brezhnev, “This plan will virtually determine what the city’s appearance will be on the threshold of the third millennium” (Izvestiia, June 15, 1974, p. 3). The plan provides for the further reconstruction of the city’s center; the creation of seven major planning zones, in which residential and industrial zones will be distributed; and a harmonious combination of new construction with historical architectural ensembles. Each zone will have its own administrative center, organically linked with the nucleus of Moscow. The plan also envisions the creation of a system of architectural ensembles along the banks of the Moskva River and the construction of a number of principal thoroughfares and streets. In order to ease congestion in the center of the city, the creation of bypass highways was planned, and a system of cultural and consumer services was scheduled for further development. Large landscaped areas will be created, based on the existing municipal parks, boulevards, gardens, and forest parks, which extend into the forests outside the city limits (Sokol’niki, Izmailovo, Kuskovo, Kuz’minki, Tsaritsyno, Losinoostrovskii, and Bitsa). Landscaping is intended for the areas along the banks of the Moskva River that are free of construction. There are numerous memorials, monuments, and sculptural groups in Moscow. Particularly noteworthy are the monuments to Minin and Pozharskii (bronze and granite, 1804–18, sculptor I. P. Martos), A. S. Pushkin (bronze and granite, 1880, sculptor A. M. Opekushin, architect P. S. Bogomolov), N. V. Gogol (on Suvorov Boulevard, bronze and granite, 1904–09, sculptor N. A. Andreev, architect F. O. Shekhtel’), F. M. Dostoevsky (granite, 1911–13, sculptor S. D. Merkurov), and K. A. Timiriazev (granite, 1923, sculptor S. D. Merkurov, architect D. P. Osipov). There are also monuments to Maxim Gorky (bronze and granite; 1951; sculptors I. D. Shadr, V. I. Mukhina, and others; architect Z. M. Rozenfel’d), N. V. Gogol (on Gogol Boulevard, bronze and granite, 1952, sculptor N. V. Tomskii, architect L. G. Golubovskii), Iurii Dolgorukii (bronze and granite, 1954, sculptors S. M. Orlov and others, architect V. S. Andreev), V. V. Mayakovsky (bronze, 1958, sculptor A. P. Kibal’nikov), and K. Marx (granite, 1961, sculptor L. E. Kerbel’). Also in Moscow are monuments to M. Iu. Lermontov (bronze and granite, 1965, sculptor I. D. Brodskii, architect N. N. Milovidov), V. I. Lenin (in the Kremlin; bronze, granite, and labradorite; 1967, sculptor V. B. Pinchuk, architect S. B. Speranskii), V. I. Lenin (on Il’ich Square, bronze and granite, 1967, sculptor G. Iokubonis, architect V. Chekanauskas), G. Dimitrov (bronze and granite, 1972, sculptors K. M. and M. K. Merabishvili, architect R. N. Gvozdev), and S. A. Esenin (bronze, 1972, sculptor VI. E. Tsigal’, architects S. E. Vakhtangov and Iu. V. Iurov). Other monuments include those to L. N. Tolstoy (granite, 1972, sculptor A. M. Portianko, architects V. V. Bogdanov and V. P. Sokolov), A. A. Fadeev (bronze and granite, 1973, sculptor V. A. Fedorov, architects M. E. Konstantinov and V. N. Firsov), and M. I. Kutuzov (bronze and granite, 1973, sculptor N. V. Tomskii, architect L. G. Golubovskii). Three particularly well-known monuments in Moscow are The Worker and the Female Kolkhoznik (stainless steel, 1937, sculptor V. I. Mukhina), In Commemoration of the Soviet People’s Outstanding Achievements in Space Exploration (bronze, granite, and titanium; 1964, architects M. O. Barshch and A. N. Kolchin, sculptor A. P. Faidysh), and To the Unknown Soldier (1967, architects D. I. Burdin and V. A. Klimov, sculptor N. V. Tomskii). A. A. S	Moscow
In which month are St David’s Day and St Patrick’s Day celebrated in the UK?	Project MUSE - The Local and Global Jihad of al-Qa‘ida in the Islamic Maghrib The Local and Global Jihad of al-Qa‘ida in the Islamic Maghrib Jean-Pierre Filiu (bio) Abstract Al-Qa‘ida in the Islamic Maghrib (AQIM) was founded in 2007 as the latest offshoot of the global jihad. But it is deeply rooted in a long and complex history of Algerian violence, with the “Afghan” volunteers in the 1980s, the civil war raging in the 1990s, and the more recent crisis of the jihadi networks. Despite all its global rhetoric, AQIM has not fully transcended its local dynamics, between its Kabylia strongholds and its Saharan groups. Al-Qa‘ida in the Islamic Maghrib (AQIM) was officially born in January 2007 when the Algerian Salafist Group for Preaching and Combat (GSPC/Groupe Salafiste pour la Prédication et le Combat) merged into Al-Qa‘ida as its North African wing. That was three years after Abu Mus‘ab al-Zarqawi had pledged allegiance to Usama bin Laden, thereby transforming his own organization, Al-Tawhid wa al-Jihad, into al-Qa‘ida in Mesopotamia, better known as al-Qa‘ida in Iraq (AQI). Al-Qa‘ida was therefore extending its operational network towards the West and threatening explicitly European countries, mainly France and Spain. It was not long before AQIM struck at the very heart of the capital city of Algiers: on April 11, 2007, three simultaneous suicide attacks hit the government palace and two security stations. This attack was celebrated by al-Qa‘ida as the “Badr of Maghrib,” the same way that the name of the first battle of the Prophet Muhammad had been hijacked by al-Qa‘ida to label the 9/11 “raids” on America and the terror attack in Riyadh in November 2003. AQIM has been effectively on the offensive since the spring of 2007, alternating between “local” Algerian targets and “global” ones (for instance, the seat of the United Nations in Algiers on December 11, 2007). Although al-Qa‘ida was founded in 1988 in Pakistan as the first organization fully dedicated to global jihad, it was only in August 1996 that Usama bin Ladin released his extraordinary declaration of jihad against America, which he accused of occupying the “land of the two holy sites,” Saudi Arabia. In February 1998, Bin Ladin and his Egyptian deputy, Ayman al-Zawahiri, launched the “World Islamic Front of Jihad against the Jews and the Crusaders” and made clear what global jihad implied for any Muslim around the world: “Killing the Americans and their allies — civilian and military — is an individual duty for every Muslim who can carry it out in any country where it proves possible.” 1 The global jihad went against centuries of tradition and of practice of jihad in Islam by erasing any distinction between civilian and military targets, by turning a historically collective [End Page 213] obligation into an individual one, and by disconnecting the jihad from specific territories. Since ‘Abd al-Qadir’s resistance movement against the French colonization of Algeria in 1832–1847 and Imam Shamil’s guerrilla war against Russian expansion into the Caucasus in 1834–1859, popular jihad has become the Islamic version of the anti-colonial struggle. A pattern thus was set for numerous jihad-fuelled liberation movements which went on well into the 20th century: even the progressive Algerian National Liberation Front (FLN/Front de Libération Nationale) named its underground newspaper El-Moudjahid (the Jihad-Fighter) in 1956, during the war of liberation against France. The Afghan resistance against the 1979 Soviet invasion went along these lines, with a liberation struggle being waged under the name and flag of jihad. This national jihad succeeded in liberating Afghanistan in 1989, but non-Afghan jihad fighters, who had achieved very little on the battlefield, felt strong enough to go beyond Afghanistan and make jihad a global struggle. They eventually clashed with their Afghan brothers in arms and the confrontational dialectics between global and local jihad have been raging ever since. This article will try to explore the Algerian angle of these dialectics and reflect on the dynamics of AQIM. The Algerian “Afghans” Contrary to the myth nurtured by the jihadi propaganda, it took several years for militant and radical Islamists in the Arab world to get involved in the Afghan jihad. An Algerian Muslim Brother, ‘Abdallah Anas (Boudjema Bounoua’s moniker), was one of the pioneers in the group that came to be known in the late 1980s as the Arab “Afghans,” who were based on the Pakistani side of the Afghan border. In Peshawar, Anas met ‘Abdallah ‘Azzam, a Palestinian who had turned against the Palestine Liberation Organization (PLO) because of its secularism. ‘Azzam was a long-time Muslim Brother who had left the Brotherhood because of its hostility to direct participation in the Afghan jihad. In 1984, Anas helped ‘Azzam establish the Services Bureau (Maktab al-Khidamat), an international network to channel contributions and foster volunteering for the Afghan jihad. Also active in this effort was Usama bin Laden, a young Saudi activist with excellent connections to the Gulf’s wealthy families. Bin Laden ended up handling the more mundane aspects of the fundraising operations, while ‘Azzam gave them their ideological substance: “Every Arab who wants to wage jihad in Palestine should start there, but those who cannot should go to Afghanistan. As for other Muslims, I think they should begin their jihad in Afghanistan.” 2 Anas followed this call and, after marrying ‘Azzam’s daughter, he went inside Afghanistan to join the forces of Ahmed Shah Mas‘ud, a Tajik guerrilla commander who held the Panjshir Valley against repeated Soviet assaults, earning the moniker “the Lion of Panjshir.” In the meantime, ‘Azzam continued to operate the Services Bureau from Pakistan while Bin Laden complained about Saudi students attending jihadi “summer camps” before returning home for the start of the academic year. 3 After 1986, the number of Arab “volunteers” reached a mass critical enough to allow Bin Laden to cross into Afghanistan and establish his own base, the “Lion’s Den,” in the eastern part of the Khost [End Page 214] province. But the Pakistani security apparatus, Inter-Services Intelligence (ISI), maintained tight control over these foreign “guests” and preferred to keep them on its side of the border. These ISI restrictions brought most of the Arab jihadis under the umbrella of mainly Pashtun factions (Ettehad-e Islami and Hezb-e Islami, especially Gulbuddine Hekmatyar’s branch), whose commanders wanted to save their military potential for the post-Soviet power struggle in Afghanistan. The Arab “Afghans” were therefore exposed to violent attacks in Pakistan against the actual leaders of the anti-Soviet jihad. The fiercest criticisms against the field commanders of the Afghan resistance were expressed in Pakistan by leaders and militants of the factions who were saving their energy and weapons for the showdown that would inevitably follow the Soviet withdrawal. Ayman al-Zawahiri, an Egyptian activist who befriended Bin Ladin in Peshawar, 4 chose to side with the ISI-sponsored Afghan factions, while ‘Azzam trusted ‘Abdallah Anas to keep the contact with Mas‘ud and still hoped to reconcile him with Hekmatyar. The Algerian “Afghans” were among the most numerous of the Arab contingents of the Pakistan-based jihadi community and, in the absence of any accurate data, the estimate of a thousand Algerian “Afghans” over the 1980s seems reasonable. 5 However, Saudis and Egyptians controlled the leadership positions, with Bin Ladin and Zawahiri co-opting their respective countrymen, probably out of safety concerns more than chauvinistic nepotism; Algerian militant circles had the reputation of being frequently infiltrated by Algerian military intelligence 6 and, in the context of a bitter feud between the jihadi factions, Anas was associated with Mas‘ud by Hekmatyar’s allies. Anas was in fact one of the few Algerian “Afghans” who really fought inside Afghanistan. The majority of these activists stayed in the training camps in Pakistan, acquiring military skills and hardening their intolerant creeds. 7 Their relations with the local population remained very limited and loaded with prejudices, deepened by the linguistic divide. After the Soviet military withdrawal in February 1989, the Arab “Afghans” celebrated the victory of their own jihad, although their actual contribution to the liberation of Afghanistan had been negligible. 8 But a narrative was forged in which the jihadi forces, gathered from all over the world, had triumphed against the Red Army. The Algerian [End Page 215] “Afghans” often equated the “infidel” regimes in Moscow and Algiers, so their expectations ran high. The Algerian “Afghans” were ready to test their jihadi credentials back home, and they felt less inclined than their Saudi and Egyptian brothers in arms to get involved in the civil war now raging in Afghanistan. 9 In November 1989, a booby trapped car killed ‘Azzam in Peshawar. His murder generated the wildest of conspiracy theories, with accusations made against the KGB, the CIA, the Mossad, the ISI, and even Zawahiri for the killing, as a means to clear the way for Bin Ladin and the nascent al-Qa‘ida. 10 The mood in the jihadi underworld turned definitively gloomy after ‘Azzam’s violent death, and most of the Algerian “Afghans” left Pakistan during the following months. The Blowback in Algeria The Pakistan-trained activists came back to a strikingly different Algeria, where the FLN one-party system had ended. The Islamic Salvation Party (FIS/Front Islamique du Salut), under the leadership of ‘Abbassi Madani and ‘Ali Benhaj, was legalized in September 1989, and won the municipal elections of April 1990. In line with his commitment to the Muslim Brotherhood, Anas had joined the FIS, but he was confronted by another “Afghan” veteran, Qari Sa‘id (‘Abd al-Rahim Gharzuli’s moniker). Said, who was in charge of the Algerian guesthouse (madhafa) for the jihadi fighters in Peshawar, refused to play political games with the “apostates,” and this uncompromising message had quite an echo among the Algerian “Afghans.” To stress their self-righteous jihadi prestige, some “veterans” abandoned the traditional Algerian djellaba and adopted a supposedly “Afghan” style (with kohl-lined eyes, henna-stained beard, sharwal, and kamis). This symbolic severing of ties with mainstream Algerian Islam became very popular among the radical militants and their favored mosque in the Belcourt suburb of Algiers was soon nicknamed “Kabul.” More seriously, numerous Algerian “Afghans,” anxious to launch jihad against the regime, joined the former members of the Armed Islamic Movement (MIA/Mouvement Islamique Armé), better known as the Buy‘ali group: in 1982, Mustafa Buy‘ali had launched a guerrilla-type jihad against the government’s security forces, before being killed in 1987. Most of his associates, although sentenced to death in 1987, were amnestied in 1990 and one of them, Mansuri al-Milyani, became the rallying figure for the Arab “Afghans.” 11 The concentration of the FIS was on the political calendar, as it hoped to reproduce its landslide municipal victory at the parliamentary level. After a new electoral law appeared to benefit the ruling FLN Party, the FIS called for a general strike in May–June 1991. Madani and Benhaj were arrested and the protests soon degenerated into violent clashes between the security forces and Islamist activists. For the various [End Page 216] post-Buy‘ali armed groups, this was the signal that the time for jihad had finally arrived. In strong defiance of the FIS bet on the electoral outcome, one of these groups, mainly composed of “Afghan” veterans, 12 attacked a security post on the Tunisian border in November 1991. In a shocking display, ten policemen were killed and mutilated. The attack itself was supposed to mark the second anniversary of ‘Abdallah ‘Azzam’s “martyrdom” in Pakistan. Gilles Kepel has commented that “the Afghan experience — and reference — furnished a complete vocabulary to go with methods and traditions resurrected from the war of independence, itself made topical by the popular legend of Mustafa Buy‘ali.” 13 The Algerian “Afghans” confronted the national and political agenda of the FIS by “globalizing” their own jihadi rhetoric. When the military hierarchy decided in January 1992 to “suspend” the electoral process and put President Chadli Benjadid under house arrest, the FIS was caught off guard and could not resist the waves of repression that fell upon its members. The armed groups, who had already gone underground, were more prepared for the confrontation, even though Milyani was captured in July 1992 and executed a few months later. While the FIS was still advocating a “political jihad,” 14 the jihadi cells were intensifying their call for an all-out war against the “infidels.” They directly challenged the FIS leadership by constituting the Islamic Armed Group (GIA/Groupe Islamique Armé) in October 1992. Despite the ambitious unity of the group’s name, it was still a loose coalition of heterogeneous groups and the national ‘amir’ (commander) had often only nominal power over the local ones. But the “Afghan” factor had played a significant part in this polarization of the Islamist camp between the FIS and the GIA. Qari Said became one of the ideologues of the GIA and was credited for their political motto, “No dialogue, no reconciliation, no truce.” 15 The Complex Relation Between Al-Qa‘ida and the GIA Bin Laden had moved to Sudan in 1991, where he enjoyed the protection of Hassan al-Turabi and the Islamist regime, which had been established after the military coup of 1989. Zawahiri soon joined him in Khartoum and from there they developed the growing al-Qa‘ida network. Turabi’s Sudan was then home to a wide range of Islamist militants from various Arab countries, including members of the FIS and the GIA, which led Algiers to recall its ambassador from Khartoum in March 1993. But exile did not appease the feud between the Algerian factions and the two “Afghan” veterans, ‘Abdallah Anas of the FIS and Qari Sa‘id of the GIA, who competed for influence in Sudan. They both had access to Bin Ladin, although only Said was also intimate with Zawahiri. 16 There are conflicting reports about Bin Laden’s support of the GIA, 17 but it is [End Page 217] certain that Sa‘id’s “Afghan” connections were crucial in establishing the GIA’s international network. Sa’id contacted Mustafa Sittmaryam Nassar, a prominent Syrian “Afghan,” better known as Abu Mus‘ab al-Suri, who had left Pakistan to settle in Spain. They both met repeatedly in London, from where the GIA launched its newsletter al-Ansar in July 1993. At that time, the British capital was nicknamed “Londonistan,” because of the various jihadi groups who enjoyed an impressive degree of freedom of expression and organization in the British capital. Sa‘id invited al-Suri to join the jihad in Algeria, and the Syrian activist decided to move from Granada to London, a more convenient place to organize a clandestine infiltration into Algeria. 18 In the meantime, al-Suri started to contribute significantly to the GIA propaganda and became its most valuable asset in the international jihadi community. Sa‘id’s networking abroad was further fostered when Murad Si Ahmad, another “Afghan” veteran, became the leader of the GIA in August 1993. Significantly called Ja‘far al-Afghani, or more ominously Ja‘far Sayfallah (God’s sword), the new “amir” warned all the “infidels” to leave Algeria, and the last four months of 1993 subsequently saw the murder of 26 foreigners, most of them from Eastern Europe. 19 Ja‘far al-Afghani was killed in Algiers by the security forces in February 1994. His successor, Sharif al-Qawasmi (aka Abu ‘Abdallah Ahmad), continued to support the elimination of “infidels” on Algerian soil, while strengthening GIA ties with “Londonistan.” But he had to tone down his “global” rhetoric in order to achieve the unifying conference of the GIA and the integration of the powerful “Algerianist” (jaz’ara) component. The self-proclaimed goal of the GIA was “jihad in Algeria” and, even if the victory over the “apostate” regime had to be absolute, the national framework of the armed struggle was explicit. 20 The FIS reacted in July 1994 by launching its own military organization, the Islamic Salvation Army (AIS/Armée Islamique du Salut), that challenged the GIA definition of jihad as a compulsory duty (farida): jihad was only one of the means (wasila) to establish the Islamic state in Algeria. 21 To assert the GIA hegemony over “jihad in Algeria,” Qawasmi was symbolically promoted from “amir” to “caliph” in August 1994. But he was soon killed in a clash with the army and, after a murky interlude, Jamal Zaytuni took over the GIA and concentrated on the power struggle with the AIS in Algeria. Clashes escalated in 1995 until [End Page 218] the GIA publicly declared war on the AIS in January 1996. The “hardcore” of the GIA was then estimated at 2–3,000 fighters against 4,000 AIS men. 22 This could be seen as the end of the “Afghan” period of the GIA: Zaytuni cancelled Qari Sa‘id’s invitation to Abu Mus‘ab al-Suri and, more generally, he opposed any non-Algerian joining the GIA. 23 Tensions flared between the GIA’s envoys to Khartoum and Bin Ladin himself. 24 The GIA terror campaign on French soil from July to November 1995 significantly began with the assassination in Paris of one of the founding members of the FIS, ‘Abd al-Baqi Sahrawi. It was followed by three bombings in French metro stations, while Zaytuni called for jihad against France and accused Paris of sponsoring the “apostate” regime in Algiers. Attacks against “Crusader France” were also frequently found in the FIS propaganda, 25 but the AIS extended its protection to foreigners in Algeria (with the exception of military advisers) and refrained from any violence outside of the country. So paradoxically it was to expose the FIS as less patriotic than the GIA that Zaytuni embarked on the bombing campaign in France — and called on the French President to convert to Islam. The publicly stated objective was to weaken the support that France was supposedly lending to the Algerian regime. 26 Inside the GIA itself, Zaytuni used this campaign to neutralize the “Algerianist,” and also the jihadi opposition, in the service of his absolute control of the organization. 27 In June 1996, two of the most prominent Arab jihadi groups, the Libyan Islamic Fighting Group (LIFG) and Zawahiri’s Egyptian Islamic Jihad (EIJ) withdrew their support for the GIA. None of these groups was troubled by Zaytuni’s strategic gamble on terror in France, but the LIFG accused him of having “annihilated the Afghan trend,” 28 and the EIJ denounced his “dangerous deviations.” 29 This euphemism described how the GIA was constantly widening the scope of its accusation of “apostasy” to justify the liquidation of any kind of opposition: not only the security forces, but also civil servants, intellectuals, and journalists; FIS militants, and also local imams, members of other jihadi groups, and GIA dissidents; and including civilians who resisted GIA extortion or defied its numerous bans (on alcohol and tobacco, and also on music, satellite dishes, and beauty salons). Abu Mus‘ab al-Suri, who managed the GIA “media cell” from London, was ready to endorse the terror attacks on French soil, but not such [End Page 219] a wave of slaughters in Algeria. 30 This spiral of terror, largely fuelled by Zaytuni’s leadership, intensified when he was suceeded by ‘Antar Zuabri, after Zaytuni was killed in murky circumstances in 1996. 31 The year 1997 saw a new escalation in violence, with 42 massacres of civilians, most of them attributed to the GIA. Enter the GSPC The jihadi guerrillas were in disarray: the GIA’s terror had antagonized most of their active or passive supporters, local commanders were reclaiming their independence to disavow the massacres, and the AIS had agreed on a ceasefire with the security forces in September 1997 and did not wait long before proposing to help against “the GIA criminals.” 32 Hassan Hattab, who had deserted the Algerian army to join the GIA, ascended to local amir under Qawasmi. He kept a low profile during the Zaytuni era, but he had much more antagonistic relations with Zuabri, who allegedly tried to eliminate him. 33 In September 1998, Hattab (aka Abu Hamza) constituted his own organization, the Salafist Group for Preaching and Combat (GSPC). He vowed to concentrate the jihad against the security forces and he attracted a significant number of GIA dissidents. It is not clear whether Hattab received the direct support of al-Qa‘ida to establish the GSPC, 34 but it was certainly a relief for Bin Ladin and Zawahiri to turn the page on the frustrating GIA at a time when their “global jihad” network was expanding worldwide. Hattab recycled the standard Islamist propaganda against the “apostate” regime and its “Crusader French” or Jewish “masters,” while al-Qa‘ida launched its “World Islamic Front of Jihad against the Jews and the Crusaders.” Hattab expanded beyond its traditional guerrillas by incorporating outlaw networks operating in southern Algeria. 35 This gave the GSPC access to the Sahara smuggling routes and a “global” potential that Hattab chose not to use: the AIS had disbanded, the GIA was falling apart (Zuabri was killed by security forces in February 2002), and Hattab wanted to protect the GSPC stronghold in the mountainous region east of Algiers. This “Algerian” strategy was confronted by Nabil Sahrawi and ‘Abd al-Malik Drukdal, the two ambitious leaders of the main GSPC military zones. Both men had spent most of their adult lives among the guerrillas. Furthermore, the GSPC local commander in the Sahara, nicknamed “Al-Para” because of his paratrooper background, challenged Hattab by kidnapping 32 European tourists in February and March 2003. 36 [End Page 220] The American invasion of Iraq in March 2003 intensified the strategic debate inside the GSPC over the global versus Algerian scope of jihad, and Hattab was compelled to step down in favor of Nabil Sahrawi in August 2003. The fact that his life was spared indicates a certain level of compromise from both sides, but clearly shows that the “internationalists” had their way. 37 In the extremely violent environment of the Islamist guerrilla, this was a very rare instance of peaceful transmission of power. A nucleus of jihadi “veterans,” all in their late 30s, trained in the Algerian guerrilla tactics, but attuned to global rhetoric, had won the fight for the GSPC. Nabil Sahrawi extended his public support to his “brothers in Afghanistan, Palestine, Chechnya, Philippines and Iraq.” 38 However, he was killed during a military mop-up operation in the wilaya of Bejaïa in June 2004, and the GSPC leadership was transferred to Drukdal. ‘Abd al-Malik Drukdal has been a survivor since he joined the GIA in 1993, in his early 20s. With a background in mathematics, he was mostly in charge of the training and logistics of the guerrillas. This probably helped him to elude a violent death at the hands of security forces or rival jihadi factions. He waited until quite late to switch allegiance from the GIA to the GSPC, where he soon attacked Hattab’s sparse record of military activity. Even though he never left Algeria, he chose a significant jihadi alias: Abu Mus‘ab ‘Abd al-Wadud. His kunya, or symbolic paternity, is the same one as Zarqawi’s or Nassar’s (Abu Mus‘ab), referring to Mus‘ab Ibn ‘Umayr, who died as a martyr in Uhud in 625. But his nisba, or affiliation, is not geographic, but rather portrays him as one of the worshippers of God, by using one of His 99 names, Al-Wadud, the Affectionate. After taking over the GSPC, Drukdal worked hard to reach a high profile in the jihadi Internet community, 39 and the GSPC website soon echoed the statements issued by Bin Ladin, Zawahiri, and Zarqawi. Iraq was definitely the issue that brought the GSPC more and more in line with al-Qa‘ida. This battleground against “infidel” America became a magnet for thousands of activists in the Arab world and beyond. In Algeria, the GSPC could attract a new generation of jihadi volunteers, who had radicalized after the bloodshed of the 1990s. They joined the guerrillas in order to be trained and eventually be sent to Iraq. This influx of fresh recruits helped the GSPC to compensate for the loss of militants that President ‘Abdel ‘Aziz Bouteflika’s “national reconciliation” policy was inflicting through the amnesty and/or rehabilitation of former jihad-fighters. 40 The Iraqi dynamics were also [End Page 221] crucial in the development of a North African network, where Moroccan, Tunisian, Mauritanian, and Libyan militants passed through the GSPC camps before being sent to Iraq. The Sahara smuggling routes, which Hattab had been wary of activating, were turned by Drukdal into one of the main assets in his “global” posture. The Algerian contribution to the Iraqi jihad was soon visible, with Algerian “martyrs” being videotaped before suicide attacks against US-related targets (for instance, the bombing in March 2004 of the Mount Lebanon hotel in Baghdad that was later labeled as a “CIA base” by Zarqawi’s network). 41 Saudi sources, perhaps to downplay the involvement of Saudi nationals, insisted in 2005 that Algerians represented 20% of the foreign fighters in Iraq. 42 Even if the Algerian contingent did not reach that level, and even if the GSPC was not responsible for all the Algerian “volunteers” in Iraq, al-Qa‘ida and the GSPC had developed a public partnership in terror. In July 2005, Zarqawi’s group abducted two Algerian diplomats in Baghdad to punish Algiers’ compliance with “the Crusaders’ orders” and the GSPC rushed to congratulate al-Qa‘ida in Iraq for this “display of heroic jihad;” 43 Drukdal’s organization offered to supply evidence to the “Islamic court” in which al-Qa‘ida would “try” the two hostages, and it celebrated their execution for “the spilling of Muslims’ blood in Algeria.” 44 The GSPC, emboldened by these killings, felt strong enough to apply for formal integration into al-Qa‘ida. The protracted process of scrutiny and negotiations, complicated by distances and secrecy, took approximately a year. 45 Al-Qa‘ida was always very cautious before lending its franchise and Zarqawi himself had waited many months before his organization was accepted as “al-Qa‘ida in Iraq.” The case of the GSPC was complicated by the long-term association of al-Qa‘ida with other North African factions, with which it had achieved intimate cooperation over the years: for example, the Libyan Islamic Fighting Group (LIFG) had two of its leaders, Abu Layth al-Libi and Abu Yahya al-Libi, integrated into the leading nucleus of al-Qa‘ida; 46 one of the pillars of the Moroccan Islamic Fighting Group (GICM/Groupe Islamique [End Page 222] Combattant Marocain), Karim Mejjati, had joined al-Qa‘ida in Saudi Arabia, where he was “martyred” in 2005; 47 and the Tunisian Islamic Fighting Group (GICT/Groupe Islamique Combattant Tunisien) had recruited the suicide bombers that killed Ahmed Shah Mas‘ud, Bin Ladin’s arch-enemy, in 2001. But the GSPC had successfully turned “global” in two dimensions of critical interest to al-Qa‘ida: the GSPC had adamantly refused the “national reconciliation,” 48 and it had therefore alienated all the other Algerian jihadi groups, not by bloody GIA-style feuds, but by targeting outside powers, like America or France, as the main enemy. Furthermore, the GSPC could carry out terrorist actions beyond the Algerian borders — indeed, al-Qa‘ida had complimented the GSPC for an attack on a military outpost in Mauritania in June 2005. 49 On September 11, 2006, Zawahiri celebrated the fifth anniversary of the attacks against New York and Washington by announcing the approval of the GSPC’s affiliation: “this blessed union will be a thorn in the throat of the American and French crusaders.” 50 Drukdal pledged public allegiance to Bin Ladin and escalated his propaganda against the foreign “infidels” and the local “apostates.” His next target was carefully chosen as “global:” on December 11, 2006, the GSPC attacked near Algiers a bus carrying foreign employees of Brown, Root and Condor, an American contractor linked to the powerful Halliburton consortium. The Algerian driver was killed, while four Britons, one American, and one Canadian were wounded. One month later, the GSPC was fully integrated into the global jihad and became al-Qa‘ida in the Islamic Maghrib (AQIM). The AQIM Record AQIM opened this new chapter by targeting, on March 3, 2007, the Russian contractor Stroytransgaz. One Russian engineer and three Algerians were killed and, as the previous choice of an American target had been linked to Iraq, this raid was presented as a gesture of solidarity with the jihad in Chechnya. 51 AQIM also was challenging an Algerian taboo that had led the jihadi groups to spare oil and gas-related facilities and personnel, even at the climax of GIA terror. AQIM strove to project itself in the global realm: all the victims of the April 11 triple bombing in Algiers, in which 30 were killed and 200 injured, were Algerians, but AQIM claimed to have hit the “Interpol headquarters,” responsible for the “Crusaders” offensive against the jihadi forces. 52 Eight months later, in another coordinated terror attack in Algiers, AQIM struck the Constitutional Court and the UN office (17 out of the 41 persons killed actually worked for the UN), in an ominous mix of national and global targets. AQIM described the UN building as “the den of global heresy” and lashed out at “the Crusaders who are occupying our [End Page 223] lands and plundering our treasures.” 53 Drukdal significantly escalated the group’s threats against the French “colonialist project,” demanding not only the end of any cooperation with the “apostate” regime, but also the withdrawal of French troops from Afghanistan and Lebanon. 54 He extended this thrust of attacks towards Spain, calling for the “liberation” of Ceuta and Melilla and stigmatizing the King of Morocco for tolerating such an “occupation.” 55 Zawahiri echoed these statements through his attacks against “the sons of France and Spain in the Islamic Maghrib” 56 and his calls for the “liberation” of Andalusia. 57 AQIM devoted great energy to the planning and execution of anti-French operations, although many of them were foiled. 58 However, a French engineer was eventually killed, on June 8, 2008, in Boumerdes, along with his Algerian driver. Even then, AQIM claimed that it had murdered two French nationals, instead of one. 59 And when AQIM bombed the bus of a Canadian organization, on August 20, 2008, it stated that the 12 persons killed were Canadians, while they were all local employees. 60 Thus, in 2007–08, the overwhelming majority of the victims of AQIM terror in Algeria remained Algerians. The Sahara component of the organization, grandly named the “Tariq Bin Ziyad brigade,” in reference to the eighth century Muslim conqueror of Spain, was more successful in globalizing al-Qa‘ida’s terror. At the end of December 2007, it murdered four French tourists in Mauritania, and its repeated threats against the Paris-Dakar land race led to the cancellation of this international competition. An AQIM death squad was soon arrested in Malabo in Equatorial Guinea, revealing an impressive network of partners and accomplices in West Africa. In March 2008, AQIM claimed the kidnapping of two Austrian tourists, who had probably been moved from southern Tunisia to northern Mali. Once more, the smuggling routes in the Sahara desert had proved crucial for the globalization of jihad. But this abduction had many similarities with the 2003 collective kidnapping and the protracted negotiations seemed to deal more with a possible ransom than with any political demands. The two hostages were eventually released by the Malian army in October 2008. More generally, the continuity from 2003 until today between the GSPC and AQIM has been striking. Despite the inflamed global rhetoric and the Internet echo chamber, the main difference lies in the generalization of the suicide attacks, which were practically unknown in Algeria before 2007. Like the GSPC, AQIM focuses on the security forces and Algerian government symbols, which are concomitant with the heavy civilian toll [End Page 224] inflicted by any bombing in urban areas. 61 AQIM experienced an indisputable increase in firepower and technical expertise. But, no matter how destructive and lethal those strikes are, AQIM remains an outcast in the Algerian arena and is unable to change the post-jihad political trend prevailing in the Algerian Islamist camp. GSPC founder Hattab repeatedly called his former brothers in arms to lay down their weapons and leave AQIM, 62 and the violence of Drukdal’s reactions could be an indication of his concerns. AQIM so far has proved unable to become more “Maghribi” than the GSPC. Despite rumors about the incorporation of Moroccan or Tunisian cadres, the leadership remains homogenously Algerian. Furthermore, the Libyan Islamic Fighting Group (LIFG) announced its own merger with al-Qa‘ida in November 2007, in a display of independence from AQIM. The Sahara “brigade,” which effectively includes elements from Mauritania, Mali, and Chad, already operated as a transnational outfit at the time of the GSPC. Mauritania was hit by the GSPC many years before its transformation into AQIM, which has limited itself to rhetorical attacks against Morocco and Tunisia. The evolution of jihad in Iraq, which was a key issue on the road to AQIM, could explain the incomplete nature of this globalization process. The ascending power of al-Qa‘ida in Iraq (AQI) under Zarqawi in 2004–2006, helped Drukdal’s global drive inside the GSPC. But AQIM was launched when AQI faced the growing hostility of the Sunni insurgency. In 2007, al-Qa‘ida lost its sanctuary in the Western province of Anbar, one of the main gates into Iraq for foreign fighters. And in 2008 AQI was expelled from Baghdad, a major setback for the global jihad. With the Iraqi branch in such a crisis, Bin Ladin and Zawahiri devoted less attention and resources to AQIM. This explains why AQIM could keep its Algerian leadership, while AQI’s command was never offered to Iraqi jihadis (Zarqawi was Jordanian and the actual chief, Abu Hamza al-Muhajir, is Egyptian). Drukdal seems to be practically autonomous as “al-Qa‘ida central,” far from pursuing any North African agenda, pushes for high visibility terror attacks, which can compensate on the media front for the disastrous impact of the failures in Iraq. AQIM therefore fits Zawahiri’s standards, where propaganda jihad represents half of the jihad itself. 63 Between the Global and the Local: The Regional Jihad One way to assess the global dimension of AQIM is to look at jihadi transnational movements that never attempted to supercede a regional dimension. The three main organizations of that kind that developed operational relations with al-Qa‘ida, but resisted any temptation to turn global are: • The Islamic Movement of Uzbekistan (IMU), which found refuge along with al-Qa‘ida [End Page 225] in Taliban-run Afghanistan. It could launch attacks inside Kyrgyzstan and Uzbekistan from this sanctuary. The movement suffered greatly during the US-led campaign in the fall of 2001, but it stuck to its Central Asian agenda and reconstituted a significant force along the Pakistani border with Afghanistan in the aftermath of the defeat of the Taliban. • The Jemaah Islamiyah (JI), which projected its vision of an Islamic state in Southeast Asia over its different geographical “divisions” (mantiqi) 64 and was responsible for the October 2002 bombing in Bali. The Java and Sumatra mantiqi two now run the organization, while dissident Noordin Top pretends to be the local al-Qa‘ida commander. 65 • Fath al-Islam, which appeared in the fall of 2006 in the Palestinian refugee camp of Nahr al-Barid, in northern Lebanon. It incorporated hundreds of salafi jihadists, often Iraqi “veterans,” and recruited well beyond its Palestinian environment. The camp was eventually destroyed by the Lebanese army in the summer of 2007, but Fath al-Islam’s leader and dozens of militants escaped. AQIM can hardly stand the military comparison with these “regional jihad” organizations. Its hundreds of armed militants are no match for the thousands of IMU fighters concentrated in the Waziristan tribal areas and in the Afghan Kunar valley. The guerrilla skirmishes in the mountains of Kabylia pale in comparison to the months of siege Fath al-Islam endured in 2007. And even JI, though weakened after the smashing of its Australian and Singapore branches in 2001–2, maintains a network all over the Indonesian archipelago, with possible connections in the Philippines and Malaysia. 66 But, through its integration into al-Qa‘ida, the GSPC outsized these “regional outfits” on two fronts: the intensification of suicide attacks, imported to Algeria in 2007 and the escalation of the media campaign, mainly through the Internet, reaching far beyond the domestic public. A decade after the end of the GIA “Afghan” period, the GSPC chose the “Iraqi” way to join al-Qa‘ida. The process was complex and the indigenous leadership remained in place in AQIM, without promoting “Iraqi” veterans nor enhancing the Sahara “brigade.” It is remarkable how global rhetoric works both ways between al-Qa‘ida and its franchises, in Iraq as well as in Algeria: Zarqawi could infuse his own anti-Shi‘a obsession in the al-Qa‘ida discourse, 67 and Drukdal’s focus on France and Spain is now a common thread in Zawahiri’s speeches. Another striking similarity between al-Qa‘ida branches in Iraq and Algeria is that they never cared to gather significant popular support, so their base is more geographical than political. But AQIM as such is a young organization and only its future evolution will help in understanding if the globalization of jihad means little more than local suicide bombings, echoed by global e-propaganda. [End Page 226]	i don't know
Physics. What is the SI unit for amount of substance?	Base unit definitions: Mole Unit of amount of substance (mole) Abbreviations : CGPM, CIPM, BIPM Following the discovery of the fundamental laws of chemistry, units called, for example, "gram-atom" and "gram-molecule," were used to specify amounts of chemical elements or compounds. These units had a direct connection with "atomic weights" and "molecular weights," which were in fact relative masses. "Atomic weights" were originally referred to the atomic weight of oxygen, by general agreement taken as 16. But whereas physicists separated isotopes in the mass spectrograph and attributed the value 16 to one of the isotopes of oxygen, chemists attributed that same value to the (slightly variable) mixture of isotopes 16, 17, and 18, which was for them the naturally occurring element oxygen. Finally, an agreement between the International Union of Pure and Applied Physics (IUPAP) and the International Union of Pure and Applied Chemistry (IUPAC) brought this duality to an end in 1959/60. Physicists and chemists have ever since agreed to assign the value 12, exactly, to the "atomic weight," correctly the relative atomic mass, of the isotope of carbon with mass number 12 (carbon 12, 12C). The unified scale thus obtained gives values of relative atomic mass. It remained to define the unit of amount of substance by fixing the corresponding mass of carbon 12; by international agreement, this mass has been fixed at 0.012 kg, and the unit of the quantity "amount of substance" was given the name mole (symbol mol). Following proposals of IUPAP, IUPAC, and the International Organization for Standardization (ISO), the CIPM gave in 1967, and confirmed in 1969, a definition of the mole, eventually adopted by the 14th CGPM (1971): 1. The mole is the amount of substance of a system which contains as many elementary entities as there are atoms in 0.012 kilogram of carbon 12; its symbol is "mol." 2. When the mole is used, the elementary entities must be specified and may be atoms, molecules, ions, electrons, other particles, or specified groups of such particles. At its 1980 meeting, the CIPM approved the 1980 proposal by the Consultive Committee on Units of the CIPM specifying that in this definition, it is understood that unbound atoms of carbon 12, at rest and in their ground state, are referred to.	Mole
Which ancient measurement ran from the elbow to the tip of the longest finger?	S. I. Units S. I. Units S. I. Units Quantities and Units In science a Quantity is expressed as the product of a number and a unit. A number without units often has no meaning to a scientist. A set of standard (agreed upon) units are essential not only in science, but also in commerce. The most widely accepted system of measurement in the sciences is the International System , otherwise known as S.I. Units. S.I. stands for Le Systéme International. This is also called the metric system, with which you may already be familiar. The metric system is easy to learn and use because subdivisions and multiples of base units employ only factors of 10. Prefices indicate the size of the unit relative to a base unit. Prefix p 10-12 The SI system defines seven base quantities, from which all other scientific quantities can be derived. These base quantities are length, mass, time, electric current, thermodynamic temperature, amount of substance, and luminous intensity. All other quantities can be derived from these base quantities using the equations of physics and chemistry. Let's look at the base units for some base and derived quantities. SI Base Quantities The SI base unit for length is the meter. The abbreviated symbol for meters is m . A meter is slighly longer than a yard (i.e., 1 m = 39.37 inches). Mass The SI base unit for mass is the kilogram. The abbreviated symbol for the kilogram is kg . 1 kg weighs approximately 2.2 pounds. The choice of the kilogram instead of the gram as the base unit for mass is only for historical reasons. Time The SI base unit for time is the second. The abbreviated symbol for the second is s . Electric Current The SI base unit for electric current is the ampere. The abbreviated symbol for the ampere is A . Amount of Substance The SI base unit for amount of substance is the mole. The abbreviated symbol for the mole is mol . We will learn more about the mole later in this course. Luminous Intensity The SI base unit for luminous intensity is the candela. The abbreviated symbol for the candela is cd . Thermodynamic Temperature The SI base unit for temperature is the Kelvin. The abbreviated symbol for the Kelvin is K . The coldest temperature theoretically possible is 0 K. You simply cannot go any lower. In fact, it is experimentally impossible to even reach 0 K. For historical reasons it is also common to define temperature in terms of its difference from a reference temperature T0=273.15 K, the freezing point of water. This is called the Celsius temperature, and the abbreviated symbol for Celsius is °C . It is related to the Thermodynamic Temperature by the equation T(in Celsius) = T(in Kelvin) - 273.15 K On the Celsius scale the freezing point of water is set at 0 °C, and the boiling point is 100 °C. Thus, the coldest temperature theoretically possible is -273.15 °C. Warning: Celsius and fahrenheit scales are not absolute scales and their conversion is ambiguous. Without additional information one cannot know if a value in celsius or fahrenheit should be interpreted as an absolute temperature or a temperature difference. That is, for any calculation involving ΔT you can use celsius and fahrenheit without problems, such as the heat calculated from a heat capacity and a temperature change, q = C ΔT. On the other hand, celsius and fahrenheit are not appropriate in any calculation requiring an absolute temperature, such as the ideal gas law, P V = n R T. In any case, the safest approach is to convert all temperatures into kelvin or rankines before using them in a calculation. If your final answer needs to be in celsius or fahrenheit, then perform this conversion at the end of your calculation. To give you some other reference points: System English-metric Conversions - Two and Three Dimensions: Volume Determination by Dimensions of Objects Using the Metric System: Density Density is a derived quantity and has the dimensions of mass/length3, and is defined as the mass per unit volume. density = mass/volume The S.I. units for density are kg/m3, but these are not very convenient units for everyday use. More common units are g/cm3 for solids g/ml for liquids g/L for gases If we know the mass and volume of a sample, then we can calculate its density. A cube of lead 3.00 cm on a side has a mass of 305.0 g. What is the density of lead? To answer this question we need to put the mass and volume of the sample into the equation above. The mass of lead is given at 305.0 g. Although we are not given the volume directly, we do know that the sample is a cube (i.e., all sides of equal length), and that length of a side is 3.00 cm . The volume of this cube would be Volume = ( 3.00 cm)3 = 27.0 cm3. Thus, the density of the cube of lead is density = mass/volume = 305.0 g / 27.0 cm3 = 11.3 g/cm3. Notice that the density is the same no matter the size or shape of the sample. Density Given Mass and Volume: Density of Object from Dimensions and Mass: Volume Given Density and Mass: Dimensions of Objects from Density and Mass: Mass Given Density and Volume: Mass of An Object Given Dimensions and Density: Comparison of Mass, Volume and Density: Density of Atomic Nuclei:	i don't know
What part of the body is affected by Cholecystitis?	Cholecystitis-Overview Cholecystitis Credits What is cholecystitis? Cholecystitis is inflammation of the gallbladder , a small organ near the liver that plays a part in digesting food. Normally, fluid called bile passes out of the gallbladder on its way to the small intestine. If the flow of bile is blocked, it builds up inside the gallbladder, causing swelling, pain, and possible infection. What causes cholecystitis? A gallstone stuck in the cystic duct , a tube that carries bile from the gallbladder, is most often the cause of sudden (acute) cholecystitis. The gallstone blocks fluid from passing out of the gallbladder. This results in an irritated and swollen gallbladder. Infection or trauma, such as an injury from a car accident, can also cause cholecystitis. Acute acalculous cholecystitis, though rare, is most often seen in critically ill people in hospital intensive care units. In these cases, there are no gallstones . Complications from another severe illness, such as HIV or diabetes , cause the swelling. Long-term (chronic) cholecystitis is another form of cholecystitis. It occurs when the gallbladder remains swollen over time, causing the walls of the gallbladder to become thick and hard. What are the symptoms? The most common symptom of cholecystitis is pain in your upper right abdomen that can sometimes move around to your back or right shoulder blade. Other symptoms include: Tenderness in the right abdomen . Fever. Pain that gets worse during a deep breath. Pain for more than 6 hours, particularly after meals. Older people may not have fever or pain. Their only symptom may be a tender area in the abdomen. How is cholecystitis diagnosed? Diagnosing cholecystitis starts when you describe your symptoms to your doctor. Next is a physical exam . Your doctor will carefully feel your right upper abdomen to look for tenderness. You may have blood drawn and an ultrasound , a test that uses sound waves to create a picture of your gallbladder. Ultrasound may show gallstones, thickening of the gallbladder wall, extra fluid, and other signs of cholecystitis. This test also allows doctors to check the size and shape of your gallbladder. You could also have a gallbladder scan , a nuclear scanning test that checks how well your gallbladder is working. It can also help find blockage in the tubes (bile ducts) that lead from the liver to the gallbladder and small intestine (duodenum). Continued How is it treated? Treatment for cholecystitis will depend on your symptoms and your general health. People who have gallstones but don't have any symptoms may need no treatment. For mild cases, treatment includes bowel rest, fluids and antibiotics given through a vein, and pain medicine. The main treatment for acute cholecystitis is surgery to remove the gallbladder (cholecystectomy). Often this surgery can be done through small incisions in the abdomen ( laparoscopic cholecystectomy ), but sometimes it requires a more extensive operation. Your doctor may try to reduce swelling and irritation in the gallbladder before removing it. Sometimes acute cholecystitis is caused by one or more gallstones getting stuck in the main tube leading to the intestine, called the common bile duct . Treatment may involve an endoscopic procedure (endoscopic retrograde cholangiopancreatography, or ERCP) to remove the stones in the common bile duct before the gallbladder is removed. In rare cases of chronic cholecystitis, you may also receive medicine that dissolves gallstones over a period of time. WebMD Medical Reference from Healthwise This information is not intended to replace the advice of a doctor. Healthwise disclaims any liability for the decisions you make based on this information.© 1995-2015 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated. Pagination	Gallbladder
Which birds gather in ‘Screaming Parties’ on summer evenings?	Gallstones Prognosis and Complications - Gallstones Health Information - NY Times Health Gallbladder In-Depth From A.D.A.M. Prognosis and Complications Gallstones that do not cause symptoms rarely lead to problems. Death, even from gallstones with symptoms, is very rare. Serious complications are also rare. If they do occur, complications usually develop from stones in the bile duct, or after surgery. Gallstones, however, can cause obstruction at any point along the ducts that carry bile. In such cases, symptoms can develop. In most cases of obstruction, the stones block the cystic duct, which leads from the gallbladder to the common bile duct. This can cause pain (biliary colic), infection and inflammation (acute cholecystitis), or both. About 10% of patients with symptomatic gallstones also have stones that pass into and obstruct the common bile duct (choledocholithiasis). Infections The most serious complication of acute cholecystitis is infection, which develops in about 20% of cases. It is extremely dangerous and life threatening if it spreads to other parts of the body (a condition called septicemia), and surgery is often required. Symptoms include fever, rapid heartbeat, fast breathing, and confusion. Among the conditions that can lead to septicemia are the following: Gangrene or Abscesses. If acute cholecystitis is untreated and becomes very severe, inflammation can cause abscesses. Inflammation can also cause necrosis (destruction of tissue in the gallbladder), which leads to gangrene. The highest risk is in men over 50 who have a history of heart disease and high levels of infection. Perforated Gallbladder. An estimated 10% of acute cholecystitis cases result in a perforated gallbladder, which is a life-threatening condition. In general, this occurs in people who wait too long to seek help, or in people who do not respond to treatment. Perforation of the gallbladder is most common in people with diabetes. The risk for perforation increases with a condition called emphysematous cholecystitis, in which gas forms in the gallbladder. Once the gallbladder has been perforated, pain may temporarily decrease. This is a dangerous and misleading event, however, because peritonitis (widespread abdominal infection) develops afterward. Empyema. Pus in the gallbladder (empyema) occurs in 2 - 3% of patients with acute cholecystitis. Patients usually experience severe abdominal pain for more than 7 days. The physical exam often fails to reveal the cause. The condition can be life-threatening, particularly if the infection spreads to other parts of the body. Fistula. In some cases, the inflamed gallbladder adheres to and perforates nearby organs, such as the small intestine. In such cases a fistula (channel) between the organs develops. Sometimes, in these cases, gallstones can actually pass into the small intestine, which can be very serious and requires immediate surgery. Gallstone Ileus. A gallstone blocking the intestine is known as gallstone ileus. It primarily occurs in patients over age 65, and can sometimes be fatal. Depending on where the stone is located, surgery to remove the stone may be required. Infection in the Common Bile Duct (Cholangitis). Infection in the common bile duct from obstruction is common and serious. If antibiotics are administered immediately, the infection clears up in 75% of patients. If cholangitis does not improve, the infection may spread and become life-threatening. Either surgery or a procedure known as endoscopic sphincterotomy is required to open and drain the ducts. Those at highest risk for a poor outlook also have one or more of the following conditions: Kidney failure Cirrhosis Over 50 years old Pancreatitis. Common bile duct stones are responsible for most cases of pancreatitis (inflammation of the pancreas), a condition that can be life threatening. The pancreatic duct, which carries digestive enzymes, joins the common bile duct right before it enters the intestine. It is therefore not unusual for stones that pass through or lodge in the lower portion of the common bile duct to obstruct the pancreatic duct. Other Complications Gallbladder Cancer: Gallstones are present in about 80% of people with gallbladder cancer. There is a strong association between gallbladder cancer and cholelithiasis, chronic cholecystitis, and inflammation. Symptoms of gallbladder cancer usually do not appear until the disease has reached an advanced stage and may include weight loss, anemia, recurrent vomiting, and a lump in the abdomen. Research shows that survival rates for gallbladder cancer are on the rise, although the death rate remains high because many people are diagnosed when the cancer is already at a late stage. When the cancer is caught at an early stage and has not spread beyond the mucosa (inner lining), removing the gallbladder (resection) can cure many people with the disease. If the cancer has spread beyond the gallbladder, other treatments may be required. This cancer is very rare, even among people with gallstones. Certain conditions in the gallbladder, however, contribute to a higher-than-average risk for this cancer. Gallbladder Polyps. Polyps (growths) are sometimes detected during diagnostic tests for gallbladder disease. Small gallbladder polyps (up to 10 mm) pose little or no risk, but large ones (greater than 15 mm) pose some risk for cancer, so the gallbladder should be removed. Patients with polyps 10 - 15 mm have a lower risk, but they should still discuss gallbladder removal with their doctor. Primary Sclerosing Cholangitis. Primary sclerosing cholangitis is a rare disease that causes inflammation and scarring in the bile duct. It is associated with a lifetime risk of 7 - 12% for gallbladder cancer. The cause is unknown, although it tends to strike younger men with ulcerative colitis. Polyps are often detected in this condition and have a very high likelihood of being cancerous. Anomalous Junction of the Pancreatic and Biliary Ducts. With this rare condition, which is present at birth (congenital), the junction of the common bile duct and main pancreatic duct is located outside the wall of the small intestine and forms a long channel between the two ducts. This problem poses a very high risk of cancer in the biliary tract. Porcelain Gallbladders. Gallbladders are referred to as porcelain when their walls have become so calcified (covered in calcium deposits) that they look like porcelain on an x-ray. Porcelain gallbladders have been associated with a very high risk of cancer, although recent evidence suggests that the risk is lower than was previously thought. This condition may develop from a chronic inflammatory reaction that may actually be responsible for the cancer risk. The cancer risk appears to depend on the presence of specific factors, such as partial calcification involving the inner lining of the gallbladder. More Information on This Topic	i don't know
What was the name of the bird killed and eaten by Captain Edmund Blackadder?	Blackadder (Series) - TV Tropes Alternate History : Most noticeably with The Black Adder, which depicts Henry Tudor as losing in the Battle of Bosworth Field, and Richard IV ruling for the next 13 years, before the eventual Henry VII rewrites the history books to scrub out Richard IV's reign. Downplayed with Blackadder II and Blackadder the Third, which does mostly follow the real path of history, albeit with a humorous spin on things. However, two major differences from real history are that Elizabeth I and the soon-to-be-George IV both got killed and replaced by Prince Ludwig and Mr. Blackadder respectively. Blackadder: The Cavalier Years for the most part follows the lead of the second and third series in putting a humorous spin on the English Civil War and the execution of Charles I, but ends by implying that the baby that in real-life became Charles II after the Restoration will end up being killed thanks to Blackadder's treachery, presumably meaning that Blackadder must have found a peasant baby to replace him. Averted by Blackadder Goes Forth which, with only two exceptions — Manfred von Richtoven and Field Marshall Haig — deals entirely with fictional characters and events within the larger setting of World War I . The sole difference between the events of the show and real-world history would be that von Richtoven got shot and apparently killed by Flashheart in 1917, rather than getting killed when his plane was shot down in 1918. Turned Up to Eleven by Blackadder Back & Forth, which gives us two alternate histories; one after Blackadder's first trip through time, in which the French conquered the UK in the 19th century, and one after Blackadder knows that he can change the present, in which the Blackadder dynasty has been in power for centuries. Artistic License ï¿½ History : Many, many examples per episode, to say nothing of the show's overall track record. But hey, Rule of Funny , people! Plus, The Black Adder can explain away its inaccuracies as Henry Tudor doing a lousy job of rewriting history (and, at a stretch, you could say that Prince Ludwig as Elizabeth I and Blackadder as George IV did something similar for the second and third series). Eliminating all artifacts from a 13-year reign would be a difficult trick to say the least. One of the reasons we know of the extremely obscure Roman emperor Elagabalus, who was declared damnatio memoriae and whose name was expunged thoroughly from official histories of the Empire, is because coinage with their face and name on it survives to the present day. And Elagabalus reigned for a mere three years. In the very last episode of the fourth series, averted. The viewers know that World War I ended in 1918, so, when Capt. Darling thinks the war has finally ended, mentioning the year 1917, it becomes clear that the characters are doomed. The Bad Guy Wins : The first series starts with the bad guy, Henry Tudor having effectively won already. Although he loses the Battle of Bosworth Field in the first episode, he eventually ends up claiming the throne thirteen years later after Percy accidentally poisons the royal family to death, then for the real kicker he rewrites the history books to erase Richard IV's reign altogether. Blackadder the Third ends with the most ruthless and evil of Blackadders usurping the identity of Prince Regent. Blackadder Goes Forth ends with all the main cast members falling victim to the madness of modern war, the real villain of this instalment. And to Melchett's questionable strategies. In contrast to the other series, the ending isn't Played for Laughs . Blackadder Back and Forth had the modern incarnation of Blackadder manipulate history via time travel to become King of the United Kingdom and making Baldrick his (puppet) Prime Minister. Blackadder: The Cavalier Years ends with Blackadder defecting to the Roundheads and ratting out both Baldrick and that baby that in real-life grew up to be Charles II. Blackadder's Christmas Carol may very well be the most extreme example: It ends with the uncharacteristically kind-hearted Ebenezer Blackadder realizing that, if he adopts the evil and selfish ways of is ancestors, his descendants will one day RULE THE UNIVERSE. If you consider the special as canon, the Blackadder family is one of the ultimate examples of this trope. Bandaged Face Bawdy Song : Several examples in certain episodes, from the second season onwards. Been There, Shaped History : Captain Blackadder from Blackadder Goes Forth is the only incarnation who isn't a friend/relative of a government figure. However, he did save Field Marshall Haig from a mango-wielding pygmy at Mboto Gorge. The intro to Blackadder: Back & Forth lampshades this with a montage of various incarnations throughout history, including an archer (accidentally) slaying King Harold at the Battle of Hastings, one (Australian) Desert Rat giving the bird to Winston Churchill behind his back and another gagging behind Margaret Thatcher giving a speech. Bestiality Is Depraved : A running gag across all four series. "Lord Melchett, Lord Melchett, intelligent and deep. / Lord Melchett, Lord Melchett, a shame about the sheep!" Becomes "BAAAAA!!!" by Goes Forth. British Brevity : Consists of four series of six episodes each, plus the occasional special. Blonde, Brunette, Redhead : Miranda Richardson's characters between season 2 and 4 Amy Hardwood (season 3, blonde) Mary Fletcher (season 4, brunette) Queenie (season 2, redhead) Buffy Speak : Several times. (Chronologically, shouldn't this be called BlackadderSpeak?) Blackadder II — Edmund is trying to avoid drinking because he Can't Hold His Liquor . Melchett: You twist and you turn like a... twisty-turny thing. Stephen Fry admitted in the 2008 documentary Blackadder: The Whole Rotten Saga that this line was a Throw It In on his part. Blackadder the Third — Edmund is attempting to bring the dim-witted Prince up to speed on the state of the nation. Edmund: Disease and deprivation stalk our land like... two giant stalking things. Bumbling Sidekick : Baldrick is a well-loved example of the trope (and indeed the former Trope Namer ), appearing from the second and subsequent series. Butt Monkey : Baldrick is probably the most obvious, but Percy, George, Darling and Edmund himself all fit the bill in some way as well. Blackadder, Blackadder — nothing goes as planned! Blackadder, Blackadder — life deals him a bum hand! Butlerspace : Baldrick does this occasionally in the first season (in which he's a Hypercompetent Sidekick instead of the bumbling slob of later episodes ). At one point he emerges from a decorative suit of armour that Edmund happens to be walking past, just as he's needed. The Chain of Harm : Discussed (and simultaneously played out) in Blackadder III: Blackadder: It is the way of the world, Baldrick: the abused always kick downwards. I am annoyed, and so I kick the cat; the cat [terrified squeaking] pounces on the mouse; and, finally, the mouse... Baldrick: [jumps in pain] Ahh!! Blackadder: ... bites you on the behind. Baldrick: And what do I do? Blackadder: Nothing. You are last in God's great chain, Baldrick . Unless, of course, there's an earwig around here that you'd like to victimise. Charlie Chaplin Shout-Out : In one episode of the fourth season Edmund is the only one who despises Chaplin, who is quite popular with all the other recruits. Near the end of the episode he is forced to project Chaplin movies for the other soldiers. This was something of an In-Joke as Rowan Atkinson is a big Charlie Chaplin fan. Characterization Marches On : As already mentioned, Blackadder was far less competent in the first series whereas Baldrick was far more intelligent. To a point, anyway; if you really look at Prince Edmund, you already start to see flashes of personality that would define his descendants (mostly in "Born to Be King", which was adapted from the pilot, in which the characters' personalities were much more in line with that of later series; Edmund's snarkiest lines are direct lifts from the pilot). Commedia dell'Arte : Edmund starts out as a Capitano character, but Series 2 Retools him as a Brighella. Baldrick is Arlecchino throughout, and Percy is a Pierrot. Commedia Dell Arte Troupe The Coroner Doth Protest Too Much : various examples, especially in the first two series, such as the (latest) Archbishop of Canterbury dying because a soldier bowed to him, "forgetting" that his helmet had a metre-long spike on it, or Edmund's predecessor as Chief Executioner, whose death was apparently a bureaucratic error, though Queenie seems to know more about it than she's letting on. Fantasised, though not acted out, by Edmund Blackadder III, when he asks "Baldrick, does it have to be this way? Our valued friendship ending with me cutting you up into strips and telling the prince that you walked over a very sharp cattle grid in an extremely heavy hat?" In the first episode of series three, Blackadder replaces the voter for Dunny-on-the-Wold after he "very sadly, accidentally, brutally cut his head off while combing his hair". Previously, the announcer (Vincent Hanna, great-great-great-grandfather of the 20th century broadcaster ) mentioned that Blackadder is also taking over the returning officer's role after he "accidentally, brutally stabbed himself in the stomach while shaving". A line from Goes Fourth provides the current page quote: Blackadder: As cunning as the fox that's just been appointed professor of cunning at Oxford University? Which gets a Call Back in Back & Forth: Baldrick: Is it as cunning as that fox what used to be Professor of Cunning at Oxford University but has since moved on, and is now working for the UN at the High Commission of International Cunning Planning? Deadpan Snarker : Blackadder in the second and subsequent seasons; also, Melchett in the second series and Darling in the fourth. Prince Edmund did show signs of this in the first series. Deliberate Values Dissonance : often the show observes differences in social attitudes during the period, relative to the modern day. For example, in "Bells" Blackadder perceives his suspected homosexuality as a disease and goes to great lengths to cure it. Meanwhile in "Dish and Dishonesty", the "Standing at the Back Dressed Stupidly and Looking Stupid Party" candidate (modelled on the real-life Monster Raving Loonies) has the "crazy" idea of abolishing slavery. Disproportionate Retribution : Often. Nearly all Blackadders have unpleasant reactions to people they find somewhat irritating. Queenie has ordered executions for celebrating Christmas (and then changing her mind and ordering them for those who don't give her impressive enough gifts). The first Edmund's scepticism of witchcraft also got him accused and tried (and almost burned) for it by a corrupt "witchsmeller". Captain Blackadder was tried in a kangaroo court and sentenced to face the firing squad. His crime? He shot and ate General Melchett's favourite carrier pigeon. Zig-zagged , as the actual reason he was arrested was because shooting carrier pigeons was declared a court marshal offence due to "communications problems" (actually Blackadder simply ignoring orders) - however it becomes immediately clear at the trial that all Melchett cares about is the pigeon. Melchett: The charge before us is that the Flanders Pigeon Murderer did deliberately, callously, and with beastliness of forethought murder a lovely, innocent pigeon. [dismissively] And disobeyed some orders as well. Downer Ending : Every series, except the third one, and possibly the second if you don't count The Stinger . The third series is also up for debate. See The Bad Guy Wins for details. Dynamic Akimbo : The title character mocks this trope when some actors teach the Prince Regent to stand thus while giving a Rousing Speech . Keanrick: Why, your very posture tells me, "Here is a man of true greatness." Blackadder: Either that or "Here are my genitals, please kick them." Economy Cast : Verging on Minimalist Cast even; Blackadder and Baldrick are the main characters, the supporting character cast is small, and there is occasionally an addition to the cast for the episode. The Evil Prince : Prince Edmund. Mr Blackadder went on to become this also, after his opportunistically usurping Prince George at the end of series three. The Black Adder: "And now, at last, I shall be King of E—" Lord Topper, the Scarlet Pimpernel: "Let me just jump into this corner first." The Original Prince George: "I'm not dead! You see, I had a cigarillo box too! ...Oh damn, I must have left it on the dresser." The Red Baron: see Evil Gloating Captain Blackadder: "Good luck, everyone." (Although it's almost "Baldrick, you're mincemeat!") High Turnover Rate : Archbishop of Canterbury in the first series, Lord High Executioner in the second. And you can probably guess who gets both those jobs, just after the High Turnover Rate is commented on in detail. Melchett : [unrolls scroll] List of candidates for the position of Lord High Executioner: Lord Blackadder... [rolls up scroll] Also, Royal Flying Corps pilots, as discussed in the fourth instalment. They are called "Twenty Minuters" because, on average, they only last twenty minutes, to the horror of Capt. Blackadder who was trying to escape trenches by transferring to the Flying Corps. Historical Beauty Update : Discussed on the trope page. Historical In-Joke : The entire premise of the show (particularly the first series) with many references helpfully explained on the DVD collection for those of us unfamiliar with British history. The best of these is the final episode of the third series, which explains why the moronic Prince George is remembered by history as a man of wit and character. Hollywood History : Mostly played for laughs — the first two series had enough history-based humour to prove the producers are well informed, after all. Blackadder the Third had a lot of Anachronism Stew with respect to the order of events in the Napoleonic Wars (and every notable 18th century writer alive and writing at the same time). Identical Grandson : Prince Edmund, Lord Blackadder, E. Blackadder Esq, Captain E. Blackadder and King Edmund Blackadder III. Also true for the Baldricks. Possibly true for Prince George and Lieutenant George. Also the Melchetts, Percys, Flashhearts and Kate (aka Bob). Many different incarnations of the main characters appear in the specials as well. Over the course of the series there have been eleven versions of Blackadder (including MacAdder), ten Baldricks, five Georges, three Queenies, five Melchetts, two Percys, three Darlings, three Flashhearts, two Bobs, two Nursies, three Mrs. Migginses (mentioned) and numerous possible links between characters (for example Percy and Darling, Melchett and Wellington etc.) Idiosyncratic Episode Naming : Titles of series 2 episodes are one word long and pertain to the subject of the episode in question ("Bells" as in wedding bells, "Chains" referring to imprisonment); series 3 uses The Noun and the Noun (to reference Sense and Sensibility and Pride and Prejudice , which are set in the same era) — for example "Dish and Dishonesty"; series 4 gives all bar one its titles military ranks with double meanings - "Private Plane," "Major Star," "General Hospital," etc- the exception being "Goodbyeee...", the last one, named after a popular World War I song and referencing the episode's famous Downer Ending . Not-So-Fake Prop Weapon Obfuscating Stupidity : Amy Hardwood and Nurse Mary Fletcher-Brown, and possibly Queenie (all played by Miranda Richardson). Oddly Small Organization : In Blackadder II, the Queen appears to have only three courtiers; in Blackadder the Third, the Prince Regent has an apparent staff of two; and in Blackadder Goes Forth, Captain Blackadder has only two men under his command. In the latter case, the full number of men under Captain Blackadder's command is revealed in the final episode, although even then it is rather small. These were mainly caused by the show lacking the budget to do the organisations justice so a suspension of disbelief is required. This is particularly evident in Back & Forth where they finally had the money to show Queenie's throne room and court in its entirety. The opening credits of "Goes Forth" at least shows Captain Blackadder at the head of a large platoon of soldiers as they're parading, and other soldiers in the trench are often referred to in conversation. One Dose Fits All : Parodied in the first series, where one of the seven plotters doesn't die of poisoned wine, has another, then dies. Only Sane Man : One of the main reasons why Blackadder is so easy to like despite his Unsympathetic Comedy Protagonist and Villain Protagonist tendencies is that he's usually one of if not the only person around who is a reasonably sensible and not completely insane human being. Even the original Blackadder, who was noticeably less intelligent than his descendants, was smart enough to notice how utterly stupid and nonsensical the medieval witch-hunts were. The effect of Blackadder being the Only Sane Man was done via the dramatic equivalent of an optical illusion on the part of Richard Curtis and Ben Elton. After what everyone felt had been a not entirely successful first season, Elton suggested making Baldrick less intelligent and Blackadder more. But since a highly intelligent protagonist doesn't necessarily make for great comedy (because such a protagonist will be too smart to let him or herself get into potentially comic situations), they decided to make Baldrick epically stupid. This made it possible for Blackadder to do stupid things — like delegate executions to Percy, or carelessly eat a random carrier pigeon — because no matter how stupidly Blackadder behaved, Baldrick was always on hand to make him look intelligent by comparison. Overwhelming Exception : The series like to play this trope for laughs in multiple different iterations and specials. For example, in Blackadder Goes Forth, when being advised how details to a secret operation must be kept very close, the question is posed who exactly will know these details, and we get this exchange: Melchett: You and me, Darling, obviously. Field Marshal Haig, Field Marshal Haig's wife, all Field Marshal Haig's wife's friends, their families, their families' servants, their families' servants' tennis partners, and some chap I bumped into the mess the other day called Bernard. Blackadder: Quite so, sir, only myself and the rest of the English-speaking world is to know. " I have a cunning plan... ." Sliding Scale of Continuity : The seasons in relation to each other are Level 0 (Non-Linear Installments), the only similarities being the basic premise of "Blackadder surrounded by idiots" (and not even that considering the first season). However, the episodes within a season can be from Levels 1-2. The Stinger : Used in every episode of The Black Adder except for "Born to be King," and then memorably after the last episode of Blackadder 2. Surrounded by Idiots : EDMUND . Suspiciously Similar Substitute : George for Percy. YMMV of whether or not he became more of an example as time went by. In Season 3, Prince George being Edmund's boss made the dynamic somewhat different, but season 4's Lt George was closer to Percy. Richard Curtis described Prince George thus: Richard Curtis: We took Percy, who hadn't been clever, and scooped out the final teaspoonful of brains, and presented Hugh Laurie. There are subtle differences between Percy and Lt George. Where Percy is arrogant, Lt George is blithe; where Percy is smug, Lt George is blandly complacent; where Percy is insecure and fears Blackadder's wrath, Lt George isn't scared of Blackadder and doesn't really understand him at all. Captain Darling in season 4 is what Percy would be like if Percy weren't desperate for Blackadder's approval. Time Travel : Blackadder Back & Forth Blackadder's Christmas Carol has no actual travel, but does show peeks into the past and future. Token Evil Teammate : The self-serving Blackadders are usually this. However, the one in Goes Fourth is more a Token Jerk Teammate as he's far less evil than his predecessors and the evil flag has been taken over by the sociopathic and incompetent General Melchett . Too Dumb to Live : Everyone who isn't Edmund. Edmund himself is more like Too Surrounded by Idiots to live : He is accidentally poisoned by Percy in Series 1; no-one is able to see through Ludvig's Queenie disguise in Series 2, not even the real Queenie; and in Series 4 he has his commanding officers like Field Marshall Haig and Melchett, who believe that the best strategy is to climb over the top and "walk very slowly towards the enemy". A strategy which has already failed at least fourteen times, no less. (Sadly Truth in Television , of course) In Series 1, even Blackadder is Too Dumb to Live . He recruits the most evil men in the entire kingdom to help him overthrow his father and seize the throne for himself, and then is entirely surprised when they turn on him to loot everything for themselves and try to brutally kill him. He actually survives that, and is the only one in the room who DOESN'T drink the poisoned wine in the toast to his survival, then when everyone else dies (and leaves him as King of England, which he has been scheming to become for the entire series) he decides to test the wine for poison by drinking it HIMSELF. Took a Level in Dumbass : Baldrick between series one and two. Took a Level in Kindness : In Blackadder the Third, Prince George is an obnoxious, piggish and over-sexed moron. In Blackadder Goes Forth, Lieutenant George is more of a naive and Spoiled Sweet Man Child . Blackadder himself get this. Unlike his power-hungry ancestors, Captain Edmund Blackadder just wants to get out of the trenches and not die. Unsympathetic Comedy Protagonist : Particularly the series three Blackadder, who is a thief and a murderer several times over by the ending. In season two, no one — including the balladeer — cares about him much: Blackadder, Blackadder — his life was almost done! Blackadder, Blackadder — who gives a toss? No one! Upper-Class Twit : Several, most notably Lord Percy Percy [second season] and Prince Regent George (the future George IV) [third season]. Not that Percy's series 1 ancestor is any better, as he appears to be quite a bonehead. Villain Protagonist : Played with in Edmund, although only the third really qualifies. Early Installment Weirdness : To those familiar with the later series The Black Adder may seem a little odd. This include the different characterisation , the larger ensemble of characters, differences in the writing ( Ben Elton replaced Rowan Atkinson as writer from Blackadder II onwards), as well as the significantly larger budget which allowed large sets, crowd scenes and location shooting. The later seasons would focus more on dialogue and characterisation. Other, minor differences include each episode having a Cold Open , usage of supernatural elements, and the characters frequently speaking in a pseudo-Shakespearian manner instead of the modern English used elsewhere. Also, this one had more of an ensemble cast. It's a bit of a shock to fans of later series to see that Tony Robinson is not actually mentioned in the opening credits but Baldrick was more of a supporting character here and it was only really from Blackadder II onwards that he was promoted to second lead. Subverted when the original pilot resurfaced. The original Edmund was the Deadpan Snarker we all know and love, and the original Baldrick (not portrayed by Tony Robinson ) was a Bumbling Sidekick . Percy... is Percy . Immune to Drugs : Sean the Irish Bastard in "The Black Seal", it takes two shots of deadly poison to put him down. "It's got a bit of a sting in its tail!" Kangaroo Court : Edmund's trial by the Witchsmeller Pursuivant is this Up to Eleven . Where to begin: Edmund's entire case is thrown out when the Witchsmeller convinces Prince Harry that they should ignore the testimony of a witch pleading for his life, Percy — who is defending Edmund — is accused of being a witch and is also ignored, and when Baldrick counters the Witchsmeller's assertion that carrots grow on trees, the Witchsmeller uses his knowledge of carrots to 'prove' Baldrick is a witch as well. He then produces a signed confession by a horse, an old woman Edmund has never met and an obvious poodle that he claims is Edmund's son. It is almost fitting to the ridiculousness of the situation that our heroes apparently escape with hitherto unused and never mentioned again magical powers of teleportation . The ending reveals that this was the work of the Queen, actually being a real witch. It is implied that the Witchsmeller Pursuivant was really a witch himself, as when he is killed the king recovers from his illness and everything goes back to normal (for them) - or possibly Edmund's mother, who likely ended the spell to keep Edmund from being thought guilty still. Large Ham : Frank Finlay as the Witchsmeller Pursuivant. Plus BRIAN BLESSED , as usual. Rik Mayall as Mad Gerald. Legion of Doom : For the end of the first series, Blackadder gathers "the six most evil men in all England!" And then they promptly betray him when they learn from Edmund just how much of a big villain The Hawk / Philip of Burgundy is. Literary Allusion Title : To The Black Arrow , an adventure novel by Robert Louis Stevenson also set in the Wars of the Roses. Magnificent Seven : Inverted in "The Black Seal" as Edmund gathers the six most evil men in England (plus himself) to take over the kingdom. And then they end up siding with Edmund's enemy, The Hawk / Philip of Burgundy. Major Injury Underreaction : The most expensive curse Baldrick has for sale ends with "may your head fall off at an inopportune moment". The Middle Ages : The setting of the first series. (See also The Late Middle Ages ) Off with His Head! : In the first episode Edmund beheads Richard III, mistaking him for a horse thief. Out-of-Context Eavesdropping : A couple of drunken templars overhear the king talking to his wife saying how satisfied he is with the current Archbishop, and won't ever again have to say "will no one rid me of this Turbulent Priest ?" Unfortunately they only hear that last part where he's quoting himself, so they go off to slay the Archbishop to get in the king's good graces. Parental Favoritism : Richard IV is so comically biased in favor of his oldest son Harry that he usually doesnt remember that Edmund exists. When he DOES remember, he treats him like something he scraped off his boot, and makes no secret about what he thinks of his sniveling toad of a son. Pet the Dog : Edmund reading a bedtime story to his child wife at the end of "The Queen of Spain's Beard". Playing Gertrude : BRIAN BLESSED , of all people. Although 19 years older than Rowan Atkinson , Blessed was only 7 years older than Robert East who played his elder son Prince Harry. Elspet Gray playing the queen was a mere 14 years older than East. Poke the Poodle : The cheapest example of a curse sold by the Church in "The Archbishop" is "Dear enemy, I curse you, and I hope that something slightly unpleasant happens to you, like an onion falling on your head". Precision F-Strike : Edmund gives one to Baldrick when they're about to be burned at the stake in "The Witchsmeller Pursuivant". Though in some versions the swear is apparently censored by a cough. Baldrick: My Lord, I have a cunning plan. Edmund: Oh, fuck off, Baldrick! Princeling Rivalry : A central theme in this series is Edmund constantly scheming to get out of the shadow of his more popular older brother, Harry, Prince of Wales, the heir to the throne of England. Retcon : What Henry VII did once he took power: erased all record of Richard IV's reign. Rhetorical Request Blunder : Richard IV was telling the story of Henry II accidentally ordering the murder of Thomas Becket to his wife to contrast the situation there with how happy he is with the current Archbishop, and a couple of Mooks overheard and decided to "help". The two of them sitting at opposite ends of a very long table contributed to the misunderstanding. He initially said "Never again will I have to say 'Who will rid me of this turbulent priest?'" (he had in fact had several of the previous archbishops murdered), but had to repeat the last bit. Robotic Torture Device : In the final episode, the Hawk straps Edmund into one of these, which ends up cutting off his ears, his hands, grinding into his crotch, trepanning his skull and tickling his armpits . Running Gag : The messenger boy mimicking Edmund's gestures. Shout-Out : Edmund's child bride in "The Queen of Spain's Beard" is called Princess Leia , and has a rather familiar hairstyle. One might be reminded of another story involving a Bastard Bastard named Edmund. Sinister Minister : Edmund himself in "The Archbishop", and Friar Bellows in "The Black Seal". Smug Snake : Prince Edmund, although his smugness tends to evaporate quickly when his schemes (inevitably) go wrong. Strange Minds Think Alike : Toward the end of "The Queen of Spain's Beard". Suspiciously Specific Denial : Edmund, when asked by his father about Richard III's death. Edmund: Well...I wouldn't know, really...I was nowhere near him at the time...I just heard from someone that he'd, uh...uh...I mean, I don't even know where he was killed...I was completely on the opposite side of the field...I was nowhere near the cottage...not that there was a cottage...it was the river...but then I wouldn't know, of course, because I wasn't there...but, apparently, some fool cut his head off!...or, at least, killed him in some way...perhaps...took an ear off, or something...yes, in fact, I think he was only wounded...uh...or was that somebody else?...yes, I think it was...why, he wasn't even wounded!...why, did someone say he was dead? Time Skip : In "The Black Seal", Edmund is trapped in a dungeon with an insane old man who laughs maniacally after Edmund asks if there's a way out. We are shown a cue card reading "Twelve Months Later". And the man is still laughing . Title Drop : Parodied in the first episode when Edmund decides to take the name of The Black... Vegetable! Fortunately Baldrick suggests a better title for the series / his Lord. Translator Buddy : The Spanish Infanta's translator (Jim Broadbent), who provides a few cheap gags. First among them, his name, Don Speekingleesh. The Unfavorite : Edmund in comparison to his (far more virtuous) brother Harry. Unusually Uninteresting Sight : Prince Harry somehow completely fails to notice that the Witchsmeller Pursuivant is on fire, until the flames cover about 100% of his body and his screaming has risen to a fairly loud volume. Edmund: Yes. And you'll have to work a bit harder too. Baldrick: Of course, my lord. Edmund: All right. Go and get Bob's stuff in and chuck your filthy muck out into the street. Baldrick: God bless you, sweet master! Admiring the Abomination : The Bishop of Bath and Wells, after learning the sordid details of Edmund's frame-up job. "Never have I encountered such corrupt and foul-minded perversity! Have you ever considered a career in the church?" Alcohol Hic : Pretty much everyone ends up drunk in "Beer" — including the Balladeer, who hiccups during his song at the end. All Devouring Black Hole Loan Sharks : The bank of the Black Monks of Saint Herod: "Banking with a smile and a stab". Anything That Moves : The baby-eating bishop of Bath and Wells will "do anything to anything": animal, vegetable, even mineral. Lord Flashheart isn't exactly selective. Flashheart: [to Baldrick] Thanks, bridesmaid, like the beard! Gives me something to hang on to! Flashheart: Nursie! I like it! Firm and fruity! Am I pleased to see you, or did I just put a canoe in my pocket! Down, boy, down! Audience Murmurs : Parodied in "Potato". Everyone on the ship is panicking / arguing except Tom Baker , who is clearly saying "Rhubarb!" over and over again. Ax-Crazy : Queenie enjoys beheading everyone and anyone for the slimmest of reasons. She just has other people do the beheading for her. Bait and Switch : Repeatedly throughout "Bells," with Edmund implying he'd love for Percy to be his best man only to supply another name at the last minute; Queenie isn't having any of that, with her screeching at Edmund until he actually puts the offer on the table for Percy. Raleigh does one in "Potato": Sir Walter: To my mind, there is only one seafarer with few enough marbles to attempt that journey. Edmund: Ah yes, and who is that? Sir Walter: Why, Rum, of course. Captain Redbeard Rum. Edmund: Well done. Just testing. And where would I find him on a Tuesday? Sir Walter: Well, if I remember his habits, he's usually up the Old Sea Dog. Edmund: Ah yes, and where is the Old Sea Dog? Sir Walter: Well, on Tuesdays he's normally in bed with the Captain. Bawdy Song : Several examples in "Beer", all of which are also Drunken Songs . See the little goblin Twice in "Bells": Blackadder kicks Percy down there, and shortly afterwards, Percy shoots Baldrick with an arrow. Also part of the plan Blackadder and Melchett use to escape their German captors in "Chains." Blackadder: Trust me to get the hard one! Have You Come to Gloat? : In "Head", the gang finds out that Lord Farrow (whom Edmund is trying to impersonate) was missing an arm. He sends Percy to speak with Lady Farrow and find out which arm, but the only idea Percy can come up with is a Something Only They Would Say test to prove that she's not just a "gloater" pretending to be a relative so she can mock the condemned man. Blackadder: "Gloaters"...you really are a prat, aren't you Percy? Hello, Sailor! : The episode "Potato" is full of jokes about gay sailors, because it revolves around explorers and sea voyages. In "Money," Baldrick winds up being pimped out to sailors down at the docks. Henpecked Husband : Lord Whiteadder appears to be this, considering that he has to sit on a spike instead of a chair — and Lady Whiteadder in turn sits on him — and seems to approve of things that his wife considers the work of Satan. One can imagine that he took his vow of silence just to give his wife fewer excuses to slap him around. The opening of "Money": Edmund: [to Baldrick, who has just been kicked through a door] Yes, Baldrick, what is it now? Baldrick: It's that priest, he says he still wants to see you. Blackadder: And did you mention the baby-eating Bishop of Bath and Wells? Baldrick: Yes, my Lord. Blackadder: And what did he say? Bishop: [from offscreen] He said "I AM the baby-eating Bishop of Bath and Wells!" Lord Flashheart's entrance to Blackadder's wedding, where he sets off a bomb, swings in, takes the bride, chucks another bomb and promptly leaves. In My Language, That Sounds Like... : Edmund falls prey to the English-Spanish "embarrassed is tener vergüenza but embarazada means pregnant" while under interrogation by the Spanish Inquisition torturer in "Chains". Insult Backfire : In "Beer", two incidents involving Lady Whiteadder: Lady Whiteadder: Has anyone ever told you you're a giggling imbecile? Lord Percy Percy: [completely nonchalant] Oh yes. Lady Whiteadder: ... good. No Indoor Voice : Flashheart, Captain Rum and the Bishop of Bath and Wells. Noodle Implements : Averted with Blackadder's plan to get out of debt in "Money": Blackadder: All I need is some feathers, a dress, some oil, an easel, some sleeping draught, lots of paper, a prostitute and the best portrait painter in England! Turns out he drugged the Bishop, put him in a compromising position, painted the scene, and used it to blackmail the Bishop. Noodle Incident : In Potato it is revealed a horse was elected Pope. The details of this vibrant, dynamic and exciting Papacy has sadly been lost to history. (Of course, this is coming from Baldrick, who may not be a reliable source.) Off with His Head! : Standard procedure for traitors, heretics, and anyone who mildly annoys the Queen—she frequently threatens to behead her courtiers. The episode "Head" has Blackadder serving as Lord High Executioner, and he jams as many beheadings as he can at the start and the end of the week to have Wednesday off. Oh Crap! : Twice from Edmund in "Head," first when Queenie decides to visit a man Blackadder had executed ("if she sees his head on a pike, she'll realize... he's deeeeaaaaad!") and shortly after when we learn that Baldrick actually had another man killed, whom Queenie then wants to see ("when she comes back from seeing him... oh, God!"). Shaped Like Itself : When Blackadder asks the Young Crone how to find the Wise Woman in "Bells": Young Crone: Two things must ye know about the Wise Woman! First... she is...a woman! And second, she is... Blackadder: Wise? Young Crone: You do know her then? Again in "Money," when Percy attempts to use alchemy to create gold but ends up with a lump of green something. Quote the Blackadder: "I don't to be pedantic or anything, but the colour of gold... is gold. That's why it's called gold." Another in "Potato" is when Percy announces that Mrs. Miggins is going to bake a commemorative pie in the shape of an enormous pie. In "Bells", Blackadder says "Come, Kiss Me Kate !" Also, in "Bells", it seems like giving Nursie the real name "Bernard" is to set up the joke "Oh, shut up, Bernard," which everyone at the time of airing (1986) would have recognized as a reference to Yes, Minister . The snake crawling across the table in the opening credits, apart from being a Visual Pun on "Blackadder", may also be a parody of I, Claudius 's opening titles. Sinister Minister : The Baby-Eating Bishop of Bath and Wells. Smoking Hot Sex : In "Bells", after "Bob" reveals her actual gender by flashing her boobs at Edmund, we jump ahead to two minutes later...and they're sitting together smoking old-time churchwarden pipes. Speech Impediment : Partial meta example — Rowan Atkinson has a stutter, especially having trouble with words that begin with hard consonants such as "Bob". This gives us his wonderful plosive pronunciation of "Bobb", which Stephen Fry has on record described as "sexy". Spoof Aesop : The closing ballads occasionally fall into this category with such valuable pieces of advice as 'Don't borrow money from a homicidal omnisexual bishop' and 'Don't try and take over the throne of England'. Spotting the Thread : When Prince Ludwig, something of a master of disguise, tries to infiltrate Queen Elizabeth's dress party disguised as Nursie dressed as a cow. He is found out because his costume is too good; Nursie has some... interesting interpretations of how a cow should look. To quote: "Prince Ludwig is a master of disguise, while Nursie is an insane old woman with an udder fixation." The Stinger : The final episode of the season reveals that Prince Ludwig had disguised himself as the Queen to Kill 'em All and usurp her place. Buffy Speak : Blackadder: "Disease and depravation stalk our land like... two giant... stalking things." Also: "We're about as similar as two completely dis-similar things in a pod." In "Ink And Incapability", Baldrick describes the dictionary as "the big papery thing tied up with string" and Dr. Johnson as "the batey fellow in the black coat who just left". Blackadder follows up with saying that "the booted bony thing with five toes on the end of my leg will soon connect sharply with the soft dangly collection of objects in your trousers!" The Cameo : Vincent Hanna, a reporter known for his coverage of by-elections, appears as his own ancestor, covering a by-election. Captain Morgan Pose : The actors teach The Prince Regent to do a pose while they are training him in public speaking, though he fails utterly. The Coroner Doth Protest Too Much : The returning officer and lone voter in Dunny-on-the-Wold apparently died, respectively, from accidentally brutally cutting his head off while combing his hair, and accidentally brutally stabbing himself in the stomach while shaving. Couch Gag : The book Edmund finds in the opening sequence differs each episode, with the cover having the episode's title and an illustration pertaining to it as well. Creator Cameo : The anarchist who attempts to assassinate Prince George in "Sense and Senility" is played by series co-writer Ben Elton. Cut His Heart Out with a Spoon : "Baldrick, believe me. Eternity in the company of Beelzebub, and all his hellish instruments of death, will be a picnic compared to five minutes with me... and this pencil... if we cannot replace this dictionary." Death by Sex : Prince George in "Duel and Duality", despite Blackadder's best efforts to prevent it. Blackadder: Baldrick, have you no idea what irony is? Baldrick: Yes, it's like goldy and bronzy only it's made out of iron. Duel to the Death : "Duel and Duality" is a convoluted attempt to prevent the Prince from having to fight one with Wellington after he slept with Wellington's nieces. Election Day Episode : "Dish and Dishonesty" is about a by-election in an obscure rotten borough that Blackadder and the Prince Regent have managed to gain control of, putting forward Baldrick as their candidate as someone who can be relied on to vote as the Prince desires. The sole voter in the borough is one E. Blackadder, following the unfortunate accidental beheading of the previous voter. Election Night : "Dish and Dishonesty" features one of the definitive parodies of TV election coverage. Mr. Fanservice : Hugh Laurie in make-up and tights has been known to make a lot of straight women (and a few lesbians) perk up. Face Palm : Blackadder, when Lord Topper reveals his disguise. Fictional Political Party : Going hand-in-hand with the Election Night trope (above), the episode "Dish and Dishonesty" uses these, too, in its parody of British election conventions. After the constituent of rotten borough Dunny-on-the-Wold (consisting of nothing more than a tiny plot of land, many farm animals and only one voter) suddenly died, Prince Regent and Blackadder decide to run Baldrick as their own candidate and tip Parliament in their favor. Baldrick runs on behalf of the "Adder Party", a name which becomes much more appropriate when it turns out that Blackadder was both the borough's Returning Officer and lone voter after both died in freak "accidents". Other fictitious parties on the ballot included "Keep Royalty White, Rat Catching and Safe Sewage Residents' Party" and the "Standing at the Back Dressed Stupidly and Looking Stupid Party" (whose party line stands for "the compulsory serving of asparagus at breakfast, free corsets for the under-fives and the abolition of slavery " - though the last one was just put in as a joke). The last two are a Shout-Out to two real minor perennial candidates at British elections at the time the show was broadcast — Bill Boaks, who usually stood as something like "Democratic Monarchist Road Safety White Resident", and Screaming Lord Sutch of the Official Monster Raving Loony Party (which, in their heyday of the 70s and 80s, proposed ludicrous policies. By the 2010s, a couple of them had actually been proposed and enacted by the government - much like the reference to the abolition of slavery was implied to be ). Foreshadowing : Amy Hardwood comes to Blackadder's attention by spending lots of money, but then it turns out her family's stone broke. Where did all that cash come from? Gender-Blender Name : Blackadder's cousin MacAdder named his daughter Angus. Groin Attack : Blackadder tells Baldrick that if he doesn't tell him where the dictionary is, he will give him one of these, using Buffy Speak . Have a Gay Old Time : When Blackadder suggests the Prince marry to get more money, he objects, starting by saying he's "a gay bachelor". Her Code Name Was "Mary Sue" : Blackadder's novel Edmund: A Butler's Tale sounds like this, based on what he tells Baldrick about it. Baldrick's novel (or "Magnificent Octopus") also has elements of this: "Once upon a time there was a lovely little sausage called Baldrick, who lived happily ever after." Human-Interest Story : Made fun of in "Dish and Dishonesty" as Blackadder reveals to Prince George of bad news he saw in the morning papers. Blackadder: Sir, if I may return to this urgent matter, I read fearful news in this morning's paper. Prince George: Oh no. Not another little cat caught up in a tree! Identical Grandson : In addition to the previously mentioned usage, this series features Blackadder's Scottish cousin MacAdder , played by Atkinson in a curly red wig, a kilt and a deliberately bad accent and Vincent Hanna playing "his own great great great grandfather". Informed Attribute : Done deliberately — Blackadder and Baldrick both reference Prince George's disgusting obesity — as the historical figure indeed was — even though he's played by the lanky Hugh Laurie. Inter-Class Romance : From the episode "Amy and Amiability": Hardwood: Can it be possibly true? Surely love has never crossed such boundaries of class? [clutches Amy's hand] Amy: But what about you and Mum? Hardwood: Well, yes I grant thee when I first met her I was the farmer's son and she was just the lass who ate the dung, but that was an exception. Amy: And Aunty Dot and Uncle Ted. Hardwood: Yes, yes; all right, he was a pig poker and she was the Duchess of Argyle, but— Amy: And Aunty Ruth and Uncle Isiah; she was a milkmaid and he was— Hardwood: The Pope! Yes, yes, all right. It's Not Porn, It's Art : Keanrick and Mossop's play—The Bloody Murder of the Foul Prince Romero and His Enormously-Bosomed Wife. Blackadder: A philosophical work, then. Mossop: Indeed yes, sir. The violence of the murder and the vastness of the bosom are entirely justified, artistically. Leaning on the Fourth Wall : During the episode 'Duel and Duality'. Blackadder: I want to be remembered when I'm dead. I want books written about me. I want songs sung about me. And then, hundreds of years from now, I want episodes of my life to be played out weekly at half past nine by some great heroic actor of the age . George: As a matter of fact, they do often — Blackadder: [angrily] No, NO! Not Quite Dead : Turns out George has a cigarillo case just where he was shot. Unfortunately, he left it at the dresser. Obfuscating Stupidity : Amy Hardwood, who pretends to be an airheaded and child-like woman, but is actually a ruthless highwayman. In "Nob and Nobility", Topper and Smedley act like two Upper Class Twits , but turn out to be The Scarlet Pimpernel . Blackadder when Baldrick appears to have burnt the dictionary. Blackadder at the end of "Nob and Nobility" when Frou Frou is revealed as Topper in disguise. Perfectly Cromulent Word : Contrafribularites, anispeptic, frasmotic, compunctuous and pericombobulation. Plus interphrastically, pendigestatery, interludicule, velocitous, and extramuralization. Sausage? SAUSAGE!. Oh, and aardvark. Phony Newscast : Vincent Hanna (a BBC election correspondent at the time of filming) appears as "his own great-great-grandfather", reporting on the Dunny-on-the-Wold by-election for The Country Gentleman's Pig Fertilizer Gazette. This is treated exactly as a TV broadcast (although he is broadcasting out of the window to the crowd), even though it's set in the 18th century. The Pirates Who Don't Do Anything : One plot in 'Dish and Dishonesty' revolves around Edmund getting the Member of Parliament with the worst attendance record — Sir Talbot Buxomley, MP for Dunny-on-the-Wold — to turn up to work and vote in the Prince Regentï¿½s (Read: Edmundï¿½s) favour. Edmund recalls that the one time Sir Talbot did manage to attend the House of Commons ï¿½He passed water in The Great Hall and passed out in the Speakerï¿½s chair.ï¿½ note It would have been better if he'd done it the other way round. Sleeping in Parliament, even in debates, was not uncommon right up until it was televised in the 1980s (and for a short time afterwards. The Speaker's chair, meanwhile is equipped with a chamber pot and curtains to accommodate exactly the need in which Sir Talbot found himself. Admittedly it's intended for the use of the Speaker, without whose presence Parliament can't sit but still. Playing Cyrano : Blackadder acts as this to Prince George in "Amy and Amiability", although he thinks she's disgustingly twee until he finds out she's the Shadow. Pocket Protector : Parodied in "Duel and Duality," in which a cigarillo case stops a cannonball. And parodied again when shortly afterwards Prince George also gets shot, seems to die, wakes up shouting he also has one... then realizes he left his on the dresser. THEN he dies . Royal Brat : Prince George Samus Is a Girl : And the Shadow is Amy Hardwood. Combined with Vocal Dissonance , as she does a very convincing deep masculine voice. The Scottish Trope : "Sense and Senility": the two actors have to perform a silly, overly-long superstitious ritual to exorcise evil spirits whenever Blackadder says "Macbeth". Exactly how the ritual goes is a subject of hot debate in the fandom as Angrish makes the words unclear: one suggestion is "Aargh! Hot potato, orchestra scores, plucked to make amends (HONK!)" This is accompanied by a brief game of patty-cake, spinning their arms like wheels, and then honking each others' noses; as the episode progresses, Mossop starts whining and gingerly petting his nose. Sequential Symptom Syndrome : In "Nob and Nobility", someone (The Scarlet Pimpernel) takes a suicide pill and recites his own symptoms as he experiences them. Hilariously, he didn't realise that he had taken it, and was completely unaware of the symptoms, himself. It was probably the forgetfulness. Servile Snarker : Blackadder the Third embodies this. Shout-Out : To Jonathan Swift's A Modest Proposal in the segment where Prince George and Blackadder are discussing poverty in "Sense and Senility". Keenick and Mossop's extremely violent play full of gore and cheesecake titillation involves a character named "Prince Romero" . Blackadder's false account of his adventures in France includes breaking into Robespierre's bedroom to leave a box of chocolates and an insulting note. At the time of the original broadcast, a series of well-known TV advertisements for chocolate featured a James Bond Captain Ersatz going to enormous lengths to leave the product in his lady love's bedroom. Stars Are Souls : Baldrick seems to believe this when George dies. Of course, he also believes in a giant pink pixie in the sky. Baldrick: There's a new star in the heavens tonight. Another freckle on the nose of the giant pixie. Stupid Boss / Too Dumb to Live : Prince George actually seems dumber than Baldrick, who considers him "a clot". Also too dumb to live are Topper and Smedley; Blackadder even lampshades the stupidity of accepting wine from someone who thinks you are about to torture or disgrace him. In "Corporal Punishment": Blackadder: So, Counsel, with that summing up in mind, what are my chances, do you think? George: Well, not good I'm afraid. As far as I can see from the evidence, you're as guilty as a puppy sitting beside a pile of poo. Blackadder: [bitterly] ...Charming. While it's not intentional, Blackadder is mighty amused when Melchett says his new girlfriend (actually George in drag) has " more spunk than most girls ". Amoral Attorney : Blackadder wants to hire a very good one for his court-martial. Edmund: I remember Massingbird's most famous case — the Case of the Bloody Knife. A man was found next to a murdered body. He had the knife in his hand, thirteen witnesses had seen him stab the victim and when the police picked him up he said to them, 'I'm glad I killed the bastard'. Massingbird not only got him acquitted, he got him knighted in the New Year's Honour's list and the relatives of the victim had to pay to have the blood washed out of his jacket. Anachronism Stew : In "General Hospital" Blackadder refers to the universities of Oxford, Cambridge and Hull. University College, Hull was not founded until 1927 and did not become the University of Hull until 1954. Then again, it was a trick statement of sorts... Melchett: That's right, Oxford's a complete dump! Analogy Backfire : For Darling, when trying to convince Blackadder that he is not a spy in General Hospital: Darling: ...I'm as British as Queen Victoria! Blackadder: So, your father's German, you're half-German and you married a German?note In fact, although Queen Victoria was indeed half-German, it was her mother Princess Victoria of Saxe-Coburg-Saalfeld who was German. Her father Prince Edward, Duke of Kent and Strathearn, while a fourth-generation German immigrant, was English by birth, upbringing and culture. Armchair Military : Melchett, and also Darling — until the last episode. It's notable that Darling enjoys his easy assignment and is trying to get an even easier one in the Royal Women's Auxiliary Balloon Corps. Arson, Murder, and Jaywalking : "The blood, the noise, the endless poetry!" "Went to one of the great universities, I suppose. Oxford...Cambridge...Hull." This turned out to be a test. I mean, Oxford's a complete dump! Inverted in "Corporal Punishment" where Melchett opens the court-martial of Blackadder by ranting at length about how he shot Melchett's prized pigeon, Speckled Jim, and then lists the most serious charge (disobeying orders) as an afterthought. Attractive Bent-Gender : When George disguises himself as Georgina, not only Melchett falls in love with him, but he becomes quite a successful primadonna. Badass Mustache : General Melchett is hardly a badass, but damn if his lip-cover isn't an impressive specimen! Bait the Dog : Melchett has a habit of doing this. While he seems amusing and likable at first, he turns out to really be The Sociopath who is too wrapped up in his fantasy world that War Is Glorious to see that he is sending countless men to their deaths, including those of the main characters themselves, showing how little he really cares about any of them. Bawdy Song : Melchett and George's version of "Row, Row, Row Your Boat". Row, row, row your punt, Gently down the stream! Character Tics : BEEEEEHHHHHHHHH! Captain Kevin Darling's eye-twitch was such a part of his character that Tim McInnerny had trouble getting rid of it when shooting was finished. Charge-into-Combat Cut : One of the most famous examples of this trope, in which the scene fades from Blackadder and co. charging over the trench to a field full of poppies. Chekhov's Gun : Baldrick's Lethal Chef tendecies are mentioned early on in "Captain Cook", and when Baldrick mentions them again near the end, it gives Blackadder a Eureka Moment and he uses them to get himself, George and Baldrick out of the big push. Comically Missing the Point : In the final episode, Darling begs Melchett not to send him to the front lines because he doesn't want to die; Melchett just thinks Darling is getting sentimental and saying "I'll miss you too much". Of course, considering what happens next , "comical" might not be the right word ... On a brighter note, when Blackadder is looking for a female act for he show, he suddenly remembers and summons Bob (who had disguised herself, very poorly as a man). George chimes in "Of course, Bob! Can you think of anyone to be in Blackadder's show?" Complaining About Rescues They Don't Like : Blackadder is captured by the Germans, where they plan to take him away from the battlefield and force him to teach home economics to German schoolgirls. Needless to say he's not best pleased about Flashheart turning up and hauling him back to the trenches. Creator In-Joke : In "General Hospital", Blackadder says that he tricked Nurse Mary by naming three great universities (Oxford, Cambridge and Hull), when in fact only two of them are great. Melchett responds "Quite — Oxford's a complete dump!" Rowan Atkinson attended Oxfordnote As did Tim McInnerny (Darling) and series writer Richard Curtis, while Stephen Fry attended Cambridge note As did Hugh Laurie (George) and series producer John Lloyd, the two universities having a centuries-long rivalry. Credits Gag : Every member of the production crew is given made up ranks and serial numbers. Cue Card Pause : In "Corporal Punishment", George runs afoul of this with his summation. Disguised in Drag : George, in "Major Star", leading to Attractive Bent-Gender when Melchett falls for "Georgina". Disproportionate Retribution : While shooting pigeons is a court-martial offence, Melchett takes the issue Up to Eleven , labeling Edmund as "The Flanders Pigeon Murderer". Distinction Without a Difference : "No, George, it's not a good old service revolver, it's a brand-new service revolver." Drama Bomb Finale : In a rare highly successful example at the very end of season four. Downer Ending : Series four finale; even more remarkable is that the same basic ending was played for laughs in series one and two. Reality Subtext is to blame for the Mood Whiplash . To put it into perspective, it aired 10 days before Remembrance Sunday with no complaints whatsoever. (Well, almost none - one woman wrote to the Radio Times to ask why a comedy would want to show people the terrible things that happened, reminding her of her own husband. Another woman wrote in to Points of View thanking them for such a beautiful tribute.) Though the original ending planned, as seen here , wasn't nearly as dramatic or moving — general consensus is that it was a good thing they changed it. Dumbass Has a Point : Baldrick asks why the war started in the first place, and then asks why everybody doesn't just pack up and go home, as they clearly aren't accomplishing anything in the trenches, other than a lot of people getting killed. Even Blackadder's wit fails him, and he is unable to give an answer. Entertainingly Wrong : Blackadder deducing Nurse Mary is a German spy. His reasoning is perfectly sound and the suspect had already admitted to using Obfuscating Stupidity in front of others. Unfortunately for them both the true 'spy' was someone else altogether: Mary was completely innocent; it was George sending apparently not-properly-censored letters to his German uncle all along. Everyone Has Standards : Even Flashheart is disgusted by Darling's refusal to rescue Blackadder in "Private Plane", so he headbutts him and knocks him out . Melchett may be the Big Bad and The Neidermeyer , but he won't tolerate Blackadder being rude to a lady, as he puts it, when Blackadder accuses Nurse Mary of being a German spy. She isn't. Head Desk : Blackadder's reaction to Baldrick's, quite literally, denying everything - including that his name was Baldrick . Heroic B.S.O.D. : George, after he bungles Blackadder's court martial and gets him sentenced to firing squad. Hope Spot : The final episode is one series of these after another. First, there's Blackadder's decision to feign madness by putting underpants on his head and sticking pencils up his nose: he's absolutely convinced that this will work. Then, when this is foiled by Melchett's overheard remark that he hopes Blackadder hasn't just decided to feign madness by putting underpants on his head and stuck pencils up his nose, Blackadder realises that he can call in a favour from Haig, whose life he saved during the Boer War. This Hope Spot lasts until he actually calls Haig, and Haig agrees to save his life; he duly advises Blackadder to put underpants on his head and stick pencils up his nose. "They'll think you're mad. There, favour returned." In the last moments, just before being sent over the top, all the guns go quiet, and George, Baldrick and Darling all assume that the war must have ended: Darling: Thank God! We lived through it! The Great War, 1914 to 1917 ! George: Come on, Baldrick, can't you be a bit more helpful? It's me! Baldrick: No, it isn't! Insane Troll Logic : Anything Melchett says to justify his tactics. Blackadder: It's the same plan that we used last time, and the seventeen times before that. Melchett: E-E-Exactly! And that is what so brilliant about it! We will catch the watchful Hun totally off guard! Doing precisely what we have done eighteen times before is exactly the last thing they'll expect us to do this time! There is however one small problem. Blackadder does this when interrogating potential spy suspects. Edmund: I asked if he'd been to one of the great universities: Oxford, Cambridge, or Hull... you failed to spot that only two of those are great universities. Edmund: The first rule ... is to suspect everyone... I shall be asking myself pretty searching questions later on... What is the colour of the Queen of England's favourite hat? I Owe You My Life : Apparently Blackadder had saved Field Marshal Haig's life at Mboto Gorge and was told to call if he ever needed a favour. Unfortunately, when he does so to try and get out of the Big Push in "Goodbyeee", the best Haig can do is to suggest he feign insanity... which Blackadder had already tried to no avail. It should also be pointed out that Blackadder "saved" him from a "pygmy woman with a sharp mango". I Want My Mommy : When Captain Blackadder and Baldrick are in the hands of the Germans: Baldrick: I want my mum. Blackadder: Yes, a maternally outraged gorilla would be a useful ally. Jerk with a Heart of Gold : Blackadder, to a very slight extent. He's still not remotely a nice person, but he can bring himself to feel sympathy for Darling and wish the others good luck in the final episode. Despite being a soldier, he is the only Blackadder in the four seasons not to commit murder — unless you count Speckled Jim. Though it is mentioned that he has done in the past, at Mboto Gorge. According to Darling, they "massacred the peace-loving pygmies of the Upper Volta and stole all their fruit." He also seems genuinely horrified when he learns he's sent an innocent woman to the firing squad in "General Hospital"; hard to imagine his heartless Regency ancestor being so shaken. He is genuinely complimentary regarding George's painting ability too (though planning to use it for his own ends). Sincere compliments from a Blackadder are as rare as something very rare indeed. Blackadder: George! These are brilliant! Why didn't you tell us about these before? George: Well, you know, one doesn't want to blow one's own trumpet. Blackadder: [impressed] You might at least have told us you had a trumpet. It's worth noting that this Blackadder, in contrast with his forebears, is uninterested in scheming his way to power or wealth. He's merely trying to save himself . Too bad Failure Is the Only Option . Kangaroo Court : Blackadder's court martial in "Corporal Punishment" was this. The judge and prosecutor both have clear conflicts of interest in the trial, to the point where the judge is actually called to testify for the prosecution, while Blackadder's defence attorney (George) gets fined £50 for turning up. Surprisingly, though, the Minister of War realizes that the whole trial was a farce, and reverses the decision. Kick the Dog : A three-layered version of it that happened in the past. When George was six, he got a rabbit called Flossie. Melchett first set his dog on Flossie, then ran him over with his car, and finally shot him. Kick the Son of a Bitch : Flashheart is hardly the nicest of men, but even he is disgusted by Darling's refusal to rescue Blackadder after he crashes his plane, so he headbutts Darling and knocks him out. Lame Pun Reaction : Blackadder manages a look of unparalleled contempt while his own firing squad are providing such gems as assuring him that they aim to please. Lethal Chef : Baldrick. Most of his recipes that don't involve rat, involve the bodily outputs of various animals. In his defence on one point, Blackadder's unit hasn't had coffee since 1915, forcing Baldrick to improvise with mud. Mad Brass / General Failure : General "Insanity" Melchett. Also Field Marshall Haig, seen knocking toy soldiers into a trench, then sweeping them up into a dustpan and dumping them on the floor. Miles Gloriosus : George is very gung-ho about the war and can't wait for the "big push" and the chance to give the Huns what for... until the end of the final episode, when he realizes he doesn't want to die. The Mole : "General Hospital" involves the search for a German spy who's apparently leaking battle plans from a field hospital. It actually turns out that patient George is inadvertently doing this in letters to his Uncle Hermann in Munich. No Indoor Voice : Flashheart. Noodle Incident : Blackadder presents one at the end of "Captain Cook": namely, how did Baldrick get so much "custard" (vomit) out of such a small cat? We'll never know. No Sell : When Melchett doesn't fall for Blackadder's "insanity" ploy , it becomes clear that things are not going to end well. Obfuscating Insanity : Briefly attempted by Blackadder in "Goodbyeee", until he overhears Melchett tell the others that he had to shoot an entire platoon for pulling the same stunt. Of course, as he trenchantly observes at the end, it probably wouldn't have worked anyway. " I mean, who would have noticed another madman around here? " Obfuscating Stupidity : George might be an example of this, as in "Private Plane" he demonstrates a distressing combination of wooden-headed stupidity and remarkably keen insight. Melchett: Do you remember what happened to Flossie? George: You shot him. Melchett: That's right. It was the kindest thing to do after he'd been run over by that car. George: By your car, sir. Melchett: Yes, by my car, but that too was an act of mercy when you remember that that dog had been set on him. George: Your dog, sir. An example that further drives the point home is in the final episode, where George's bubbly nature shows the biggest cracks seen in the entire series when he realizes that he's the only one of his friends still alive after joining the army, and that he's genuinely terrified of going over the top. George: I'm...scared, sir. Nurse Mary, in "General Hospital", uses a mild version of this. ("My fluffy-bunny act", as she calls it.) Oh Crap! : Captain Darling's face when he realises Melchett is sending him to the Front, just in time for a major offensive. Melchett, of course, only thinks that Darling is reluctant to leave him, even when Darling gets down on his knees and just about begs. And then there's the scene where Blackadder is in court and he realises who the judge is... Blackadder: I wouldn't be too confident if I were you. Any reasonably impartial judge is bound to let me off. Darling: Well, absolutely... Smug Snake : Captain Darling. Soldiers at the Rear : Darling is happy to be General Melchett's aide-de-camp because that way he doesn't have to be in the trenches. In the last episode he gets sent there anyway. Sudden Downer Ending : Blackadder Goes Forth is set in the trenches of WWI, and the writers didn't want to be accused of making light of one of the most tragic moments in British history, so the last episode becomes steadily more serious and sombre as all of the characters but General Melchett (and he's quite oblivious to sending Darling to his doom) are ordered over the top in what is assumed to be a suicide charge. While the cast are all shown to have died in The Black Adder and Blackadder II, this time it's not played for comedy at all. Suspiciously Specific Denial : "We haven't received any messages and Captain Blackadder definitely did not eat this delicious plump breasted pigeon." Sweet Polly Oliver : Bob, in "Major Star". Subverted in that absolutely no-one but the General is remotely fooled, and in a later episode she is wearing a female uniform and openly sleeping with Flashheart despite still using the identity. Take That : Blackadder tells George that he finds Charlie Chaplin 's films "about as funny as getting an arrow through the neck and discovering there's a gas bill tied to it". Which is even more Hilarious in Hindsight , given the obvious debt that Rowan Atkinson 's subsequent series owed to Chaplin's brand of humour. Given that Chaplin gets his own back at the end of the episode (by agreeing to free distribution of his films among the British Army on the proviso that Blackadder is the projectionist), this may be more an affectionate homage than anything else — every other character loves Charlie Chaplin. It's also a running joke throughout all the series that Blackadder hates any character considered by modern day to be a genius; Shakespeare, Walter Raleigh, Samuel Johnson, etc. Unfortunate Item Swap : In "Corporal Punishment", Blackadder writes two letters — one asking George for a sponge bag, another asking the brilliant lawyer Hugh Massingbird for legal aid. Of course, Baldrick gets the letters mixed up. A more fortunate version occurs later that episode, when Baldrick delivers George's letter to his mum to Blackadder instead; reading the letter tells Edmund that George's uncle has just been appointed Minister of War, which they try to use to get Edmund pardoned. Unfortunate Names : Captain Darling. The creators said that as soon as they came up with the name for him, he went from a totally empty character to one who'd been steeped in a lifetime's worth of bitterness and resentment from being called "darling" by everyone. Blackadder takes great pleasure in doing this himself, except in the final episode when Darling has been sent to join them in the trenches and Edmund actually calls him "Captain" respectfully. Unishment : Baron von Richtoven's threat to force Blackadder out of the trenches and into a German girls' school for the rest of the war is designed to be unbearable for an honourable Brit. Of course, Blackadder isn't one of those. Unwanted Rescue : Unfortunately for Blackadder and Baldrick, George and Flashheart soon turn up to "save" them. Flashheart actually works out that they were trying to get away from the front and forces them both to come with him. Verbal Tic : General Melchett's trademark "Baa!" has been variously attributed to madness, asthma and an ancestor's illicit relationship with Flossie the sheep. Stephen Fry has said it really originated from his imagining that Melchett had haemorrhoids and would yell out every time he sat down or got up. War Is Hell : Blackadder's main goal in this series, as opposed to the power grabbing his ancestors have attempted, is simply to survive the war by getting out of the trenches. The final episode really hammers the point home, especially with the Tear Jerker Downer Ending . Baldrick: Maybe the war's over? Maybe it's peace. Darling: Thank God. We lived through it. The Great War, 1914 to 19 17 . In the scene just prior: George: Well, really, this is brave, splendid and noble... Sir? Blackadder: Yes, Lieutenant? George: I'm... scared, sir. Indeed, the Mood Whiplash of the final episode can be pinpointed to Blackadder's exchange with Darling. Blackadder: How are you feeling, Darling? Darling: Erm, not all that good, Blackadder. Rather hoped I'd get through the whole show ; go back to work at Pratt & Sons; keep wicket for the Croydon gentlemen; marry Doris... Who's on First? : Captain Darling gets this a lot. In particular, "Major Star" has a scene where General Melchett is rehearsing what he's going to say to his current crush (who's actually George in a dress) in front of Captain Darling, repeatedly referring to "Georgina" as "darling". Call Back : In Blackadder Back & Forth Baldrick references Blackadder's " Cunning Like a Fox " line from Goes Fourth, revealing that said fox has apparently since moved even further up in the world. In the same film, Blackadder's appearance, personality and social standing are all consciously modelled after the Blackadder II incarnation of the character, who is generally considered the most iconic of the four television Blackadders. Canis Latinicus : Melchett's Roman incarnation renders his usual "Beeeeh!" catchphrase as "Beeeeeh-us." The Cavalier Years Credits Gag : In Back in Forth, the dinosaur is played by "Tyrannosaurus Rex" and the Scottish Hordes are played by "Hordes of Scots." Decapitation Presentation : Cavalier Years: Baldrick's cunning plan to substitute a pumpkin instead of a head sort of fell apart when this moment came. Extreme Doormat : Actually Blackadder himself in Christmas Carol, starting off as kindy generous soul (who is naturally endlessly exploited for charity). A visit from a Christmas Spirit inadvertently reveals his legacy will be destroyed due to his meekness, leading him to become an even crueller schemer than his ancestors. Evil Laugh : Nursie delivers one after Melchett gets his death warrant. Fan Disservice : Both Blackadder and Baldrick in Space Opera Go-Go Enslavement gear in the two alternate futures of Christmas Carol. And the modern day Baldrick in Back and Forth wearing his novelty plastic apron. Foreshadowing : In Blackadder Back And Forth, Lady Elizabeth and George remarking that "You can't see something that's already happened!" "Unless you're on the lavatory." foreshadows Baldrick's cunning plan to get himself and Blackadder back to 1999, where Blackadder almost drowns Baldrick in the toilet so his life will flash before his eyes, causing him to remember the position of the knobs and levers when they first set off, and enable him to get them home. Four-Star Badass : One future Blackadder is the ruthless and brilliant Admiral of a thinly-disguised version of the Empire . He seizes power. Genius Ditz : Back & Forth's Baldrick embodies this trope far more than any previous Baldrick. He's dumb as a post, but somehow manages to build a working time machine. It's worth mentioning that he was tasked with building a fake time machine. Grand Finale : Blackadder Back & Forth is written as being this to the whole series, with the idea of any further entries being humorously Jossed in the end credits with the line "Blackadder Back & Forth 2... coming Summer 3000!" Hot Consort : Marian in Blackadder Back & Forth, to King Edmund III. To be expected, given she's Kate Moss . Shout-Out : One of Queen Asphyxia's court in Christmas Carol looks like Nursie's head grafted onto a knock-off Dalek . In Blackadder Back & Forth the brief space battle is between two Earth Defence Directorate starfighters and a Draconian fighter. The time machine in the movie is also roughly the size and shape of the TARDIS on the outside, anyway , if it were made in the Renaissance period. The Present Day version of George has the surname "Tufton-Bufton", which is a reference to Private Eye 's generic upper-class reactionary, Sir Bufton Tufton MP. Smarter Than You Look : Subverted with Baldrick in Christmas Carol. He can't write, read or count, but he's smart enough to question Ebenezer's Stupid Good behavor and points out that the freeloaders (especially the obese orphans) don't need what Ebenezer gives them. Suspiciously Similar Substitute : Even if they weren't played by the same actor, Robin Hood would still be noticeably Flashheart-esque. Tele-Frag : The time-machine arrives at the Battle of Waterloo, right above the Duke of Wellington, squashing him flat. Throw the Dog a Bone : Things finally end happily for (one descendant of) Edmund and Baldrick in Blackadder: Back & Forth as they alter time and history for fame and fortune. In Christmas Carol, a more distant descendent conquers the universe. Unusual Euphemism : Queen Asphyxia flirting with Admiral Blackadder in Christmas Carol: "You have most pleasantly wibbled my frusset-pouch." Yet Another Christmas Carol : An inversion and parody. Indeed, when Ebenezer Blackadder, the only good and friendly member of the Blackadder bloodline (and also an Extreme Doormat ), sees that his descendant would rule all of the universe if he became a spiteful miser like his ancestors (instead of being a slave to future Baldrick, which would happen if he were to remain kind and generous), he lampshades it gleefully:	speckled jim
In August 1969, what notable event took place on Max Yasgur’s farm?	Blackadder / Funny - TV Tropes The Black Adder Episode 1: The Foretelling At the dinner table, Edmund is asked "Fight you with us on the morrow?", to which he replies "Oh, goodness no. No, I thought I'd fight with the enemy !" The speeches at the Battle of Bosworth Field. Richard III's is pretty much the same as Shakespeare's Henry V at Harfleur (bar a few minor alterations ). Richard IV's... Richard IV : LET BLOOD, BLOOD, BLOOOOOOOD BE OUR MOTTO! SLIT THEIR GIZZARDS! And Prince Henry's: Prince Henry: Now, I'm afraid there's going to have to be a certain amount of... violence, but at least we know it's all for a good cause, don't we? Edmund's reaction after realizing the man he's just killed is King Richard. What really sells it is his expression . As the Queen tries to get into Edmund's room, he's dealing with Richard III's ghost. After guessing whether he's got a woman, or a man in there she gets worried. Edmund... it's not a sheep, is it? Baldricks non-plussed reaction to discovering that Edmund killed King Richard. Baldrick: [opens Richard's helmet] Oh dear, Richard the Third... Edmund ridiculously wanting to be called "the Black Vegetable" before Baldrick changes his mind. Harry dragging in Richard III's headless corpse and giving a long-winded Shakespearean soliloquy before Richard IV cuts him off. The Queen's uncaring reaction when a panicked Edmund runs in and tells her Henry Tudor is on his way to ravage her and all the women of the castle. When it turns out Richard IV was victorious, she simply asks if HE'S going to ravage her now. When Harry goes to ask Edmund about his tally for the battle, Edmund claims to have killed some of the noblemen who haven't been accounted for (including one on his own side). Harry doesnt bother asking Percy because Edmund told him that Percy overslept and showed up late (which Edmund himself had actually done). Episode 2: Born to Be King BRIAN BLESSED 's entire performance as King Richard IV is as hysterically over the top as his performances usually are, but this episode opens with one of the series' standout moments. The King sets off to wage war against the Turks, and has this to say: "As the Lord said, love thy neighbour as thyself, unless he's Turkish, in which case kill the bastard! HAHAHA!" Disgusted at having been tasked with putting together the festivities for St. Leonard's Day and King Richard IV's return, Edmund hurls an epithet at Harry, which sparks an idea in Baldrick and Percy's brains and reveals that the former has a somewhat more modern idea of the world: Edmund: Twelve months of chasing sheep and straightening the royal portraits, and now this! The bastard! The bastard! Baldrick: (appearing to Edmund's right) If only he were, My Lord. Edmund: What? Apparently Bernard the Bear Baiter forgot to bring a bear again, as the Queen tells Harry that she quite liked "Bernard the Rabbit Baiter". Percy lipsyncing with Edmund reading the letters. Edmund killing McAngus at the end by getting him to stick his head in a cannon. Episode 3: The Archbishop This episode sees a clever variation on the Running Gag of the King shouting, "Chiswick! Fresh horses!" Having already bellowed the line when sending Edmund and Harry to the former's investiture as Archbishop of Canterbury, the King settles down to dinner. He sniffs the dish of meat at his end of the table, then throws it over his shoulder while shouting, "Chiswick! Fresh horse!" After Edmund is made Archbishop of Canterbury, Baldrick looks into the ways they can actually make some money in the position, which involve curses, pardons, relics, and the sexual favours of nuns (of interest to foreign businessmen, other nuns, etc.). They first look at pardons; Baldrick notes that the buyer gets what he or she pays for, running from a pardon for talking with one's mouth full, signed by an apprentice curate in Tewkesbury and costing two pebbles, to a pardon for "absolutely anything whatsoever, including murder, adultery, or dismemberment of a friend or relative", which Baldrick explains is signed by "both Popes".note This may have been a deliberate historical reference; although the Western schism which saw two Popes in opposition at Rome and Avignon ended in 1417, the Blackadder approach to history was always an Anachronism Stew . Curses are similar, running from half an egg for " Dear enemy: I curse you, and I hope something slightly unpleasant happens to you, like an onion falling on your head, " all the way to four ducats for "Dear enemy, may God hate you and all your kind, may you turn orange in hue, and may your head fall off at an inopportune moment." The entire conversation about faulty relics isn't very far-removed from the truth about the Catholic Church at the time - some jokes from around Martin Luther's era were that John the Baptist was a nine-headed monster, Paul must have constantly regrown fingers, or of how there were enough splinters from the one true cross to build an ark, and enough blood from Jesus and milk from Mary to float it on. Baldrick: Moving on to relics, we've got shrouds from Turin... (shows a shroud with a faint outline of Jesus' face in the middle) Wine from the wedding at Cana... (indicates a set of bottles) Splinters from the Cross... (picks up some scraps of wood; as he sets them down, he gets a sliver from one, winces, and sucks the injured finger) And, of course, there's, er, stuff made by Jesus in His days in the carpentry shop. (kneels in front of an open chest) Got pipe racks, (hands Edmund a pipe rack) coffee tables, cake stands, bookends, (hands Edmund some bookends) crucifixes, (hands Edmund a crucifix) a nice cheeseboard, (hands it to Edmund) food bowls, waterpoof sandals... (picks up a vaguely foot-shaped piece of wood and stands up again) Oh, I haven't finished this one yet. Percy: (outraged) But this is disgraceful, My Lord! All of these are obviously fake! Edmund: Hah, yes! Percy: But - but how will people be able to tell the difference between these and the real relics? Edmund: Well, they won't! That's the point! Percy: Well, you won't be able to fool everyone! (Edmund laughs derisively) Look! (he pulls a small object wrapped in red cloth from the wrist of his glove; reverently) I have here a true relic. Edmund: What is it? Percy: (unwraps the cloth) It is a bone from the finger of Our Lord. It cost me 31 pieces of silver. Edmund: (awed) Good lord. Is it real? Percy: It is, My Lord. Baldrick, you stand amazed. Baldrick: I am! I thought they only came in boxes of ten. (he opens a box of finger bones) I could've given you one of mine! Percy: What?! Baldrick: Yeah, yeah! Fingers are really big at the moment. Mind you, for a really quick sale, you can't beat a nose. For instance, the Sacred Appendage Compendium Party Pack. (digs out a box and opens it; hands the noses to Edmund as he identifies them) You get Jesus' nose, St. Peter's nose, part of St. Francis' nose, and... (finds a pair of false breasts in the box) Er, no... they're Joan of Arc's. Percy: (furious) That little bastard verger! I'll show him! (storms out as Edmund laughs mockingly) In the next scene, Edmund puts "Joan of Arc's breasts" over his chest, then tries putting the false noses on his chest instead. Episode 4: The Queen of Spain's Beard Edmund's first meeting with his betrothed, the Infanta Maria of Spain, does not exactly go well for the hapless Duke of Edinburgh: As Edmund, Percy, and Baldrick await the Infanta Maria's arrival, Percy tries to stoke Edmund's interest in her with a comparison which falls apart under scrutiny: Percy: (tapping Edmund on the shoulder) My lord! Edmund: Yes, what is it? Percy: You know, they do say that the Infanta's eyes are more beautiful than the famous Stone of Galveston! Edmund: (grinning) Mmm!... (grin fades) What? Percy: The... famous Stone of Galveston, My Lord! Edmund: And... what's that, exactly? Percy: Well, it's a famous blue stone! And it comes... (points dramatically off into the distance) from Galveston! Edmund: (looking in the direction in which Percy is pointing) I see. And... what about it? Percy: Well... My Lord, the Infanta's eyes are bluer than it, for a start! Edmund: I see. And have you ever seen this stone? Percy: (begins nodding) ... Nnnno. Not, not as such, My Lord. But I know a couple of people who have, and they say it's very, very blue indeed! Edmund: And have these people seen the Infanta's eyes? Percy: (scoffs) No, I shouldn't think so, My Lord! Edmund: And neither have you, presumably. Percy: (smiling) No, My Lord! Edmund: So what you're telling me, Percy, is that something you have never seen is slightly less blue than something else you have never seen. Percy: (smile fades) ... Yes, My Lord. This is immediately followed by Edmund's none too auspicious first meeting with the short, overweight Infanta (Miriam Margolyes) and her interpreter Don Speekingleesh (Jim Broadbent): [a trumpet fanfare announces the arrival of the Infanta and her interpreter, but Edmund has his back turned to the door and does not see them] Edmund: Percy, in the end, you are about as much use to me as a hole in the head. [the Infanta is clearly smitten at first sight; she and Speekingleesh walk up behind the oblivious Edmund] An affliction with which you must be familiar, having never actually had a brain! Speekingleesh: Hello! Edmund: [turning just far enough to see Speekingleesh but not the Infanta] Hello. [turning back to Percy; Baldrick silently tries to get his attention] Here I am, awaiting the arrival of the most beautiful, ravishing- Speekingleesh: [more insistent] Hello! Edmund: [still only noticing Speekingleesh] Look, leave me alone, will you, I'm trying to talk to someone! [to Percy] -while you're wittering on like some pox-ridden moor hen- Infanta: [under Edmund's line] ¡Tú eres el verdadero amor de mi vida, amor mio, amor mio! Speekingleesh: "You are the true love of my life, my love, my love!" Edmund: [still not seeing the Infanta] ...what!? [back to Percy] Percy, is this a friend of yours? Someone you dragged in- Infanta: [under Edmund's line] ¡Tú es el único para mí, yo sólo quiero besarte y abrazarte! Speekingleesh: "You are the only one for me, I merely want to hug and kiss you!" [Edmund punches him in the face] Oh! Infanta: ¡Yo soy la Infanta! Speekingleesh: "No, I am the Infanta!" Edmund: What? Well, no-one told me you had a beard! Percy: [laughing] Must be Jeremy of Estonia! Edmund: [laughing] Yes, the very- Infanta: [finally jumping in front of Edmund] ¡YO SOY LA INFANTA! Edmund: Yes, well, absolutely- [does a MASSIVE double take] WAGHH!! [jumps into Percy's arms] The Infanta proceeds to engage Edmund in some very heavy liplock: Infanta: ¡Ohhh, me gusta tus labios! Speekingleesh: "Your lips I like!" (Edmund massages his lips as though checking they're still attached to his face) Infanta: (hungrily) ¡Es el resto de tu cuerpo que me interesa! Speekingleesh: "It is the rest of your body I wish to find out more about!" (Edmund covers his face with both hands in horror, allowing himself a momentary peek through his fingers) Following on from this, Jim Broadbent utterly stealing the scene between the Queen and Infanta by demonstrating his incredible talent for butchering the rhythm of the English language. The messenger tells the King that Lord Wessex is dead. Displeased with this news, the King asks him to bring him some other news. The messenger exits, re-enters, and says "My lord, news: Lord Wessex is not dead!" The scene also features another variation on the "Chiswick! Fresh horses!" joke after the King smashes a model horse in his rage at the news that Lord Wessex is dead. With Edmund desperate to get out of his arranged marriage to the Infanta, he's even willing to listen to Percy's suggestions. And then wishes he hadn't: Percy: Wait a moment, My Lord. I think I may have a plan to get you out of this marriage. Edmund: Yes, but it's a stupid plan, Percy, let's face it! Percy: (offended) Oh, well, yes, yes, maybe you're right. Edmund: (desperate) But... tell me what it is anyway. Percy: (in a huff) Er, no, actually I don't think I'll bother, My Lord. Edmund: Oh, please, please tell me what your plan is, please tell me, please tell me! Percy: (takes a moment to enjoy the sight of Edmund grovelling) All right. I go along to the Infanta's room and tell her that you've gone mad. She comes to the door, and you meet her disguised as a little... pig. Then - and this is the cunning part - instead of saying "oink oink", you say "mooooo"! Edmund: Then?... Percy: Well, then she'll know you're mad, and leave! (Edmund looks at Percy in disbelief, then points toward the ceiling; Percy looks in the direction in which Edmund is pointing, and Edmund slaps his face) Baldrick comes up with what seems like a better plan when he suggests that Edmund pretend to be homosexual , "like the Earl of Doncaster", and starts by sewing more colourful sleeves onto his jerkin, then tries to instruct him on presentation, which gets off to a rocky start: Baldrick: Now all you need to do is practise with Percy. Edmund: [disgusted] Practise... what!? The Contrived Coincidence of Richard IV guessing exactly what a complex diplomatic message says before the messenger opens it . Richard IV: What—have the Swiss and French made sudden peace with each other at a mountain-pass rendezvous, then forged a clandestine alliance with Spain, thus leaving us without friends in Europe, unless by chance we make an immediate pact with Hungary? Messenger: (reads scroll) ...Yes. Episode 5: Witchsmeller Pursuivant The hilariously over the top eponymous Witchsmeller Pursuivant, as played by Frank Finlay. When you're out-hamming BRIAN BLESSED , you're doing it right. Percy talking of strange witchcraft he has witnessed: Percy: Only this morning in the courtyard, I saw a horse with two heads and two bodies! Edmund: Two horses standing next to each other? Percy: ... Yes, I suppose it could have been. Edmund: Honestly, Percy, I bet you're just the sort of person who thinks that sticking your finger up a sheep's bottom on Good Friday will make you fertile! Baldrick: That's rubbish! Firkettle: Yes, My Lord. Three months later, I was great with child. Edmund: Oh, for God's sake... Witchsmeller: You bore him a son. Firkettle: I did... my little Johnny! Witchsmeller: Can you see this son of Satan anywhere in this court? (unrest in the crowd, which includes a man with red skin, a pointed beard, and horns; when Firkettle spots him, Witchsmeller holds a white poodle in her line of sight) Firkettle: (points) Yes, that's him! Witchsmeller: I give you JOHN GRUMBLEDOOK! (holds the poodle up high; the crowd screams) Man in crowd: His hair gives him away! Edmund: Oh, come on, he doesn't look the slightest bit like me! Witchsmeller: My Lord, we have three proofs of witchcraft! A cat that drinks blood, a horse that talks, and a man who propagates poodles! Baldrick's cunning plan to escape the court. It takes Harry almost half of a minute to realize the Witchsmeller Pursuivant has spontaneously combusted right in front of him. Episode 6: The Black Seal Edmund telling Percy exactly why he's being fired, finally showing some of the wit his descendants will be known for. Edmund: Because, Percy, far from being a fit consort for a prince of the realm, you would bore the leggings off a village idiot. You ride a horse rather less well than another horse would. Your brain would make a grain of sand look large and ungainly. And the part of you that can't be mentioned, I am reliably informed by women around the court, wouldn't be worth mentioning even if it could be. If you put on a floppy hat and a furry cod-piece, you might just get by as a fool, but since you wouldn't know a joke if it got up and gave you a haircut, I doubt it. That is why you are dismissed. Percy: Oh, I see. Blackadder II Episode 1: Bells Percy makes his first appearance in the series in high spirits, which Blackadder discovers to be the result of his love for Jane Harrington. Unfortunately for Percy, he is just the latest in a long line of lovers for her, a line which includes a surprise: Percy: (entering Blackadder's front room, where Blackadder is practising archery with a target held by Baldrick) Sorry I'm late. Blackadder: No, don't bother apologising, I'm sorry you're alive. Percy: Oh good, the target's ready. (readies his bow) I'd like to meet the Spaniard who could make his way past me! Blackadder: Well, go to Spain, there are millions of them. Percy: I'll advise them to stay there, then! Keep their hands off our women! Blackadder: (rolls eyes) Oh God, who is she this time!? Percy: I don't know what you mean. (Blackadder sees a letter sticking out of Percy's jerkin, grabs it, and sits down on a nearby table; Percy tries to get the letter back, but Blackadder fends him off with a Groin Attack , and he yelps in pain) Blackadder: (unfolds letter and reads it) Ah, and who is this "Jane"? Percy: (struggling to get his breath back) I'm sworn to secrecy. Torture me, kill me, you shall never know. (Blackadder delivers a second Groin Attack ; Percy groans in pain, his voice an octave higher) Jane Harrington. (slowly stands up again) We're very much in love, My Lord. Blackadder: This is the Jane Harrington? Percy: Yes. You're sexier by far Episode 2: Head The "adding" scene. As this was meant to be the first episode, said scene would have shown how this generation is very different from the last. Blackadder: Right Baldrick, let's try again shall we? This is called adding. If I have two beans, and then I add two more beans, what do I have? Baldrick: Some beans. Blackadder: (pause) Yes...and no. Let's try again shall we? I have two beans, then I add two more beans. What does that make? Baldrick: A very small casserole. Blackadder: Baldrick, the ape creatures of the Indus have mastered this. Now try again. One, two, three, four. So how many are there? Baldrick: Three. Blackadder: And when the Queen gets back from seeing Ponsonby we'll - oh Go-o-o-od! (throws the head to Percy and runs out of the door) The minstrel does a little Continuity Nod at the end: His great-grandfather was a king, although for only thirty seconds Episode 3: Potato When Blackadder refuses to participate in the celebrations welcoming Sir Walter Raleigh back from the New World, Percy predicts that the local children will dance outside his window and sing "Sourpuss, grumpy face!" Sure enough, after Percy has gone to the parade, a child (voiced by Miranda Richardson) is heard outside Blackadder's window: Child: (singing) Sourpuss, grumpy face! Sourpuss, grumpy face! Sourpuss, grumpy face! (Blackadder picks up his bow and arrow) Sourpuss, grumpy face! Sourpuss, grumpy face! (Blackadder shoots the arrow out of the window) AHH! Mummy! Blackadder: (shouting out of the window) And another thing! Why aren't you at school!? Melchett: (entering) Ah, Blackadder, started talking to yourself, I see. Bishop: Heavens above, what creatures from Hell are those? ( turns his head to the side as he looks at the portrait ) Blackadder: They make an interesting couple, don't they? I think you probably recognise this huge, sweating mound of blubber here, eh, Fatso? (the Bishop growls and makes for the portrait, but Edmund pushes him back) Ah-ah-ah-da-da-da-da-da-da! There's no point, anyway, we have the preliminary sketches. We'll soon bang off a couple of copies. Let's see, one for the Queen, one for the Archbishop... a couple kept aside, perhaps, to form the basis of an exciting exhibition of a challenging young artist's work. Bishop: (turning his head to the side again) By the horns of Beelzebub, how did you get me into that position? Blackadder: It's, er, beautifully framed, don't you think? Which is ironic, really, because that's exactly what's happened to you. Bishop: You fiend! Never have I encountered such corrupt and foul-minded perversity! Have you ever considered a career in the Church? Blackadder: No, I could never get used to the underwear. What I could use, though, is, let's say eleven hundred pounds to buy back my house, four thousand pounds to cover some sundry expenses, ten shillings for the two doors, and let's say thruppence for a celebratory slap-up binge at Mrs. Miggins' pie shop... (looks at Baldrick, who nods enthusiastically) Bishop: Yes, yes, but first, one question. Who is this second figure? Who could you have got to have performed such deeds, to have gone lower than man has ever gone, to have plunged the depths of degradation just in order to save your filthy life!? (Percy appears from under the bedclothes, dressed in leather and chains) Blackadder: Ah, Percy, may I introduce His Grace, the Bishop of Bath and Wells. Your Grace, Lord Percy Percy, Heir to the Duchy of Northumberland. Percy: (ashamed) Hello. (shakes Bishop's hand) It was lovely working with you. Episode 5: Beer First off is Baldrick coming into the room with an odd contraption on his head with cheese dangling off the end of his nose. When asked why, he informs Blackadder that it's to help him catch (and eat) mice. Later he is seen with a mouse dangling off his nose - he explains that he's "had enough of the all-mouse diet" and is switching to eating cats. This exchange: Blackadder comes up with a suitably cunning plan so that he and Melchett can escape: Guards: (in background) Ein, zwei, ein, zwei... Blackadder: (to Melchett) Right, now this is it. Don't forget: when they are at their most vulnerable. (Blackadder and Melchett have written out the guards' routine on pads of paper; throughout the following, they read down the list, mouthing along to the guards' words) Guards: Ein, zwei... Halt! Jingle the keys! (keys jingle) Open the door! (door opens; one guard is carrying a loaf of bread, the other a sausage) Greetings to the prisoners! (they step in and wave) Guten abend, Englander-scum! March to the table! (they do so) Ein, zwei, ein, zwei, ein, zwei... Halt! Food on the table! (they set down the bread and sausage) Ein, zwei! Spit on the food! Ein, zwei! (they spit on the food; Blackadder and Melchett duck out of the way) Insulting further gestures to the prisoners! Ein, zwei, ein, zwei! (they make pelvic thrusts at Blackadder and Melchett) Blackadder: NOW! (he and Melchett launch a dual Groin Attack on the guards, who collapse, groaning in agony; Blackadder shakes his fist and grimaces) Trust me to get the hard one! The Running Gag of Blackadder's confrontations with the balladeer during the closing credits reaches its payoff as he finally catches up with his musical tormentor and dunks his head in the fountain repeatedly. (Not that it affects his singing.) Blackadder the Third Episode 1: Dish and Dishonesty The appearances of Pitt the Younger . His opening speech begins: Mr. Speaker, Members of the House, I shall be brief, as I have rather unfortunately become Prime Minister right in the middle of my exams. I intend to fulfill my duties in a manner of which Nanny would be proud... Blackadder and the Prince discuss how to defeat the motion to strike the latter from the Civil List and therefore avert financial disaster. Blackadder describes Sir Talbot Buxomly, a crusty, loud-mouthed MP whose vote they will sway. George says he's never heard of the man. Blackadder replies: That's hardly surprising sir. Sir Talbot has the worst attendance record of any Member of Parliament. On the one occasion he did enter the House of Commons, he passed water in the great hall , and then passed out in the Speaker's chair. The conversation turns to the question of bribing Sir Talbot: Blackadder: If we're going to get him to support us, he will need some sort of incentive. George: Hm. Anything in mind? Blackadder: Well, you could appoint him a high court judge. George: Is he qualified? Blackadder: What. Baldrick: I spent it. Blackadder: You spent it? What could you possibly spend four hundred thousand pounds on? (Baldrick looks at a large turnip on the table) Oh no. Oh God, don't tell me. Baldrick: My dream turnip. Blackadder: (giving Baldrick a Death Glare ) Baldrick, how did you manage to find a turnip that cost four hundred thousand pounds? Baldrick: Well, I had to haggle. (Blackadder stares at him for a second, then picks up the turnip and smacks it down on his head) Episode 2: Ink and Incapability Blackadder has some Sesquipedalian Loquaciousness with Dr. Johnsonnote The Fridge Brilliance about these words is that even though they're invented, they all mean something appropriate. "contrafibularatories" derives from "contra-", Latin for "against", and "fibula", the calf-bone - Blackadder is pulling Johnson's leg. "Anaspeptic" comes from Greek "ana-", ("back/up"), and "peptic", meaning the stomach - so "anaspeptic" suggests "upchuck". "Phrasmotic" suggests a combination of "frazzled" and "spasmodic". "Compunctuous" is a misspelling of "compunctious", derived from "compunction", a real word meaning the feeling of uneasiness caused by guilt. "Periconbobulation" combines the Greek "peri-", "around", with "discombobulate", meaning "to confuse", appropriate since Blackadder is confusing Johnson from several different directions at once.: Dr. Johnson: Here it is, sir: the very cornerstone of English scholarship. This book, sir, contains every word in our beloved language. George: Hmm. [he opens the door and re-enters, once again calm as can be] Blackadder: Thank you, sir. At the conclusion, after all the drama, Baldrick tries handing his "book" over to Dr. Johnson. Dr. Johnson: (reading) "Once upon a time there was a lovely little sausage cal-" ... Sausage?! SAUSAGE?!! (he scrunches up the note and storms out) Blast your eyes! Baldrick: I didn't think it was that bad. Blackadder: (examines the dictionary) I think you'll find he left "sausage" out of his dictionary. (checks the book again) Oh, and "aardvark" . Episode 3: Nob and Nobility Annoyed at the influx in England of French aristocrats fleeing the mass executions of the Revolution, Blackadder takes his anger out on a creature further down the pecking order, triggering a chain which finally works its way down to the bottom of said order: (Baldrick is kneading dough as Blackadder enters, picks up the cat, and kicks it across the room; the cat meows in pain) Baldrick: Aw, poor little Mildred the cat! What's he ever done to you? Blackadder: (walks across the kitchen) It is the way of the world, Baldrick. The abused always kick downwards. I am annoyed, and so I kick the cat, (watches something scurry across the floor) the cat (loud squeaking) pounces on the mouse, and finally the mouse... Baldrick: (jumps up in shock) Agh! Blackadder: ... bites you on the behind. Baldrick: Well, what do I do!? Blackadder: Nothing. You are last in God's great chain. Unless, of course, there's an earwig around here that you'd like to victimise. Blackadder finds Prince George drinking the health of the Scarlet Pimpernel with Lords Smedley and Topper, two idiotic, pretentious fops.note In a bonus for those who have read The Scarlet Pimpernel , they use some of Sir Percy Blakeney's favourite turns of phrase, such as "Sink me!", revealing from the start that they are affecting Obfuscating Stupidity , as Sir Percy did; also, like Sir Percy, they are personal friends of the Prince of Wales. When the unimpressed Blackadder claims that even he could go to France and rescue an aristocrat from the guillotine, he invites Smedley and Topper to join him on his expedition. The two noblemen both proceed to make pathetic excuses not to go : Topper: Oh no! Smedley: Oh no. Topper: Demme!note Another turn of phrase which marks Topper and Smedley as Expies of Sir Percy Blakeney, as it is also his preferred pronunciation of "damn" in his "disguise" as a brainless dandy. Smedley: Demme. Topper: Er... any... day... now, I've got an appointment at my doctor's! I've got a bit of a sniffle coming on! (Smedley dabs his own nose with his handkerchief) I can feel it in my bones! Smedley: Demme bones, demme bones, demme... Prince: (standing) Well, what about next week? Well, come on, you chaps, get your diaries out! Come on! Topper: All right... (thinks) Demme! Smedley: Demme. Smedley: Er, yes, that's it... er... comes the, er... Blackadder: Forgetfulness. Smedley: Yes, yes. Right in the middle of a... of a... thingy... you completely forget what it was you... (glances at Blackadder's feet) Oh, nice pair of shoes! Blackadder: And after the forgetfulness, you die. Smedley: Oh, no! I forgot one! After the forgetfulness comes a moment of exquisite happiness! (laughs while jumping up and down and waving his arms in the air) Jumping up and down, and waving your arms in the air, and knowing that in a minute we're all going to be free! Free! Free! Blackadder: (his patience wearing thin) And then death? Smedley: No, you jump into a corner first. (does so, and immediately slumps to the floor, dead) Baldrick: Hurray! It's the Scarlet Pimpernel! Blackadder: (sighs) Yes, Baldrick. Baldrick: And you killed him!... Blackadder: (sighs again) Yes, Baldrick. I mean, what's the bloody point of being the Scarlet Pimpernel if you're going to fall for the old poisoned-cup routine? Scarlet Pimpernel, my foot! Scarlet Git, more like it! Upon their successful return to the palace, Blackadder gives the Prince (who has succeeded in putting on one leg of his trousers, but not the other) a... somewhat embellished account of his exploits: Blackadder: We left London in good weather. Unfortunately, that was as far as our luck held; as soon as we left Dover harbour we were struck by a tidal wave, and I was forced to swim to Boulogne with the unconscious Baldrick tucked into my trousers. Then we were taken to Paris where I was summarily hung by the larger of my testicles from the walls of the Bastille. It was then I decided that I'd had enough. I escaped, killed the guards, rescued the count, and ran to the Versailles where I broke into Mr. Robespierre's bedroom, where I left a little tray of chocolates and an insulting note. When the "Comte de Frou-Frou" turns out to be Lord Topper, the other nobleman who donned the identity of the Pimpernel, in disguise, and he declares his intent to unmask Blackadder as a charlatan, Blackadder slips him the remaining two suicide pills. With a double dose, he goes through the symptoms twice as fast as Smedley did: Topper: It all began last week. I was sitting in Mrs. Miggins' coffee shop, when... (suddenly buries his face in his hands, near tears) Oh God!... all this treachery is so depressing! (voice starts rising in anger) I mean the whole thing just makes you INCREDIBLY ANGRY! (takes a swing at Baldrick, who backs out of the way and falls over anyway; Topper runs over to the Prince and grabs his lapels) AND IT JUST MAKES YOU WANT TO... (his anger evaporates immediately) Nice waistcoat, Your Majesty. (blinks in confusion) I'm... I'm sorry, I've completely forgotten what I was talking about. Blackadder: (smirking triumphantly) A story of dishonour and deceit. Topper: (delighted) Oh, that's a great story! That's great! Oh, that's a wonderful story! Let me just jump into this corner first. (jumps toward the corner and falls to the floor, dead) Episode 4: Sense and Senility In the opening scene, Baldrick is polishing a boot by spitting on it and rubbing the damp spot with a brush. Over the course of his conversation with Blackadder, he then proceeds to spit and brush a potato, a carrot, and a cauliflower. At the theatre, an anarchist opposed to the mechanisation of the textile industry jumps onto the stage and lobs a bomb into the Prince's box, leading to a series of Comically Missing the Point moments from the dim-witted royal: Anarchist: (leaps onto the stage holding a lit bomb; the crowd scream and disperse, as do the actors on stage) Work for the weavers! Smash the Spinning Jenny! Burn the Rolling Rosalind! Destroy the Going Up and Down a Bit and Then Moving Along Gertrude! (Blackadder ducks behind the curtain in the Prince's box) And death to the stupid prince who grows fat on the profits! (throws the bomb to Prince George) Prince: I say! How exciting! This play's getting better and better! Bravo! Blackadder: (muffled by curtain) It's not a play anymore, sir. Put the bomb down and make your way quietly to the exit. Keanrick: Indeed yes, sir. The violence of the murder and the vastness of the bosom are entirely justified artistically. ... Mossop: Spring has come, with all its gentle showers. Methinks it's time to hack the Prince to death. ... Keanrick: Oooooaaahhh, let's kill the Prince. Who will strike first? Mossop: Let me, and let this dagger's point prick out his soft eyeball and sup with glee upon its exquisite jelly. Keanrick: Have you the stomach? Mossop: I have not killed him yet, sir, but when I do, I shall have the stomach and the liver, too, and the floppily-doppolies in their horrid glue. Keanrick: What if a servant shall hear us in our plotting? Mossop: Ah ha! Then shall we have servant sausages for tea! Keanrick: And servant rissoles shall our supper be! ... Mossop: To torture him, I lust. Let's singe his hair, and up his nostrils... (turns page) ...hot bananas thrust. After Baldrick and the Prince think the actors are going to kill them (actually reading lines from their play): Blackadder: Are you sure they meant it, sir? George: Quite sure! Baldrick, how far apart were their legs? Baldrick: Oh, this far. (stands with feet at shoulder distance, thrusts out crotch) George: And their nipples? Baldrick: That far. (gestures with his hands) As Keanrick and Mossop are arrested and led away, Blackadder can't resist a few more repetitions of their most feared play title: Keanrick, Mossop: Mercy! We beg for mercy!/Please, sir!... Blackadder: I have got only one thing to say to you: Macbeth. Keanrick, Mossop: AHH! (as they are tied up, they cannot make the pat-a-cake gestures...) Hot potato, orchestra stalls, Puck will make amends! Ohh!... (... or tweak each other's noses) Blackadder: MACBETH! (the actors are led out) Prince: Well done, Bladder! How can I ever thank you? Blackadder: Well, you can start by not calling me "Bladder", sir.note An ad lib, as Hugh Laurie genuinely flubbed the previous line. MACBETH! Keanrick, Mossop: (in the distance) AHH! Hot potato, orchestra stalls, Puck will make amends! Ahh!... Episode 5: Amy and Amiability At the beginning of the episode, we learn that Parliament's attempts to get rid of Prince George from "Dish and Dishonesty" have escalated: Blackadder: (entering the Prince's study, where the Prince is sat at a desk covered in papers) Good morning, sir. May I say how immensely rich you're looking. Now, was there anything you wanted, sir? Anything at all. Absolutely anything. George: (resting his feet on the desk) Well, yes, old fellow. I was wondering if you could possibly lend me a bit of cash. Blackadder: But of course, sir, I... cash? George: Yes. I'm rotten stinking stony stinking broke! Blackadder: But sir, what about the £5,000 which Parliament voted you only last week to drink yourself to death with? After Blackadder convinces the Prince to marry, the Prince tasks him to find a suitable woman: George: You know the kind of girls I like! They've got to be lovers, laughers, dancers... Sally: (accusingly) Papa, you did nothing to defend my honour. Cheapside: (disgusted) Oh, shut your face, you pregnant junky fag-hag! Blackadder and Baldrick divide the loot: Blackadder: Well Baldrick, a good night's work I think. It's time to divide the loot, and I think it's only fair that we should share it equally. Baldrick: Which I suppose is highwayman's talk for you get the cash, I get the snotty hanky. Blackadder: No, no. No, we did this robbery together, so you get half the cash. (hands him a money-bag) Baldrick: Oh, thank you Mr B. Blackadder: This robbery, on the other hand, I'm doing alone. (holds his pistol to Baldrick's head) Hand it over, your money or your life! When Blackadder decides to run off to the West Indies with the Shadow, Mrs. Miggins is distraught that her dreams of settling down with him will never be realised. Blackadder doesn't exactly let her down gently: Mrs. Miggins: (rushing into the palace kitchen) Oh! Mr. Blackadder! What's all this I hear about you buying a bathing costume and forty gallons of coconut oil? Are you going abroad, then, sir? Blackadder: Yes! I'm off. Mrs. Miggins: (wailing) Oh, sir! What a tragic end to all my dreams! (grabs the front of Blackadder's jacket) And I'd always hoped that you'd settle down and marry me and that together we might await the slither of tiny adders! (sobs into Blackadder's chest) Blackadder: Mrs. M, if we were the last three humans on Earth, (puts his arm around Baldrick's shoulder) I'd be trying to start a family with Baldrick. (Mrs. Miggins wails even louder while Baldrick smiles proudly) "You'll be as dead as, as... that squirrel!" "What squirrel?" [BANG!] "Squeak!" [thud] Near the end, the paper Prince George is reading mentions the Shadow had an accomplice (aka Blackadder), causing Blackadder to drop the tray he's holding. When George continues reading and reveals no-one knows who the accomplice is, the tray flies back to Blackadder's hands with a silly sound effect. Episode 6: Duel and Duality In the opening scene, Blackadder and Baldrick talking about their resepective ambitions: Blackadder: God, I'm wasted here. It's no life for a man of noble blood being servant to a master with the intellect of a jugged walrus and all the social graces of a potty. Baldrick: I'm wasted too. I've been thinking of bettering myself. Blackadder: Oh, really? How? Wellington: You die like a man, sir. In combat. Blackadder: You think so? Dammit, we must build a better world. When will the killing end? Wellington: [Passionately] You don't think I too dream of peace? You don't think I too yearn to end this damn dirty job we call soldiering? Blackadder: [Cynically] Frankly no. The Duke finally tires of George (as Blackadder)'s insolence and shoots him with his pistol: George: I die. I hope men will say of me that I did duty by my country. Blackadder: I think that's pretty unlikely, sir. If I were you, I'd try for something a bit more realistic. George: Like what? Blackadder: You hope that men will think of you as a bit of a thicky? George: Alright then, I'll hope that. Erm, toodle-oo, everyone, let you know and all that. (dies) And it's not over: After Blackadder realizes his Pocket Protector saved him, George says the same... then realizes he must have left it in his other suit, and promptly dies, for good. Blackadder Goes Forth George: So he owns the field as well? As they're heading back to their trench: George: Sir, I forgot. If we should happen to tread on a mine, what do we do? Blackadder: (Pause) Well, Lieutenant, I believe proper procedure is to jump about 200 feet in the air and scatter yourself over a wide area. Melchett's idiotic strategy: he wants a push against the Germans' STRONGEST lines to make them think the British intelligence is in shambles and let their guard down. Baldrick's horrendous cooking comes up again in the ending, as Blackadder avoids participating in going over the top by having himself and the others masquerade as wandering Italian chefs for Melchett's kitchen, and end up serving Baldrick's hideous concoctions to Melchett and Darling. Episode 2: Corporal Punishment The telephone system in the trenches is having problems with crossed lines, which Blackadder ultimately decides to use to his advantage: Blackadder: (on phone) You'd like to book a table for three by the window for 9:30pm, not too near the band, in the name of Oberleutnant von Genschler. Yes - yes - I think you might have the wrong number... that's all right. (hangs up) George: (cleaning the barrel of his revolver) Another crossed line, eh sir? That phone system is a shambles! No wonder we haven't had any orders! Blackadder: (holding an assortment of papers) On the contrary, George, we've had plenty of orders. We've had orders for... (reading) six metres of Hungarian crushed velvet curtain material... four rock salmon and a ha'p'orth of chips... and a cab for a Mr. Redgrave picking up from 14, Arnos Grove, "ring top bell". George: (finishes cleaning his revolver and cocks it) Yes, but we don't want those sort of orders! We want orders to death or glory! (aims his (unloaded) gun and pulls the trigger) When are we gonna give Fritz a taste of our British spunk? Blackadder: George, please. No-one is more anxious to advance than I am, but until they get these communications problems sorted out, I'm afraid we're stuck! (phone rings; he answers it) Captain Blackadder speaking... no, I'm afraid the line's very khhhh... Darling: (at his desk at HQ) Hello? Captain Blackadder! Hello? Blackadder: (rustles some newspaper next to the mouthpiece of the receiver, then bangs it against the table four times before speaking into it again) Schnell! Schnell! Kartoffelkopf! Darling: (grimaces and holds the phone away from his ear, then raises his voice) I said there's a terrible line at my end! You're to advance on the enemy at once! Blackadder: (blows raspberry into phone, to Darling's confusion, then begins singing) "A wand'ring minstrel I, a thing of shreds-" (makes electronic interference noise) Gale Force 8. Good night. (hangs up) George: Well, so come on, sir, what's the message? I'm on tenterhooks, do tell! Blackadder: Well, as far as I can tell, the message was he's got a terrible lion up his end, and there's an advantage to an enema at once. Baldrick enters with a telegram ordering an advance. However, it is addressed to "someone called 'Catpain Blackudder'", which rings a bell with George but he can't place the name; Blackadder crumples up the message and throws it over his shoulder. Melchett learns that Blackadder has disobeyed a direct order and shot his beloved pet carrier pigeon and only childhood friend, Speckled Jim: Melchett: I DON'T CARE IF HE'S BEEN ROGERING THE DUKE OF YORK WITH A PRIZE-WINNING LEEK! HE SHOT MY PIGEON! Captain Blackadder: [thin smile] Perhaps later. The bizarre collection of items in the escape kit Baldrick puts together is funny enough - but then Baldrick explains how Blackadder would actually use them.... The end of the episode. Blackadder survives death by firing squad (without a second to spare) no thanks to Baldrick and George, who got so excited at remembering what they had to do to save Blackadder - send word to George's Uncle Rupert, the newly instated Minister of War - that they get drunk on whiskey in celebration and forget to actually send the telegram (also a funny moment itself). Blackadder gets back, revealing that his reprieve came in the nick of time, and George and Baldrick pretend that the whiskey has been set out in his honour - then Blackadder reveals that a second telegram arrived, addressed to George: Blackadder: (after preventing George from getting the telegram before he can read it) "George, my boy: Outraged to read in dispatches how that arse Melchett made such a pig's ear out of your chum Blackadder's court-martial. Have reversed the decision forthwith. Surprised you didn't ask me to do it yourself, actually." (slowly turns to look at George) Now this is interesting, isn't it. George: (stammers) Yes, well, I, you see, sir, er, the thing is... Blackadder: (advances threateningly toward Baldrick and George, who back away from him) You two got whammed last night, didn't you? George: We-well, well, no, er, not whammed exactly, a little tiddly, perhaps, erm- Blackadder: And you forgot the telegram to your uncle!? George: (now backed up against the wall with Baldrick) Well, no, no, no, not, not, not completely... partially... erm... (he and Baldrick sit down as Blackadder continues to glare at them) Well, yes, yes, entirely, yes. Baldrick: (standing) I think I can explain, sir. Blackadder: Can you, Baldrick? Baldrick: (thinks) No. (sits down) Blackadder: As I suspected. Now, I'm not a religious man as you know, but henceforth I shall nightly pray to the God who killed Cain and squashed Samson that he comes out of retirement and gets back into practice on the pair of you. (the telephone rings, Blackadder answers it almost immediately) Captain Blackadder!... Ah, Captain Darling. Well, you know, some of us just have friends in high places, I suppose. No I can hear you perfectly. You want what? You want two volunteers for a mission into No Man's Land. Codename "Operation Certain Death". (looks at the worried Baldrick and George) Yes, I think I have just the fellows. (replaces the telephone) God is very quick these days... Episode 3: Major Star Baldrick as a would-be revolutionary. Even funnier when you consider that in real life Tony Robinson is an ardent socialist and Labour Party supporter: Baldrick: Can't you smell it, sir? There is something afoot in the wind. The huddled masses yearning to breathe free. Blackadder: Baldrick, have you been at the diesel oil again? Baldrick: No, sir, I have been supping at the milk of freedom. Already our Russian comrades stand poised on the brink of revolution, and the huddled woss-names such as myself will rise up to throw off our hated oppressors [Blackadder begins walking over to him threateningly] like you and the lieutenant... present company excepted, sir. Blackadder: Go clean out the latrines. Baldrick: Yessir, right away sir. After having seen Baldrick's Charlie Chaplin act (comprising a bowler hat on his head and a dead slug balanced on his top lip, requiring tilting his head backwards until he is looking straight up), Blackadder tells Melchett's driver, "Bob" Parkhurst, to send the real Chaplin a telegram: Blackadder: "Congratulations STOP Have discovered only person in world less funny than you STOP Name Baldrick STOP Yours E Blackadder STOP". Oh, and put a PS, " Please please please STOP ". Every scene where Lieutenant George is in drag. Particularly when he first shows up and pronounces "I...feel...fantastic!" The scene where General Melchett prepares for his date was voted the second greatest Blackadder moment of all time. And for good reason. Melchett: God, it's a spankingly beautiful world and tonight's my night. I know what I'll say to her. "Darling..." Darling: Yes, sir? When the Americans join the war and bring a collection of Charlie Chaplin films with them, it seems the man himself got Blackadder's telegram and has sent an equally snide reply : Darling: (reading Chaplin's telegram) "Twice nightly screening of my films in trenches excellent idea STOP But must insist E Blackadder be projectionist STOP PS Don't let him ever STOP ". Episode 4: Private Plane Blackadder's telephone message to the commander of the RAF during the German bombing raid: "I'd like to leave a message for the head of the Flying Corps, please. That's Air Chief Marshall Sir Hugh Massingbird-Massingbird, VC, DFC, and Bar. Message reads: 'Where - are - you - you - bastard'." The return of Rik Mayall as Captain Flashheart. The first thing he does is leap into frame, punch Edmund out, and step on him: Flashheart: Eat knuckle, Fritz! How disgusting, a Boche on the sole of my boot. I shall have to find a patch of grass to wipe it on. I'll be shunned in the Officer's Mess. 'Sorry about the pong, you fellas; trod in the Boche and can't get rid of the WHIFF.' Blackadder: If we could dispense with the hilarious doggie-doo metaphor for a moment, I am not a Boche, this is a British trench. Flashheart: Thank heaven for that, thought I'd landed sausage-side. Mind if I use your phone? If word gets out I'm dead, five hundred girls will kill themselves. I wouldn't want them on my conscience, not when they oughta be on my FACE. The way Blackadder expresses his disgust about Flashheart. Blackadder: Unfortunately most of the infantry think you're a prat. Ask them who they'd rather meet, Squadron Commander Flashheart or the man who cleans out the public toilets in Aberdeen, and they'd go for Wee Jock Poo-Pong Mc Plop every time. Lord Flashheart says that "anyone can be a navigator as long as he can tell his arse from his elbow", and Blackadder mutters "Well, that's Baldrick out then." Shortly afterwards, Baldrick says that joining the Air Force would be "better than just sitting around here on our elbows". Blackadder remarks to fellow new RAF volunteer George that they won't be doing any actual flying for some months yet, they'll just be looking at machinery. Cue Flashheart in the corridor bellowing, " HEY GIRLS! LOOK AT MY MACHINERY! " before entering the classroom while re-fastening his trousers. Flashheart instructing the troops how to be aviators. Made even funnier as Hugh Laurie is in visible pain contorting his face not trying to laugh. Flashheart: The first thing to remember is always treat your kite (slaps blackboard with pointer) like you treat your woman (makes sweeping, suggestive whipping motion). George: How do you mean, sir? Do you mean take her home over the weekend to meet your mother? Flashheart: No, I mean get inside her five times a day and take her to heaven and back. The Red Baron (played by Rik Mayall's comedy partner Ade Edmondson) tells Blackadder of his plans for him, which he clearly believes to be A Fate Worse Than Death : Red Baron: Tomorrow, you will be taken back to Germany... To a convent school outside Heidelberg, where you will spend the rest of the war teaching the young girls home economics. For you, as a man of honour, THE HUMILIATION WILL BE UNBEARABLE. The map representing how much ground the British have taken in the latest campaign. It takes up a single table in Melchett's office and is represented by a scale of 1:1. There's even an earthworm on the model. Blackadder tries to stall George and Flashheart's attempt to free him and Baldrick, during which we learn that Flashheart does not share the love of poetry of one of Rik Mayall's previous characters. Blackadder: Look, I'm sorry, chaps, but I've splintered my pancreas. Erm, and I seem to have this terrible cough. (fakes a couple of coughs) Cough-GUARDS, cough-GUARDS! Flasheart: Wait, wait, wait, wait, wait a minute. Now I may be packing the kind of tackle that you'd normally expect to find swinging about between the hindlegs of a Grand National winner, but I'm not totally stupid, and I've got the kind of feeling you'd rather we hadn't come! Blackadder: No, no, no, I'm very grateful. It's just that I'd slow you up. Flashheart: I think I'm beginning to understand. Blackadder: (dubious) Are... are you? Flashheart: Just because I can give multiple orgasms to the furniture just by sitting on it, doesn't mean that I'm not sick of this damn war: the blood, the noise, the endless poetry. Blackadder: (not buying it) Is that really what you think, Flashheart? Flashheart: (draws his gun on Blackadder) Course it's not what I think! But before they can escape, Flashheart finally meets the man who considers him to be a Worthy Opponent : Red Baron: Ah, and the Lord Flashheart. This is indeed an honour. Finally, the two greatest gentleman fliers in the world meet. Two men of honour, who have jousted together in the cloud-strewn glory of the skies, face to face at last. How often I have rehearsed this moment of destiny in my dreams. The panoply to encapsulate the unspoken nobility of our comradeship-- Flashheart: WHAT A POOF! COME ON! Episode 5: General Hospital Blackadder: You failed to spot that only two of those are great universities. Nurse Mary: You swine! Melchett: That's right! Oxford's a complete dump!note Which becomes funnier when one considers that, as mentioned elsewhere on this page, Stephen Fry went to Cambridge (specifically, Queens' College), as did Hugh Laurie (Selwyn College) and Blackadder producer John Lloyd (Trinity College), while Rowan Atkinson went to Oxford (Queen's College), as did Tim McInnerny (Wadham College) and Blackadder writer Richard Curtis (Christ Church). The revelation at the end of the episode that the source of the leak is George, who has been sending letters to his uncle Hermann in Munich. Darling: (sneering) Would you like me to tell this one to the general, Blackadder... or would you like to enjoy that very... special... moment? (Blackadder bolts from the room, closely followed by Darling) Episode 6: Goodbyeee Blackadder's ploy to get out of the trenches by pretending to be mad involves stuffing two pencils up his nose, putting his underpants on his head, and just saying "Wibble" as an answer to any question. Unfortunately, he has to abandon the idea when he overhears Melchett saying he once shot an entire platoon in the Sudan for trying that very scheme . Baldrick's improvised coffee. It tastes like mud... because it is mud. The sugar is dandruff, the milk is saliva, and it's probably best not to ask what he uses for the chocolate shavings in his cappuccino. When Blackadder offers Darling a cup, we hear Baldrick scratching the "sugar" off his scalp and then spitting the "milk" into the cup. Baldrick's war poetry. Siegfried Sassoon or Wilfred Owen he most definitely is not. His first, untitled poem does not impress Blackadder: Baldrick: "Hear the words I sing War's a horrid thing Baldrick: (amazed) How did you guess, sir? George: I say, sir, that is spooky! We learn that Blackadder took part in the football games during the 1914 Christmas Truce...and still holds a grudge over being unfairly penalized. Baldrick: You remember the football match? Blackadder: Remember it?! How could I forget it?! I was never offside! I could not believe that decision! Melchett enters Darling's office to send him to the trenches. We don't see Melchett for a moment... and then we see the moustache net. The scene in which Blackadder is on the phone with Field Marshall Sir Douglas Haig. Haig is seen moving figures of soldiers across a map - then sweeping them off with a dustpan and brush . Could verge into Fridge Horror , given how many regular soldiers died under the real Haig's orders (see the first day of the Somme).note Though the Field Marshall's son George, 2nd Earl Haig, was reportedly not amused by Blackadder's depiction of Sir Douglas as a mindless butcher. Specials The Cavalier Years At the start of the special, Edmund instructs Baldrick that if Cromwell drops in for a cup of milk within the next ninety seconds, Baldrick is not to tell him that the King is hiding there. Of course, Cromwell does so. Cromwell: Is the King hiding here? Baldrick: (thinks for nearly a minute) ... no. Upon which Cromwell calls in his men to have something to drink: Baldrick: All right, but don't touch the purple cup. Cromwell: Why? King Charles: I'm always interested to meet all manner of people, particularly those in manufacturing industries. King Charles is executed. Parliamentarian forces are closing in on our heroes' hideout to seize the young prince. Blackadder reveals he has a plan to get out of this, and hands the prince to Baldrick... He then removes his nobleman's clothes and false beard, revealing a shaven face and a Puritan's clothing underneath. A gold wig follows just before Cromwell and his men burst in, and Blackadder adopts a nasal accent, pointing accusingly towards Baldrick: Thank God you've come! Kill the Loyalist scum! Blackadder's Christmas Carol Blackadder reads Baldrick's Christmas card and reminds him that "Christmas" should have an H in it - as well as an R, an I, an S, a T, an M, an A, and another S. And he missed out the C at the beginning. "Congratulations, Mr Baldrick! Something of a triumph, I think - you must be the first person ever to spell 'Christmas' without getting any of the letters right at all." We later find out that he wrote "Kweznuz". From the Elizabethan sequence: "Baldrick, you wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing 'Subtle plans are here again!'" "Mrs. Scratchit, Tiny Tom weighs 15 stone and is built like a brick privy. If he eats any more, he'll turn into a pie shop." "You see, ill-conceived love is like a Christmas cracker. One large, disappointing bang and the novelty soon wears off." Blackadder's reaction to the fat orphans' Christmas carol: (clapping while smiling) "Utter crap". Blackadder Back and Forth After confirming that the time machine works, Blackadder tells Baldrick that he is, rather surprisingly, the greatest genius the world has ever known. He retracts it moments later after learning that Baldrick forgot to write any numbers on the display that was supposed to tell them the date. "So the date we're heading for is two watermelons and a bunch of cherries. In other words, we can't get home. Rather a spectacular return to form after the genius moment." What killed the dinosaurs? Baldrick's underwear. :: Indexes ::	i don't know
What was the name of the farmyard cock in the story of Reynard the Fox?	Reynard the Fox – The Gold Scales Why Reynard was not at court It was Whitsuntide; the forest and the fields were happy with flowers and sweet singing birds. All the beasts were stirring, for this was the day when the great meeting of animals was to take place. King Lion had bidden all his subjects to come to his court. None must be absent. So along every way they came: the wolf, the wild cat, the dog, the panther, the badger, Bruin the Bear, and a host of others. One alone was not there, and that was Reynard the Fox. Why he was absent was soon seen. There was hardly one of the beasts who had not some complaint to make about him. The angriest one of all was the wolf. "Your Majesty," he said, "will you please punish that rascal Reynard? Not a day passes when he does not do some mischief to me. It would take many a week to tell you of all the evil he has done. Three of my little children are now sitting at home crying because Reynard has blinded them with dust." "You are not the only one he has harmed," said the dog. "One winter, great king, Reynard stole my last meal, a piece of sausage which I had hidden in a bush." "You have little to grumble about," said the wild cat. "The sausage was mine, Your Majesty! I took it from a shelf in the mill while the miller's wife was asleep. The dog stole it from me." "Look what Reynard did to the hare!" said the panther, pointing to a wound in the hare's neck. "This poor fellow met the fox last week. 'Let me teach you how to say your prayers in Latin,' said Reynard, 'and then you will be able to take a good post in the church.' The hare agreed, and Reynard made him get down on his knees, but before he had said half a dozen words Reynard seized him by the throat, and if I had not come along just then he certainly would have killed him." "These tales would not be told if my uncle were present," cried Reynard's nephew, the badger, angrily. "The wolf has treated my uncle in a very evil manner more than once. Some time ago the wolf and Reynard agreed to work together and share whatever food they got. One day as they were walking behind the hedge that borders the road they saw a man come along with a cartload of fish. Their mouths watered, for they were both hungry, and Reynard soon thought of a plan to get some of the fish. "You stay behind the cart and keep a good watch," he said to the wolf. Then he ran along by the hedge, and came out into the road a long way in front of the carter. Here he lay down in a rut, and when the cart drew near, shut his eyes, held his breath and stiffened his body. "Ah!" said the man when he saw Reynard. "Here's a dead fox. His skin ought to fetch a good sum of money in the next town." With that he picked up the fox and threw him on the back of the cart. No sooner was the man's back turned than Reynard came to life again. Fish after fish he kicked into the roadway, while the wolf followed and picked them up. When the fox had thrown down enough, he jumped to the wolf for a share of the plunder. Here is your share,' said the wolf as he pointed to a heap of fish bones. "I hope you'll enjoy the feast." And off he went. "Well!" said the king, "is there anything more?" "There is," said the badger. "Another time the wolf and the fox heard that a peasant had killed a fat pig and hung it up on a wooden peg in his larder. They both felt very hungry for this pig, so they went to the peasant's house. After a great deal of trouble my uncle was able to get through a window into the larder. With a struggle he managed to throw the pig, peg as well, out of the window. The wolf ran off with the prize, leaving Reynard to get out as best he could. When the fox did get out of the house he was set upon by the peasant's dogs. They gave him a sorry time, but after a long run he escaped from them and made his way back. "When he came up to the wolf, who looked fat and happy, he could see no sign of the pig. "Haven't you saved any for me?" he asked angrily. "Why, of course," answered the wolf. "Nobody can say I am greedy. Here's a tasty titbit for you." And he flung the fox the wooden peg on which the pig had been hung." Just as the badger ended his tale there was a commotion outside, and the next minute there marched into the court a very strange procession. In front was Henning the Cock; behind him were two young cocks, bearing a bier on which lay the headless body of Henning's daughter, Scratchfoot. On either side walked a brother of the dead hen carrying a white candle; and after the brothers came many relations of the deceased, all crying most miserably. "What does all this mean?" asked the king. "Alas! sire!" said Henning, pointing to the bier, "this is Reynard's work. I had ten sons and fifteen daughters and we all lived happily in a farmyard belonging to rich monks. Round the yard was a strong wall, and six large dogs were inside to protect us. Many a time has Reynard tried to get into the yard, but the dogs at last gave him such a bad time that he left us alone. "One day we heard a knocking at the gate, and looking over, I saw the fox dressed as a hermit. "You need not be afraid of me any more," he said. "I have taken a vow never again to eat flesh. I am going to read holy books and pray for the rest of my life. My only food will be berries and barley bread. Goodbye, dear Henning, for it is now time for me to go and say my prayers." I called all my children together and told them the good news; that they need no longer go in mortal fear of the fox. Away out of the gate they ran. But that sly Reynard was hiding in a bush, and in a moment he sprang upon my children and killed fifteen of them. Poor Scratchfoot's body was the only one he did not eat, for the dogs came along just in time to stop him." When the king heard Henning's sad story he was very angry with Reynard and his nephew, the badger. He ordered that Scratchfoot should be given a grand funeral, and caused a marble slab to be placed over her grave; and on the slab these words were written: "Here lies Scratchfoot, Daughter of Henning the Cock, She was skilful in scratching, and laid many eggs." As for Reynard, a messenger was to be sent to order him to appear at the court at once. Bruin the Bear was chosen as messenger. "Be careful," said the king, before Bruin started. "Reynard is full of sly ways, and he will play a trick on you if you are not watchful." "I know all his tricks," said the bear proudly. "He won't get the better of me." How Bruin took the king's message Bruin started off at once on his journey to find the fox and give him the king's order. Now Reynard was rich enough to own several houses. The strongest of them all was the Castle of Malpertuis, built high among the rocks. Here the fox was able to hide himself, even if his enemies got over the strong walls. Underneath the house ran thousands of passages, all twisted and dark, and nobody knew his way along these passages except Reynard and his wife. So Bruin set out to find Reynard, and after visiting all his houses in turn came at last to the Castle of Malpertuis. The gates were locked, and everything was quiet when the bear arrived. Bang! Bang! knocked Bruin on the door. Not a sound was heard. "Reynard! Reynard!" he cried loudly. "Open the door. I am Bruin the Bear, and I come from King Lion to bid you appear before him at once." Still not a sound was heard; for although the fox heard every word, he was not going to open the gate till he knew that the bear was alone. When he was certain that only the bear was outside he ran inside and put on his hermit's gown. Then, holding a book in his hand, he opened the gate. "I am very sorry I have kept you waiting. I was just in the middle of my prayers. You cannot know how pleased I am to see you. Come inside and rest yourself. I am not feeling well enough to start for the court today. You know I've given up eating flesh, and honey is the only food that is plentiful about here. I am afraid I feel ill through the eating of too much of the nasty stuff." "Nasty stuff!" said Bruin. To him, honey was the nicest thing on earth. "If you can show me where to get my fill I will do my best for you at the court." "Do you say so?" answered Reynard. "Why, I know a place where there is so much honey that you could not drink it dry in seven years. If you will be a friend to me at court I will show you the place." "Let us go at once," said Bruin, whose mouth was watering. "I will do all I can for you So the two set off for the farmyard of a woodcutter who lived in the valley. In the yard lay a huge oak tree which the woodcutter had felled the day before. To split this he had driven in two big wedges which made a great crack right along the trunk. No one was in the yard, for the woodcutter had gone into the house for a nap. "Here is the well," said Reynard, pointing to the crack in the tree. "Put your mouth down as far as you can and eat as much honey as you like." It was not long before Bruin had his head and forefeet in the crack, and as soon as Reynard saw that the bear was busy he gave a hard tug at the wedges. Out they came, the trunk closed up, and Bruin was caught in a trap. Such a roaring and struggling as the bear set up! You never heard such a noise. The fox grinned, and told himself it was time to be off. "How do you like the taste of the honey?" said Reynard. "Do not eat too much, for the woodcutter will bring you something else to eat in a moment. Good day!" and off he went. Meanwhile, the woodcutter, hearing the noise, came out to see what was the matter. When he saw what had happened he shouted: "Neighbours! Here's a bear caught in my yard. Come and have some sport!" Everybody in the village left his work to come. Some carried sticks, some spades, some axes, and others hammers. All had some weapon to beat poor Bruin. So great a hail of blows rained on his back that with a furious tug he pulled himself free from the tree, leaving behind him his ears and claws. Away he went down the road, and away after him went the crowd. Sticks were thrown at him, and at every corner someone would spring out and give him a blow. Blinded with pain he neither saw nor cared where he went, and suddenly he ran into a crowd of women who were standing by the river watching the fun. Over went the priest's cook into the water. "Two silver crowns to the man who gets her out," shouted the Priest. Every one left the bear to save the cook. Bruin took the chance of escape, and jumped into the river and swam away. A mile or two down the river he climbed on the bank, and for a long time lay as if dead. Then he arose and turned towards home. For four days he crawled along, covered with bruises and blood. Hardly able to put one foot before the other he reached the court. No one would have seen in the miserable creature that returned the lordly bear who had gone out a few days before. "Surely this is not Bruin," said the king. "Whatever has happened?" When the bear had told his story the king's anger was terrible to see, and he uttered threats of vengeance. Where strength has failed cunning may succeed," said he. "I will send the cat to fetch Reynard to court. He is not very big, but he has all his wits about him." How the wild cat fared The cat did not care very much for the work he had to do; but he started off, making up his mind not to be tricked as Bruin had been. It was evening when he reached Malpertius and found Reynard sitting in his front garden. "Good evening!" said the cat. "The king orders you to return with me without delay." "I hope you are in good health," answered the fox. "I will certainly come with you in the morning. In the meantime, will you not step inside and have something to eat? I would have returned with Bruin, only he was such an ill-mannered fellow." "I think we had better go at once," said the cat. "It is a fine night; the moon is shining and the roads are dry." "But, my dear Cat," said Reynard, "it is so much more pleasant in the daytime, and all sorts of rascals are about at night." "Well, if I stay, what can you give me to eat?" asked the cat. "I am very poor and live plainly," said Reynard, "but I think I can find you a good meal of honey." "No!" said the cat, remembering in what a sad state poor Bruin had come back. "I am not fond of honey. Now, if you had a mouse, I could manage with that." "Mouse!" said the fox, "why, I know a barn not far from here where there are wagon-loads of mice. The priest who lives there is always grumbling about the mischief they do." "I should very much like to go and see the place that you speak of," said the cat. "Come on, then," said Reynard, and away down the road the two went together. A day or two before this the fox had found out that the priest kept his chickens in the barn. So he made a big hole under the wall and stole the finest bird he could find. The priest's little son, Martin, had made up his mind to catch the fox if he came that way again, so getting a piece of string he had tied one end to a nail, and at the other end he had made a slip-knot, which he placed over the hole. But Reynard was too clever to be caught easily. It did not take him long to find out about the trap that had been set for him, and he had taken good care not to venture inside that barn again. Here's the place," said Reynard, when they reached the barn. "Can't you hear the mice squeaking? The hole at the bottom of the wall leads right inside. I'll keep watch outside while you go in; but don't be long, for we must be up early in the morning to make ready for our journey." In went the cat, and before he knew what had happened the slip-knot was round his neck. He tugged and tugged, but the more he pulled the tighter the string became, and the poor thing felt that he would very soon choke. "Are the mice tasty and fat?" shouted Reynard through the hole. "Don't make so much noise or you'll frighten them all away. It's a pity you have to eat them cold, but Martin will bring you something warm in a minute," and, calling on his way at another farmyard to get a chicken for supper, the fox trotted home. The noise made by the cat awoke Martin, whose bedroom was close by. "Father, get up!" he shouted. "The fox is caught in my trap!" Up jumped the priest, and putting on a cloak, he ran downstairs with Martin to the barn. The servants all rushed out of their bedrooms when they heard the clatter, thinking that the house must be on fire. Away went all of them pell-mell to the barn to repay the fox for his theft. It was too dark to see that it was no Fox that was caught in the trap, so the poor cat got a terrible beating, besides being blinded in one eye. Mad with pain, he sprang at the nearest person to him, who happened to be the priest. The priest's legs were so covered with bites and scratches that he had to be carried into the house and the cat was left alone. Though he nearly felt dead he knew that now was his only chance of getting free, for if his enemies returned there would be little left of him. So he gnawed as hard as he could at the string, and was just able to get loose as some of the servants returned. Next morning, into the court of King Lion there walked the most miserable cat that anyone ever saw. Blind in one eye, covered with bruises, and with patches of fur missing, he looked the most unhappy of cats. When the king heard his tale he was angrier than ever. "I will punish Reynard without a trial," he said. "He has had too many chances. Call all of my soldiers together; we will burn him out of Malpertius and give him no mercy." "Great King!" said the badger. "Reynard may have done much wrong, but he has the right to be called to court three times. If he does not come the next time, then let him be found guilty. Please allow him to be sent for once more." Well! as you are so anxious for Reynard," said the lion, you shall fetch him yourself. Mind you do not return without him, or you will be sorry for it." How Reynard came to court Off then went Grimbert the Badger, and it was not long before he was knocking at the door of Castle Malpertius. Reynard himself came and let him in, and then led the way to an inner room, where his wife lay with a litter of cubs around her. "Good morning, dear Uncle and Aunt," said Grimbert. "I am glad to see you and the children so well." "Good morning," said Reynard, "and what brings you all this way?" "Well, to tell the truth," said Grimbert, "the king sent me to bring you to court, and if you take my advice, you will come quietly, for he is very angry with you. If you do not come, he swears that he will lay siege to your castle, or burn you out of it, if necessary!" Will the king try to punish me?" asked Reynard. "Yes, he will," said the badger; "but what need you care about that? Have you not still your nimble wit and cunning? They will not fail you, I am sure. Many a time have you run much greater risks." Reynard thought for a little. "Very well, nephew," he said at last, "I will return with you. Let us set out at once. And you, wife," he added, turning to the mother fox, "take care of the little ones while I am away, and especially Reynkin. I love him the best of all, for every day he grows more like myself, and should make a fox of renown in time!" Then, after taking a tender farewell of his wife and the children, the two set out, and before long arrived at the court of King Lion. All the beasts were gathered together in the judgement place, for the news of Reynard's coming had spread far and wide. There sat King Lion on his throne with the queen beside him. On one side the tiger held the royal flag, and on the other was the leopard. Bruin the Bear had a front place, and sat rubbing his sore nose. And there, too, was Tybert the Cat, with the rope that had nearly choked him still hanging round his neck. Reynard did not show any sign of fear. Marching boldly up to the throne, he bowed low and said: "Hail, king! Reynard, your sometimes faithful servant comes at your command. They tell me that beasts have spoken evil of me. Let them speak my face, and I will answer them!" "Peace vile traitor!" cried the king. Not again shall your cunning words deceive me. Answer me that: Have you kept the peace I proclaimed throughout my realm?" At this the cock, who had been listening eagerly, could no longer keep silence, and called out: "Aye, the peace! Did he keep the peace when he killed my children?" "Hold your tongue,"' said the king. "Justice shall be done." Then to the fox he said: ' Robber and murderer, answer for what you did to my good friends Bruin the Bear and Tybert the Cat." "Answer, indeed," grumbled the fox. "Is it my fault if Bruin has a sore nose? He stole the farmer's honey and got a good beating for his pains. Am I to blame? As for Tybert the Cat, I did all I could to stop him from going to the priest's house, but he took no notice. He loved mice better than good deeds. Am I to blame for that?" At this the Ram started forward. "There is no truth in what this villain says, King!" he cried. "He has deserved death. Let him die!" And then all the other beasts cried out for Reynard to be given up to them. And loudest of all cried Bruin the Bear, and Isegrim the wolf, and Tybert the Cat, and Chanticleer the Cock. Even the timid hare, though he was trembling with fright, raised his voice, and the goose came and quacked her loudest. So loud grew the din that it was a long time before the king could make himself heard. Then, "Let him be arrested," he cried, "and cast into prison. We will decide what his punishment shall be." How the fox was condemned to death It did not take the court very long to decide that Reynard was guilty of all the crimes with which he had been charged. He had not a single friend among the animals, except Grimbert the Badger, and although Grimbert did his best to save him, it was all in vain. Reynard was brought from prison to hear his doom. "Reynard," said King Lion, "you have been judged fairly, and found guilty of murder, theft, and many other crimes. The sentence of the court is that you shall be hanged. Have you anything to say?" The wily fox at once began a long and flattering speech, for he thought that even at the last minute he might get off. The king listened gravely, but in silence, and at the end signed for the fox to be taken away to the place of execution. Tybert the Cat, Isegrim the Wolf, and Bruin the Bear had been chosen as executioners, and they at once seized upon poor Reynard and dragged him off to a high tree that stood close by. "Here is a gallows ready-made for us," said Isegrim. "Let us make haste and hang the villain, for he is so cunning that if we delay he may escape us again!" "Yes, make haste," said the fox. I wish nothing better than to be put out of my misery. See, Tybert has a cord. It hangs round his neck. It is the same one that nearly choked him to death when he went to steal the priest's mice. He is good at climbing. Let him hurry and fix the rope." "That's the first wise thing I've heard you say today," grumbled Bruin the Bear. "Up with you, Tybert. We'll hold him fast while you go." So Tybert ran quickly up the tree and tied the rope on to a stout branch. Then a ladder was brought, and everything was ready. "Now," said Bruin, "say your prayers, villain, for you have only two minutes more!" "Before I die," said Reynard,	Chanticleer
Amol Rajan is the editor of which national daily newspaper?	Aesops Fables - Short Kid Stories Short Kid Stories THE WOLF AND THE KID THE WOLF AND THE KID There was once a little Kid whose growing horns made him think he was a grown-up Billy Goat and able to take care of himself. So one evening when the flock started home from the pasture and his mother called, the Kid paid no heed and kept right on nibbling the tender grass. A little later when he lifted his head, the flock was gone. He was all alone. The sun was sinking. Long shadows came creeping over the ground. A chilly little wind came creeping with them making scary noises in the grass. The Kid shivered as he thought of the terrible Wolf. Then he started wildly over the field, bleating for his mother. But not half-way, near a clump of trees, there was the Wolf! The Kid knew there was little hope for him. “Please, Mr. Wolf,” he said trembling, “I know you are going to eat me. But first please pipe me a tune, for I want to dance and be merry as long as I can.” The Wolf liked the idea of a little music before eating, so he struck up a merry tune and the Kid leaped and frisked gaily. Meanwhile, the flock was moving slowly homeward. In the still evening air the Wolf’s piping carried far. The Shepherd Dogs pricked up their ears. They recognized the song the Wolf sings before a feast, and in a moment they were racing back to the pasture. The Wolf’s song ended suddenly, and as he ran, with the Dogs at his heels, he called himself a fool for turning piper to please a Kid, when he should have stuck to his butcher’s trade. Do not let anything turn you from your purpose. Go back to Table of Contents THE TORTOISE AND THE DUCKS The Tortoise, you know, carries his house on his back. No matter how hard he tries, he cannot leave home. They say that Jupiter punished him so, because he was such a lazy stay-at-home that he would not go to Jupiter’s wedding, even when especially invited. After many years, Tortoise began to wish he had gone to that wedding. When he saw how gaily the birds flew about and how the Hare and the Chipmunk and all the other animals ran nimbly by, always eager to see everything there was to be seen, the Tortoise felt very sad and discontented. He wanted to see the world too, and there he was with a house on his back and little short legs that could hardly drag him along. One day he met a pair of Ducks and told them all his trouble. “We can help you to see the world,” said the Ducks. “Take hold of this stick with your teeth and we will carry you far up in the air where you can see the whole countryside. But keep quiet or you will be sorry.” The Tortoise was very glad indeed. He seized the stick firmly with his teeth, the two Ducks took hold of it one at each end, and away they sailed up toward the clouds. Just then a Crow flew by. He was very much astonished at the strange sight and cried: “This must surely be the King of Tortoises!” “Why certainly——” began the Tortoise. But as he opened his mouth to say these foolish words he lost his hold on the stick, and down he fell to the ground, where he was dashed to pieces on a rock. Foolish curiosity and vanity often lead to misfortune. Go back to Table of Contents THE YOUNG CRAB AND HIS MOTHER “Why in the world do you walk sideways like that?” said a Mother Crab to her son. “You should always walk straight forward with your toes turned out.” “Show me how to walk, mother dear,” answered the little Crab obediently, “I want to learn.” So the old Crab tried and tried to walk straight forward. But she could walk sideways only, like her son. And when she wanted to turn her toes out she tripped and fell on her nose. Do not tell others how to act unless you can set a good example. Go back to Table of Contents THE FROGS AND THE OX An Ox came down to a reedy pool to drink. As he splashed heavily into the water, he crushed a young Frog into the mud. The old Frog soon missed the little one and asked his brothers and sisters what had become of him. “A great big monster,” said one of them, “stepped on little brother with one of his huge feet!” “Big, was he!” said the old Frog, puffing herself up. “Was he as big as this?” “Oh, much bigger!” they cried. The Frog puffed up still more. “He could not have been bigger than this,” she said. But the little Frogs all declared that the monster was much, much bigger and the old Frog kept puffing herself out more and more until, all at once, she burst. Do not attempt the impossible. Go back to Table of Contents THE DOG, THE COCK, AND THE FOX A Dog and a Cock, who were the best of friends, wished very much to see something of the world. So they decided to leave the farmyard and to set out into the world along the road that led to the woods. The two comrades traveled along in the very best of spirits and without meeting any adventure to speak of. At nightfall the Cock, looking for a place to roost, as was his custom, spied nearby a hollow tree that he thought would do very nicely for a night’s lodging. The Dog could creep inside and the Cock would fly up on one of the branches. So said, so done, and both slept very comfortably. With the first glimmer of dawn the Cock awoke. For the moment he forgot just where he was. He thought he was still in the farmyard where it had been his duty to arouse the household at daybreak. So standing on tip-toes he flapped his wings and crowed lustily. But instead of awakening the farmer, he awakened a Fox not far off in the wood. The Fox immediately had rosy visions of a very delicious breakfast. Hurrying to the tree where the Cock was roosting, he said very politely: “A hearty welcome to our woods, honored sir. I cannot tell you how glad I am to see you here. I am quite sure we shall become the closest of friends.” “I feel highly flattered, kind sir,” replied the Cock slyly. “If you will please go around to the door of my house at the foot of the tree, my porter will let you in.” The hungry but unsuspecting Fox, went around the tree as he was told, and in a twinkling the Dog had seized him. Those who try to deceive may expect to be paid in their own coin. Go back to Table of Contents BELLING THE CAT The Mice once called a meeting to decide on a plan to free themselves of their enemy, the Cat. At least they wished to find some way of knowing when she was coming, so they might have time to run away. Indeed, something had to be done, for they lived in such constant fear of her claws that they hardly dared stir from their dens by night or day. Many plans were discussed, but none of them was thought good enough. At last a very young Mouse got up and said: “I have a plan that seems very simple, but I know it will be successful. All we have to do is to hang a bell about the Cat’s neck. When we hear the bell ringing we will know immediately that our enemy is coming.” All the Mice were much surprised that they had not thought of such a plan before. But in the midst of the rejoicing over their good fortune, an old Mouse arose and said: “I will say that the plan of the young Mouse is very good. But let me ask one question: Who will bell the Cat?” It is one thing to say that something should be done, but quite a different matter to do it. Go back to Table of Contents THE EAGLE AND THE JACKDAW An Eagle, swooping down on powerful wings, seized a lamb in her talons and made off with it to her nest. A Jackdaw saw the deed, and his silly head was filled with the idea that he was big and strong enough to do as the Eagle had done. So with much rustling of feathers and a fierce air, he came down swiftly on the back of a large Ram. But when he tried to rise again he found that he could not get away, for his claws were tangled in the wool. And so far was he from carrying away the Ram, that the Ram hardly noticed he was there. The Shepherd saw the fluttering Jackdaw and at once guessed what had happened. Running up, he caught the bird and clipped its wings. That evening he gave the Jackdaw to his children. “What a funny bird this is!” they said laughing, “what do you call it, father?” “That is a Jackdaw, my children. But if you should ask him, he would say he is an Eagle.” Do not let your vanity make you overestimate your powers. Go back to Table of Contents THE BOY AND THE FILBERTS A Boy was given permission to put his hand into a pitcher to get some filberts. But he took such a great fistful that he could not draw his hand out again. There he stood, unwilling to give up a single filbert and yet unable to get them all out at once. Vexed and disappointed he began to cry. “My boy,” said his mother, “be satisfied with half the nuts you have taken and you will easily get your hand out. Then perhaps you may have some more filberts some other time.” Do not attempt too much at once. Go back to Table of Contents HERCULES AND THE WAGONER A Farmer was driving his wagon along a miry country road after a heavy rain. The horses could hardly drag the load through the deep mud, and at last came to a standstill when one of the wheels sank to the hub in a rut. The farmer climbed down from his seat and stood beside the wagon looking at it but without making the least effort to get it out of the rut. All he did was to curse his bad luck and call loudly on Hercules to come to his aid. Then, it is said, Hercules really did appear, saying: “Put your shoulder to the wheel, man, and urge on your horses. Do you think you can move the wagon by simply looking at it and whining about it? Hercules will not help unless you make some effort to help yourself.” And when the farmer put his shoulder to the wheel and urged on the horses, the wagon moved very readily, and soon the Farmer was riding along in great content and with a good lesson learned. Self help is the best help. Heaven helps those who help themselves. Go back to Table of Contents THE KID AND THE WOLF A frisky young Kid had been left by the herdsman on the thatched roof of a sheep shelter to keep him out of harm’s way. The Kid was browsing near the edge of the roof, when he spied a Wolf and began to jeer at him, making faces and abusing him to his heart’s content. “I hear you,” said the Wolf, “and I haven’t the least grudge against you for what you say or do. When you are up there it is the roof that’s talking, not you.” Do not say anything at any time that you would not say at all times. Go back to Table of Contents THE TOWN MOUSE AND THE COUNTRY MOUSE A Town Mouse once visited a relative who lived in the country. For lunch the Country Mouse served wheat stalks, roots, and acorns, with a dash of cold water for drink. The Town Mouse ate very sparingly, nibbling a little of this and a little of that, and by her manner making it very plain that she ate the simple food only to be polite. After the meal the friends had a long talk, or rather the Town Mouse talked about her life in the city while the Country Mouse listened. They then went to bed in a cozy nest in the hedgerow and slept in quiet and comfort until morning. In her sleep the Country Mouse dreamed she was a Town Mouse with all the luxuries and delights of city life that her friend had described for her. So the next day when the Town Mouse asked the Country Mouse to go home with her to the city, she gladly said yes. When they reached the mansion in which the Town Mouse lived, they found on the table in the dining room the leavings of a very fine banquet. There were sweetmeats and jellies, pastries, delicious cheeses, indeed, the most tempting foods that a Mouse can imagine. But just as the Country Mouse was about to nibble a dainty bit of pastry, she heard a Cat mew loudly and scratch at the door. In great fear the Mice scurried to a hiding place, where they lay quite still for a long time, hardly daring to breathe. When at last they ventured back to the feast, the door opened suddenly and in came the servants to clear the table, followed by the House Dog. The Country Mouse stopped in the Town Mouse’s den only long enough to pick up her carpet bag and umbrella. “You may have luxuries and dainties that I have not,” she said as she hurried away, “but I prefer my plain food and simple life in the country with the peace and security that go with it.” Poverty with security is better than plenty in the midst of fear and uncertainty. THE TOWN MOUSE AND THE COUNTRY MOUSE Go back to Table of Contents THE FOX AND THE GRAPES A Fox one day spied a beautiful bunch of ripe grapes hanging from a vine trained along the branches of a tree. The grapes seemed ready to burst with juice, and the Fox’s mouth watered as he gazed longingly at them. The bunch hung from a high branch, and the Fox had to jump for it. The first time he jumped he missed it by a long way. So he walked off a short distance and took a running leap at it, only to fall short once more. Again and again he tried, but in vain. Now he sat down and looked at the grapes in disgust. “What a fool I am,” he said. “Here I am wearing myself out to get a bunch of sour grapes that are not worth gaping for.” And off he walked very, very scornfully. There are many who pretend to despise and belittle that which is beyond their reach. Go back to Table of Contents THE BUNDLE OF STICKS A certain Father had a family of Sons, who were forever quarreling among themselves. No words he could say did the least good, so he cast about in his mind for some very striking example that should make them see that discord would lead them to misfortune. One day when the quarreling had been much more violent than usual and each of the Sons was moping in a surly manner, he asked one of them to bring him a bundle of sticks. Then handing the bundle to each of his Sons in turn he told them to try to break it. But although each one tried his best, none was able to do so. The Father then untied the bundle and gave the sticks to his Sons to break one by one. This they did very easily. “My Sons,” said the Father, “do you not see how certain it is that if you agree with each other and help each other, it will be impossible for your enemies to injure you? But if you are divided among yourselves, you will be no stronger than a single stick in that bundle.” In unity is strength. Go back to Table of Contents THE WOLF AND THE CRANE A Wolf had been feasting too greedily, and a bone had stuck crosswise in his throat. He could get it neither up nor down, and of course he could not eat a thing. Naturally that was an awful state of affairs for a greedy Wolf. So away he hurried to the Crane. He was sure that she, with her long neck and bill, would easily be able to reach the bone and pull it out. “I will reward you very handsomely,” said the Wolf, “if you pull that bone out for me.” The Crane, as you can imagine, was very uneasy about putting her head in a Wolf’s throat. But she was grasping in nature, so she did what the Wolf asked her to do. When the Wolf felt that the bone was gone, he started to walk away. “But what about my reward!” called the Crane anxiously. “What!” snarled the Wolf, whirling around. “Haven’t you got it? Isn’t it enough that I let you take your head out of my mouth without snapping it off?” Expect no reward for serving the wicked. Go back to Table of Contents THE ASS AND HIS DRIVER An Ass was being driven along a road leading down the mountain side, when he suddenly took it into his silly head to choose his own path. He could see his stall at the foot of the mountain, and to him the quickest way down seemed to be over the edge of the nearest cliff. Just as he was about to leap over, his master caught him by the tail and tried to pull him back, but the stubborn Ass would not yield and pulled with all his might. “Very well,” said his master, “go your way, you willful beast, and see where it leads you.” With that he let go, and the foolish Ass tumbled head over heels down the mountain side. They who will not listen to reason but stubbornly go their own way against the friendly advice of those who are wiser than they, are on the road to misfortune. Go back to Table of Contents THE OXEN AND THE WHEELS A pair of Oxen were drawing a heavily loaded wagon along a miry country road. They had to use all their strength to pull the wagon, but they did not complain. The Wheels of the wagon were of a different sort. Though the task they had to do was very light compared with that of the Oxen, they creaked and groaned at every turn. The poor Oxen, pulling with all their might to draw the wagon through the deep mud, had their ears filled with the loud complaining of the Wheels. And this, you may well know, made their work so much the harder to endure. “Silence!” the Oxen cried at last, out of patience. “What have you Wheels to complain about so loudly? We are drawing all the weight, not you, and we are keeping still about it besides.” They complain most who suffer least. Go back to Table of Contents THE LION AND THE MOUSE A Lion lay asleep in the forest, his great head resting on his paws. A timid little Mouse came upon him unexpectedly, and in her fright and haste to get away, ran across the Lion’s nose. Roused from his nap, the Lion laid his huge paw angrily on the tiny creature to kill her. “Spare me!” begged the poor Mouse. “Please let me go and some day I will surely repay you.” The Lion was much amused to think that a Mouse could ever help him. But he was generous and finally let the Mouse go. Some days later, while stalking his prey in the forest, the Lion was caught in the toils of a hunter’s net. Unable to free himself, he filled the forest with his angry roaring. The Mouse knew the voice and quickly found the Lion struggling in the net. Running to one of the great ropes that bound him, she gnawed it until it parted, and soon the Lion was free. “You laughed when I said I would repay you,” said the Mouse. “Now you see that even a Mouse can help a Lion.” A kindness is never wasted. Go back to Table of Contents THE SHEPHERD BOY AND THE WOLF A Shepherd Boy tended his master’s Sheep near a dark forest not far from the village. Soon he found life in the pasture very dull. All he could do to amuse himself was to talk to his dog or play on his shepherd’s pipe. One day as he sat watching the Sheep and the quiet forest, and thinking what he would do should he see a Wolf, he thought of a plan to amuse himself. His Master had told him to call for help should a Wolf attack the flock, and the Villagers would drive it away. So now, though he had not seen anything that even looked like a Wolf, he ran toward the village shouting at the top of his voice, “Wolf! Wolf!” As he expected, the Villagers who heard the cry dropped their work and ran in great excitement to the pasture. But when they got there they found the Boy doubled up with laughter at the trick he had played on them. A few days later the Shepherd Boy again shouted, “Wolf! Wolf!” Again the Villagers ran to help him, only to be laughed at again. Then one evening as the sun was setting behind the forest and the shadows were creeping out over the pasture, a Wolf really did spring from the underbrush and fall upon the Sheep. In terror the Boy ran toward the village shouting “Wolf! Wolf!” But though the Villagers heard the cry, they did not run to help him as they had before. “He cannot fool us again,” they said. The Wolf killed a great many of the Boy’s sheep and then slipped away into the forest. Liars are not believed even when they speak the truth. Go back to Table of Contents THE GNAT AND THE BULL A Gnat flew over the meadow with much buzzing for so small a creature and settled on the tip of one of the horns of a Bull. After he had rested a short time, he made ready to fly away. But before he left he begged the Bull’s pardon for having used his horn for a resting place. “You must be very glad to have me go now,” he said. “It’s all the same to me,” replied the Bull. “I did not even know you were there.” We are often of greater importance in our own eyes than in the eyes of our neighbor. The smaller the mind the greater the conceit. Go back to Table of Contents THE PLANE TREE Two Travellers, walking in the noonday sun, sought the shade of a widespreading tree to rest. As they lay looking up among the pleasant leaves, they saw that it was a Plane Tree. “How useless is the Plane!” said one of them. “It bears no fruit whatever, and only serves to litter the ground with leaves.” “Ungrateful creatures!” said a voice from the Plane Tree. “You lie here in my cooling shade, and yet you say I am useless! Thus ungratefully, O Jupiter, do men receive their blessings!” Our best blessings are often the least appreciated. Go back to Table of Contents THE FARMER AND THE STORK A Stork of a very simple and trusting nature had been asked by a gay party of Cranes to visit a field that had been newly planted. But the party ended dismally with all the birds entangled in the meshes of the Farmer’s net. The Stork begged the Farmer to spare him. “Please let me go,” he pleaded. “I belong to the Stork family who you know are honest and birds of good character. Besides, I did not know the Cranes were going to steal.” “You may be a very good bird,” answered the Farmer, “but I caught you with the thieving Cranes and you will have to share the same punishment with them.” You are judged by the company you keep. Go back to Table of Contents THE SHEEP AND THE PIG One day a shepherd discovered a fat Pig in the meadow where his Sheep were pastured. He very quickly captured the porker, which squealed at the top of its voice the moment the Shepherd laid his hands on it. You would have thought, to hear the loud squealing, that the Pig was being cruelly hurt. But in spite of its squeals and struggles to escape, the Shepherd tucked his prize under his arm and started off to the butcher’s in the market place. The Sheep in the pasture were much astonished and amused at the Pig’s behavior, and followed the Shepherd and his charge to the pasture gate. “What makes you squeal like that?” asked one of the Sheep. “The Shepherd often catches and carries off one of us. But we should feel very much ashamed to make such a terrible fuss about it like you do.” “That is all very well,” replied the Pig, with a squeal and a frantic kick. “When he catches you he is only after your wool. But he wants my bacon! gree-ee-ee!” It is easy to be brave when there is no danger. THE SHEEP AND THE PIG Go back to Table of Contents THE TRAVELERS AND THE PURSE Two men were traveling in company along the road when one of them picked up a well-filled purse. “How lucky I am!” he said. “I have found a purse. Judging by its weight it must be full of gold.” “Do not say ‘I have found a purse,'” said his companion. “Say rather ‘we have found a purse’ and ‘how lucky we are.’ Travelers ought to share alike the fortunes or misfortunes of the road.” “No, no,” replied the other angrily. “I found it and I am going to keep it.” Just then they heard a shout of “Stop, thief!” and looking around, saw a mob of people armed with clubs coming down the road. The man who had found the purse fell into a panic. “We are lost if they find the purse on us,” he cried. “No, no,” replied the other, “You would not say ‘we’ before, so now stick to your ‘I’. Say ‘I am lost.'” We cannot expect any one to share our misfortunes unless we are willing to share our good fortune also. Go back to Table of Contents THE LION AND THE ASS One day as the Lion walked proudly down a forest aisle, and the animals respectfully made way for him, an Ass brayed a scornful remark as he passed. The Lion felt a flash of anger. But when he turned his head and saw who had spoken, he walked quietly on. He would not honor the fool with even so much as a stroke of his claws. Do not resent the remarks of a fool. Ignore them. Go back to Table of Contents THE FROGS WHO WISHED FOR A KING The Frogs were tired of governing themselves. They had so much freedom that it had spoiled them, and they did nothing but sit around croaking in a bored manner and wishing for a government that could entertain them with the pomp and display of royalty, and rule them in a way to make them know they were being ruled. No milk and water government for them, they declared. So they sent a petition to Jupiter asking for a king. Jupiter saw what simple and foolish creatures they were, but to keep them quiet and make them think they had a king he threw down a huge log, which fell into the water with a great splash. The Frogs hid themselves among the reeds and grasses, thinking the new king to be some fearful giant. But they soon discovered how tame and peaceable King Log was. In a short time the younger Frogs were using him for a diving platform, while the older Frogs made him a meeting place, where they complained loudly to Jupiter about the government. To teach the Frogs a lesson the ruler of the gods now sent a Crane to be king of Frogland. The Crane proved to be a very different sort of king from old King Log. He gobbled up the poor Frogs right and left and they soon saw what fools they had been. In mournful croaks they begged Jupiter to take away the cruel tyrant before they should all be destroyed. “How now!” cried Jupiter “Are you not yet content? You have what you asked for and so you have only yourselves to blame for your misfortunes.” Be sure you can better your condition before you seek to change. Go back to Table of Contents THE OWL AND THE GRASSHOPPER The Owl always takes her sleep during the day. Then after sundown, when the rosy light fades from the sky and the shadows rise slowly through the wood, out she comes ruffling and blinking from the old hollow tree. Now her weird “hoo-hoo-hoo-oo-oo” echoes through the quiet wood, and she begins her hunt for the bugs and beetles, frogs and mice she likes so well to eat. Now there was a certain old Owl who had become very cross and hard to please as she grew older, especially if anything disturbed her daily slumbers. One warm summer afternoon as she dozed away in her den in the old oak tree, a Grasshopper nearby began a joyous but very raspy song. Out popped the old Owl’s head from the opening in the tree that served her both for door and for window. “Get away from here, sir,” she said to the Grasshopper. “Have you no manners? You should at least respect my age and leave me to sleep in quiet!” But the Grasshopper answered saucily that he had as much right to his place in the sun as the Owl had to her place in the old oak. Then he struck up a louder and still more rasping tune. The wise old Owl knew quite well that it would do no good to argue with the Grasshopper, nor with anybody else for that matter. Besides, her eyes were not sharp enough by day to permit her to punish the Grasshopper as he deserved. So she laid aside all hard words and spoke very kindly to him. “Well sir,” she said, “if I must stay awake, I am going to settle right down to enjoy your singing. Now that I think of it, I have a wonderful wine here, sent me from Olympus, of which I am told Apollo drinks before he sings to the high gods. Please come up and taste this delicious drink with me. I know it will make you sing like Apollo himself.” The foolish Grasshopper was taken in by the Owl’s flattering words. Up he jumped to the Owl’s den, but as soon as he was near enough so the old Owl could see him clearly, she pounced upon him and ate him up. Flattery is not a proof of true admiration. Do not let flattery throw you off your guard against an enemy. Go back to Table of Contents THE WOLF AND HIS SHADOW A Wolf left his lair one evening in fine spirits and an excellent appetite. As he ran, the setting sun cast his shadow far out on the ground, and it looked as if the wolf were a hundred times bigger than he really was. “Why,” exclaimed the Wolf proudly, “see how big I am! Fancy me running away from a puny Lion! I’ll show him who is fit to be king, he or I.” Just then an immense shadow blotted him out entirely, and the next instant a Lion struck him down with a single blow. Do not let your fancy make you forget realities. Go back to Table of Contents THE OAK AND THE REEDS A Giant Oak stood near a brook in which grew some slender Reeds. When the wind blew, the great Oak stood proudly upright with its hundred arms uplifted to the sky. But the Reeds bowed low in the wind and sang a sad and mournful song. “You have reason to complain,” said the Oak. “The slightest breeze that ruffles the surface of the water makes you bow your heads, while I, the mighty Oak, stand upright and firm before the howling tempest.” “Do not worry about us,” replied the Reeds. “The winds do not harm us. We bow before them and so we do not break. You, in all your pride and strength, have so far resisted their blows. But the end is coming.” As the Reeds spoke a great hurricane rushed out of the north. The Oak stood proudly and fought against the storm, while the yielding Reeds bowed low. The wind redoubled in fury, and all at once the great tree fell, torn up by the roots, and lay among the pitying Reeds. Better to yield when it is folly to resist, than to resist stubbornly and be destroyed. Go back to Table of Contents THE RAT AND THE ELEPHANT A Rat was traveling along the King’s highway. He was a very proud Rat, considering his small size and the bad reputation all Rats have. As Mr. Rat walked along—he kept mostly to the ditch—he noticed a great commotion up the road, and soon a grand procession came in view. It was the King and his retinue. The King rode on a huge Elephant adorned with the most gorgeous trappings. With the King in his luxurious howdah were the royal Dog and Cat. A great crowd of people followed the procession. They were so taken up with admiration of the Elephant, that the Rat was not noticed. His pride was hurt. “What fools!” he cried. “Look at me, and you will soon forget that clumsy Elephant! Is it his great size that makes your eyes pop out? Or is it his wrinkled hide? Why, I have eyes and ears and as many legs as he! I am of just as much importance, and”— But just then the royal Cat spied him, and the next instant, the Rat knew he was not quite so important as an Elephant. A resemblance to the great in some things does not make us great. Go back to Table of Contents THE BOYS AND THE FROGS Some Boys were playing one day at the edge of a pond in which lived a family of Frogs. The Boys amused themselves by throwing stones into the pond so as to make them skip on top of the water. The stones were flying thick and fast and the Boys were enjoying themselves very much; but the poor Frogs in the pond were trembling with fear. At last one of the Frogs, the oldest and bravest, put his head out of the water, and said, “Oh, please, dear children, stop your cruel play! Though it may be fun for you, it means death to us!” Always stop to think whether your fun may not be the cause of another’s unhappiness. Go back to Table of Contents THE CROW AND THE PITCHER In a spell of dry weather, when the Birds could find very little to drink, a thirsty Crow found a pitcher with a little water in it. But the pitcher was high and had a narrow neck, and no matter how he tried, the Crow could not reach the water. The poor thing felt as if he must die of thirst. Then an idea came to him. Picking up some small pebbles, he dropped them into the pitcher one by one. With each pebble the water rose a little higher until at last it was near enough so he could drink. In a pinch a good use of our wits may help us out. Go back to Table of Contents THE ANTS AND THE GRASSHOPPER One bright day in late autumn a family of Ants were bustling about in the warm sunshine, drying out the grain they had stored up during the summer, when a starving Grasshopper, his fiddle under his arm, came up and humbly begged for a bite to eat. “What!” cried the Ants in surprise, “haven’t you stored anything away for the winter? What in the world were you doing all last summer?” “I didn’t have time to store up any food,” whined the Grasshopper; “I was so busy making music that before I knew it the summer was gone.” The Ants shrugged their shoulders in disgust. “Making music, were you?” they cried. “Very well; now dance!” And they turned their backs on the Grasshopper and went on with their work. There’s a time for work and a time for play. Go back to Table of Contents THE ASS CARRYING THE IMAGE A sacred Image was being carried to the temple. It was mounted on an Ass adorned with garlands and gorgeous trappings, and a grand procession of priests and pages followed it through the streets. As the Ass walked along, the people bowed their heads reverently or fell on their knees, and the Ass thought the honor was being paid to himself. With his head full of this foolish idea, he became so puffed up with pride and vanity that he halted and started to bray loudly. But in the midst of his song, his driver guessed what the Ass had got into his head, and began to beat him unmercifully with a stick. “Go along with you, you stupid Ass,” he cried. “The honor is not meant for you but for the image you are carrying.” Do not try to take the credit to yourself that is due to others. Go back to Table of Contents A RAVEN AND A SWAN A Raven, which you know is black as coal, was envious of the Swan, because her feathers were as white as the purest snow. The foolish bird got the idea that if he lived like the Swan, swimming and diving all day long and eating the weeds and plants that grow in the water, his feathers would turn white like the Swan’s. So he left his home in the woods and fields and flew down to live on the lakes and in the marshes. But though he washed and washed all day long, almost drowning himself at it, his feathers remained as black as ever. And as the water weeds he ate did not agree with him, he got thinner and thinner, and at last he died. A change of habits will not alter nature. Go back to Table of Contents THE TWO GOATS Two Goats, frisking gayly on the rocky steeps of a mountain valley, chanced to meet, one on each side of a deep chasm through which poured a mighty mountain torrent. The trunk of a fallen tree formed the only means of crossing the chasm, and on this not even two squirrels could have passed each other in safety. The narrow path would have made the bravest tremble. Not so our Goats. Their pride would not permit either to stand aside for the other. One set her foot on the log. The other did likewise. In the middle they met horn to horn. Neither would give way, and so they both fell, to be swept away by the roaring torrent below. It is better to yield than to come to misfortune through stubbornness. Go back to Table of Contents THE ASS AND THE LOAD OF SALT A Merchant, driving his Ass homeward from the seashore with a heavy load of salt, came to a river crossed by a shallow ford. They had crossed this river many times before without accident, but this time the Ass slipped and fell when halfway over. And when the Merchant at last got him to his feet, much of the salt had melted away. Delighted to find how much lighter his burden had become, the Ass finished the journey very gayly. Next day the Merchant went for another load of salt. On the way home the Ass, remembering what had happened at the ford, purposely let himself fall into the water, and again got rid of most of his burden. The angry Merchant immediately turned about and drove the Ass back to the seashore, where he loaded him with two great baskets of sponges. At the ford the Ass again tumbled over; but when he had scrambled to his feet, it was a very disconsolate Ass that dragged himself homeward under a load ten times heavier than before. The same measures will not suit all circumstances. THE ASS AND THE LOAD OF SALT Go back to Table of Contents THE LION AND THE GNAT “Away with you, vile insect!” said a Lion angrily to a Gnat that was buzzing around his head. But the Gnat was not in the least disturbed. “Do you think,” he said spitefully to the Lion, “that I am afraid of you because they call you king?” The next instant he flew at the Lion and stung him sharply on the nose. Mad with rage, the Lion struck fiercely at the Gnat, but only succeeded in tearing himself with his claws. Again and again the Gnat stung the Lion, who now was roaring terribly. At last, worn out with rage and covered with wounds that his own teeth and claws had made, the Lion gave up the fight. The Gnat buzzed away to tell the whole world about his victory, but instead he flew straight into a spider’s web. And there, he who had defeated the King of beasts came to a miserable end, the prey of a little spider. The least of our enemies is often the most to be feared. Pride over a success should not throw us off our guard. Go back to Table of Contents THE LEAP AT RHODES A certain man who visited foreign lands could talk of little when he returned to his home except the wonderful adventures he had met with and the great deeds he had done abroad. One of the feats he told about was a leap he had made in a city Called Rhodes. That leap was so great, he said, that no other man could leap anywhere near the distance. A great many persons in Rhodes had seen him do it and would prove that what he told was true. “No need of witnesses,” said one of the hearers. “Suppose this city is Rhodes. Now show us how far you can jump.” Deeds count, not boasting words. Go back to Table of Contents THE COCK AND THE JEWEL A Cock was busily scratching and scraping about to find something to eat for himself and his family, when he happened to turn up a precious jewel that had been lost by its owner. “Aha!” said the Cock. “No doubt you are very costly and he who lost you would give a great deal to find you. But as for me, I would choose a single grain of barleycorn before all the jewels in the world.” Precious things are without value to those who cannot prize them. Go back to Table of Contents THE MONKEY AND THE CAMEL At a great celebration in honor of King Lion, the Monkey was asked to dance for the company. His dancing was very clever indeed, and the animals were all highly pleased with his grace and lightness. The praise that was showered on the Monkey made the Camel envious. He was very sure that he could dance quite as well as the Monkey, if not better, so he pushed his way into the crowd that was gathered around the Monkey, and rising on his hind legs, began to dance. But the big hulking Camel made himself very ridiculous as he kicked out his knotty legs and twisted his long clumsy neck. Besides, the animals found it hard to keep their toes from under his heavy hoofs. At last, when one of his huge feet came within an inch of King Lion’s nose, the animals were so disgusted that they set upon the Camel in a rage and drove him out into the desert. Shortly afterward, refreshments, consisting mostly of Camel’s hump and ribs, were served to the company. Do not try to ape your betters. Go back to Table of Contents THE WILD BOAR AND THE FOX A Wild Boar was sharpening his tusks busily against the stump of a tree, when a Fox happened by. Now the Fox was always looking for a chance to make fun of his neighbors. So he made a great show of looking anxiously about, as if in fear of some hidden enemy. But the Boar kept right on with his work. “Why are you doing that?” asked the Fox at last with a grin. “There isn’t any danger that I can see.” “True enough,” replied the Boar, “but when danger does come there will not be time for such work as this. My weapons will have to be ready for use then, or I shall suffer for it.” Preparedness for war is the best guarantee of peace. Go back to Table of Contents THE ASS, THE FOX, AND THE LION An Ass and a Fox had become close comrades, and were constantly in each other’s company. While the Ass cropped a fresh bit of greens, the Fox would devour a chicken from the neighboring farmyard or a bit of cheese filched from the dairy. One day the pair unexpectedly met a Lion. The Ass was very much frightened, but the Fox calmed his fears. “I will talk to him,” he said. So the Fox walked boldly up to the Lion. “Your highness,” he said in an undertone, so the Ass could not hear him, “I’ve got a fine scheme in my head. If you promise not to hurt me, I will lead that foolish creature yonder into a pit where he can’t get out, and you can feast at your pleasure.” The Lion agreed and the Fox returned to the Ass. “I made him promise not to hurt us,” said the Fox. “But come, I know a good place to hide till he is gone.” So the Fox led the Ass into a deep pit. But when the Lion saw that the Ass was his for the taking, he first of all struck down the traitor Fox. Traitors may expect treachery. Go back to Table of Contents THE BIRDS, THE BEASTS, AND THE BAT The Birds and the Beasts declared war against each other. No compromise was possible, and so they went at it tooth and claw. It is said the quarrel grew out of the persecution the race of Geese suffered at the teeth of the Fox family. The Beasts, too, had cause for fight. The Eagle was constantly pouncing on the Hare, and the Owl dined daily on Mice. It was a terrible battle. Many a Hare and many a Mouse died. Chickens and Geese fell by the score—and the victor always stopped for a feast. Now the Bat family had not openly joined either side. They were a very politic race. So when they saw the Birds getting the better of it, they were Birds for all there was in it. But when the tide of battle turned, they immediately sided with the Beasts. When the battle was over, the conduct of the Bats was discussed at the peace conference. Such deceit was unpardonable, and Birds and Beasts made common cause to drive out the Bats. And since then the Bat family hides in dark towers and deserted ruins, flying out only in the night. The deceitful have no friends. Go back to Table of Contents THE LION, THE BEAR, AND THE FOX Just as a great Bear rushed to seize a stray kid, a Lion leaped from another direction upon the same prey. The two fought furiously for the prize until they had received so many wounds that both sank down unable to continue the battle. Just then a Fox dashed up, and seizing the kid, made off with it as fast as he could go, while the Lion and the Bear looked on in helpless rage. “How much better it would have been,” they said, “to have shared in a friendly spirit.” Those who have all the toil do not always get the profit. Go back to Table of Contents THE WOLF AND THE LAMB A stray Lamb stood drinking early one morning on the bank of a woodland stream. That very same morning a hungry Wolf came by farther up the stream, hunting for something to eat. He soon got his eyes on the Lamb. As a rule Mr. Wolf snapped up such delicious morsels without making any bones about it, but this Lamb looked so very helpless and innocent that the Wolf felt he ought to have some kind of an excuse for taking its life. “How dare you paddle around in my stream and stir up all the mud!” he shouted fiercely. “You deserve to be punished severely for your rashness!” “But, your highness,” replied the trembling Lamb, “do not be angry! I cannot possibly muddy the water you are drinking up there. Remember, you are upstream and I am downstream.” “You do muddy it!” retorted the Wolf savagely. “And besides, I have heard that you told lies about me last year!” “How could I have done so?” pleaded the Lamb. “I wasn’t born until this year.” “If it wasn’t you, it was your brother!” “I have no brothers.” “Well, then,” snarled the Wolf, “It was someone in your family anyway. But no matter who it was, I do not intend to be talked out of my breakfast.” And without more words the Wolf seized the poor Lamb and carried her off to the forest. The tyrant can always find an excuse for his tyranny. The unjust will not listen to the reasoning of the innocent. Go back to Table of Contents THE WOLF AND THE SHEEP A Wolf had been hurt in a fight with a Bear. He was unable to move and could not satisfy his hunger and thirst. A Sheep passed by near his hiding place, and the Wolf called to him. “Please fetch me a drink of water,” he begged, “that might give me strength enough so I can get me some solid food.” “Solid food!” said the Sheep. “That means me, I suppose. If I should bring you a drink, it would only serve to wash me down your throat. Don’t talk to me about a drink!” A knave’s hypocrisy is easily seen through. Go back to Table of Contents THE HARES AND THE FROGS Hares, as you know, are very timid. The least shadow, sends them scurrying in fright to a hiding place. Once they decided to die rather than live in such misery. But while they were debating how best to meet death, they thought they heard a noise and in a flash were scampering off to the warren. On the way they passed a pond where a family of Frogs was sitting among the reeds on the bank. In an instant the startled Frogs were seeking safety in the mud. “Look,” cried a Hare, “things are not so bad after all, for here are creatures who are even afraid of us!” However unfortunate we may think we are there is always someone worse off than ourselves. Go back to Table of Contents THE FOX AND THE STORK The Fox one day thought of a plan to amuse himself at the expense of the Stork, at whose odd appearance he was always laughing. “You must come and dine with me today,” he said to the Stork, smiling to himself at the trick he was going to play. The Stork gladly accepted the invitation and arrived in good time and with a very good appetite. For dinner the Fox served soup. But it was set out in a very shallow dish, and all the Stork could do was to wet the very tip of his bill. Not a drop of soup could he get. But the Fox lapped it up easily, and, to increase the disappointment of the Stork, made a great show of enjoyment. The hungry Stork was much displeased at the trick, but he was a calm, even-tempered fellow and saw no good in flying into a rage. Instead, not long afterward, he invited the Fox to dine with him in turn. The Fox arrived promptly at the time that had been set, and the Stork served a fish dinner that had a very appetizing smell. But it was served in a tall jar with a very narrow neck. The Stork could easily get at the food with his long bill, but all the Fox could do was to lick the outside of the jar, and sniff at the delicious odor. And when the Fox lost his temper, the Stork said calmly: Do not play tricks on your neighbors unless you can stand the same treatment yourself. THE TRAVELERS AND THE SEA Two Travelers were walking along the seashore. Far out they saw something riding on the waves. “Look,” said one, “a great ship rides in from distant lands, bearing rich treasures!” The object they saw came ever nearer the shore. “No,” said the other, “that is not a treasure ship. That is some fisherman’s skiff, with the day’s catch of savoury fish.” Still nearer came the object. The waves washed it up on shore. “It is a chest of gold lost from some wreck,” they cried. Both Travelers rushed to the beach, but there they found nothing but a water-soaked log. Do not let your hopes carry you away from reality. Go back to Table of Contents THE WOLF AND THE LION A Wolf had stolen a Lamb and was carrying it off to his lair to eat it. But his plans were very much changed when he met a Lion, who, without making any excuses, took the Lamb away from him. The Wolf made off to a safe distance, and then said in a much injured tone: “You have no right to take my property like that!” The Lion looked back, but as the Wolf was too far away to be taught a lesson without too much inconvenience, he said: “Your property? Did you buy it, or did the Shepherd make you a gift of it? Pray tell me, how did you get it?” What is evil won is evil lost. Go back to Table of Contents THE STAG AND HIS REFLECTION A Stag, drinking from a crystal spring, saw himself mirrored in the clear water. He greatly admired the graceful arch of his antlers, but he was very much ashamed of his spindling legs. “How can it be,” he sighed, “that I should be cursed with such legs when I have so magnificent a crown.” At that moment he scented a panther and in an instant was bounding away through the forest. But as he ran his wide-spreading antlers caught in the branches of the trees, and soon the Panther overtook him. Then the Stag perceived that the legs of which he was so ashamed would have saved him had it not been for the useless ornaments on his head. We often make much of the ornamental and despise the useful. Go back to Table of Contents THE PEACOCK The Peacock, they say, did not at first have the beautiful feathers in which he now takes so much pride. These, Juno, whose favorite he was, granted to him one day when he begged her for a train of feathers to distinguish him from the other birds. Then, decked in his finery, gleaming with emerald, gold, purple, and azure, he strutted proudly among the birds. All regarded him with envy. Even the most beautiful pheasant could see that his beauty was surpassed. Presently the Peacock saw an Eagle soaring high up in the blue sky and felt a desire to fly, as he had been accustomed to do. Lifting his wings he tried to rise from the ground. But the weight of his magnificent train held him down. Instead of flying up to greet the first rays of the morning sun or to bathe in the rosy light among the floating clouds at sunset, he would have to walk the ground more encumbered and oppressed than any common barnyard fowl. Do not sacrifice your freedom for the sake of pomp and show. THE PEACOCK Go back to Table of Contents THE MICE AND THE WEASELS The Weasels and the Mice were always up in arms against each other. In every battle the Weasels carried off the victory, as well as a large number of the Mice, which they ate for dinner next day. In despair the Mice called a council, and there it was decided that the Mouse army was always beaten because it had no leaders. So a large number of generals and commanders were appointed from among the most eminent Mice. To distinguish themselves from the soldiers in the ranks, the new leaders proudly bound on their heads lofty crests and ornaments of feathers or straw. Then after long preparation of the Mouse army in all the arts of war, they sent a challenge to the Weasels. The Weasels accepted the challenge with eagerness, for they were always ready for a fight when a meal was in sight. They immediately attacked the Mouse army in large numbers. Soon the Mouse line gave way before the attack and the whole army fled for cover. The privates easily slipped into their holes, but the Mouse leaders could not squeeze through the narrow openings because of their head-dresses. Not one escaped the teeth of the hungry Weasels. Greatness has its penalties. Go back to Table of Contents THE WOLF AND THE LEAN DOG A Wolf prowling near a village one evening met a Dog. It happened to be a very lean and bony Dog, and Master Wolf would have turned up his nose at such meager fare had he not been more hungry than usual. So he began to edge toward the Dog, while the Dog backed away. “Let me remind your lordship,” said the Dog, his words interrupted now and then as he dodged a snap of the Wolf’s teeth, “how unpleasant it would be to eat me now. Look at my ribs. I am nothing but skin and bone. But let me tell you something in private. In a few days my master will give a wedding feast for his only daughter. You can guess how fine and fat I will grow on the scraps from the table. Then is the time to eat me.” The Wolf could not help thinking how nice it would be to have a fine fat Dog to eat instead of the scrawny object before him. So he went away pulling in his belt and promising to return. Some days later the Wolf came back for the promised feast. He found the Dog in his master’s yard, and asked him to come out and be eaten. “Sir,” said the Dog, with a grin, “I shall be delighted to have you eat me. I’ll be out as soon as the porter opens the door.” But the “porter” was a huge Dog whom the Wolf knew by painful experience to be very unkind toward wolves. So he decided not to wait and made off as fast as his legs could carry him. Do not depend on the promises of those whose interest it is to deceive you. Take what you can get when you can get it. Go back to Table of Contents THE FOX AND THE LION A very young Fox, who had never before seen a Lion, happened to meet one in the forest. A single look was enough to send the Fox off at top speed for the nearest hiding place. The second time the Fox saw the Lion he stopped behind a tree to look at him a moment before slinking away. But the third time, the Fox went boldly up to the Lion and, without turning a hair, said, “Hello, there, old top.” Familiarity breeds contempt. Go back to Table of Contents THE LION AND THE ASS A Lion and an Ass agreed to go hunting together. In their search for game the hunters saw a number of Wild Goats run into a cave, and laid plans to catch them. The Ass was to go into the cave and drive the Goats out, while the Lion would stand at the entrance to strike them down. The plan worked beautifully. The Ass made such a frightful din in the cave, kicking and braying with all his might, that the Goats came running out in a panic of fear, only to fall victim to the Lion. The Ass came proudly out of the cave. “Did you see how I made them run?” he said. “Yes, indeed,” answered the Lion, “and if I had not known you and your kind I should certainly have run, too.” The loud-mouthed boaster does not impress nor frighten those who know him. Go back to Table of Contents THE DOG AND HIS MASTER’S DINNER A Dog had learned to carry his master’s dinner to him every day. He was very faithful to his duty, though the smell of the good things in the basket tempted him. The Dogs in the neighborhood noticed him carrying the basket and soon discovered what was in it. They made several attempts to steal it from him. But he always guarded it faithfully. Then one day all the Dogs in the neighborhood got together and met him on his way with the basket. The Dog tried to run away from them. But at last he stopped to argue. That was his mistake. They soon made him feel so ridiculous that he dropped the basket and seized a large piece of roast meat intended for his master’s dinner. “Very well,” he said, “you divide the rest.” Do not stop to argue with temptation. Go back to Table of Contents THE VAIN JACKDAW AND HIS BORROWED FEATHERS A Jackdaw chanced to fly over the garden of the King’s palace. There he saw with much wonder and envy a flock of royal Peacocks in all the glory of their splendid plumage. Now the black Jackdaw was not a very handsome bird, nor very refined in manner. Yet he imagined that all he needed to make himself fit for the society of the Peacocks was a dress like theirs. So he picked up some castoff feathers of the Peacocks and stuck them among his own black plumes. Dressed in his borrowed finery he strutted loftily among the birds of his own kind. Then he flew down into the garden among the Peacocks. But they soon saw who he was. Angry at the cheat, they flew at him, plucking away the borrowed feathers and also some of his own. The poor Jackdaw returned sadly to his former companions. There another unpleasant surprise awaited him. They had not forgotten his superior airs toward them, and, to punish him, they drove him away with a rain of pecks and jeers. Borrowed feathers do not make fine birds. Go back to Table of Contents THE MONKEY AND THE DOLPHIN It happened once upon a time that a certain Greek ship bound for Athens was wrecked off the coast close to Piraeus, the port of Athens. Had it not been for the Dolphins, who at that time were very friendly toward mankind and especially toward Athenians, all would have perished. But the Dolphins took the shipwrecked people on their backs and swam with them to shore. Now it was the custom among the Greeks to take their pet monkeys and dogs with them whenever they went on a voyage. So when one of the Dolphins saw a Monkey struggling in the water, he thought it was a man, and made the Monkey climb up on his back. Then off he swam with him toward the shore. The Monkey sat up, grave and dignified, on the Dolphin’s back. “You are a citizen of illustrious Athens, are you not?” asked the Dolphin politely. “Yes,” answered the Monkey, proudly. “My family is one of the noblest in the city.” “Indeed,” said the Dolphin. “Then of course you often visit Piraeus.” “Yes, yes,” replied the Monkey. “Indeed, I do. I am with him constantly. Piraeus is my very best friend.” This answer took the Dolphin by surprise, and, turning his head, he now saw what it was he was carrying. Without more ado, he dived and left the foolish Monkey to take care of himself, while he swam off in search of some human being to save. One falsehood leads to another. Go back to Table of Contents THE WOLF AND THE ASS An Ass was feeding in a pasture near a wood when he saw a Wolf lurking in the shadows along the hedge. He easily guessed what the Wolf had in mind, and thought of a plan to save himself. So he pretended he was lame, and began to hobble painfully. When the Wolf came up, he asked the Ass what had made him lame, and the Ass replied that he had stepped on a sharp thorn. “Please pull it out,” he pleaded, groaning as if in pain. “If you do not, it might stick in your throat when you eat me.” The Wolf saw the wisdom of the advice, for he wanted to enjoy his meal without any danger of choking. So the Ass lifted up his foot and the Wolf began to search very closely and carefully for the thorn. Just then the Ass kicked out with all his might, tumbling the Wolf a dozen paces away. And while the Wolf was getting very slowly and painfully to his feet, the Ass galloped away in safety. “Serves me right,” growled the Wolf as he crept into the bushes. “I’m a butcher by trade, not a doctor.” Stick to your trade. Go back to Table of Contents THE MONKEY AND THE CAT Once upon a time a Cat and a Monkey lived as pets in the same house. They were great friends and were constantly in all sorts of mischief together. What they seemed to think of more than anything else was to get something to eat, and it did not matter much to them how they got it. One day they were sitting by the fire, watching some chestnuts roasting on the hearth. How to get them was the question. “I would gladly get them,” said the cunning Monkey, “but you are much more skillful at such things than I am. Pull them out and I’ll divide them between us.” Pussy stretched out her paw very carefully, pushed aside some of the cinders, and drew back her paw very quickly. Then she tried it again, this time pulling a chestnut half out of the fire. A third time and she drew out the chestnut. This performance she went through several times, each time singeing her paw severely. As fast as she pulled the chestnuts out of the fire, the Monkey ate them up. Now the master came in, and away scampered the rascals, Mistress Cat with a burnt paw and no chestnuts. From that time on, they say, she contented herself with mice and rats and had little to do with Sir Monkey. The flatterer seeks some benefit at your expense. Go back to Table of Contents THE DOGS AND THE FOX Some Dogs found the skin of a Lion and furiously began to tear it with their teeth. A Fox chanced to see them and laughed scornfully. “If that Lion had been alive,” he said, “it would have been a very different story. He would have made you feel how much sharper his claws are than your teeth.” It is easy and also contemptible to kick a man that is down. Go back to Table of Contents THE DOGS AND THE HIDES Some hungry Dogs saw a number of hides at the bottom of a stream where the Tanner had put them to soak. A fine hide makes an excellent meal for a hungry Dog, but the water was deep and the Dogs could not reach the hides from the bank. So they held a council and decided that the very best thing to do was to drink up the river. All fell to lapping up the water as fast as they could. But though they drank and drank until, one after another, all of them had burst with drinking, still, for all their effort, the water in the river remained as high as ever. Do not try to do impossible things. Go back to Table of Contents THE RABBIT, THE WEASEL, AND THE CAT A Rabbit left his home one day for a dinner of clover. But he forgot to latch the door of his house and while he was gone a Weasel walked in and calmly made himself at home. When the Rabbit returned, there was the Weasel’s nose sticking out of the Rabbit’s own doorway, sniffing the fine air. The Rabbit was quite angry—for a Rabbit—, and requested the Weasel to move out. But the Weasel was perfectly content. He was settled down for good. A wise old Cat heard the dispute and offered to settle it. “Come close to me,” said the Cat, “I am very deaf. Put your mouths close to my ears while you tell me the facts.” The unsuspecting pair did as they were told and in an instant the Cat had them both under her claws. No one could deny that the dispute had been definitely settled. The strong are apt to settle questions to their own advantage. Go back to Table of Contents THE BEAR AND THE BEES A Bear roaming the woods in search of berries happened on a fallen tree in which a swarm of Bees had stored their honey. The Bear began to nose around the log very carefully to find out if the Bees were at home. Just then one of the swarm came home from the clover field with a load of sweets. Guessing what the Bear was after, the Bee flew at him, stung him sharply and then disappeared into the hollow log. The Bear lost his temper in an instant, and sprang upon the log tooth and claw, to destroy the nest. But this only brought out the whole swarm. The poor Bear had to take to his heels, and he was able to save himself only by diving into a pool of water. It is wiser to bear a single injury in silence than to provoke a thousand by flying into a rage. Go back to Table of Contents THE FOX AND THE LEOPARD A Fox and a Leopard, resting lazily after a generous dinner, amused themselves by disputing about their good looks. The Leopard was very proud of his glossy, spotted coat and made disdainful remarks about the Fox, whose appearance he declared was quite ordinary. The Fox prided himself on his fine bushy tail with its tip of white, but he was wise enough to see that he could not rival the Leopard in looks. Still he kept up a flow of sarcastic talk, just to exercise his wits and to have the fun of disputing. The Leopard was about to lose his temper when the Fox got up, yawning lazily. “You may have a very smart coat,” he said, “but you would be a great deal better off if you had a little more smartness inside your head and less on your ribs, the way I am. That’s what I call real beauty.” A fine coat is not always an indication of an attractive mind. THE FOX AND THE LEOPARD Go back to Table of Contents THE HERON A Heron was walking sedately along the bank of a stream, his eyes on the clear water, and his long neck and pointed bill ready to snap up a likely morsel for his breakfast. The clear water swarmed with fish, but Master Heron was hard to please that morning. “No small fry for me,” he said. “Such scanty fare is not fit for a Heron.” Now a fine young Perch swam near. “No indeed,” said the Heron. “I wouldn’t even trouble to open my beak for anything like that!” As the sun rose, the fish left the shallow water near the shore and swam below into the cool depths toward the middle. The Heron saw no more fish, and very glad was he at last to breakfast on a tiny Snail. Do not be too hard to suit or you may have to be content with the worst or with nothing at all. Go back to Table of Contents THE COCK AND THE FOX One bright evening as the sun was sinking on a glorious world a wise old Cock flew into a tree to roost. Before he composed himself to rest, he flapped his wings three times and crowed loudly. But just as he was about to put his head under his wing, his beady eyes caught a flash of red and a glimpse of a long pointed nose, and there just below him stood Master Fox. “Have you heard the wonderful news?” cried the Fox in a very joyful and excited manner. “What news?” asked the Cock very calmly. But he had a queer, fluttery feeling inside him, for, you know, he was very much afraid of the Fox. “Your family and mine and all other animals have agreed to forget their differences and live in peace and friendship from now on forever. Just think of it! I simply cannot wait to embrace you! Do come down, dear friend, and let us celebrate the joyful event.” “How grand!” said the Cock. “I certainly am delighted at the news.” But he spoke in an absent way, and stretching up on tiptoes, seemed to be looking at something afar off. “What is it you see?” asked the Fox a little anxiously. “Why, it looks to me like a couple of Dogs coming this way. They must have heard the good news and—” But the Fox did not wait to hear more. Off he started on a run. “Wait,” cried the Cock. “Why do you run? The Dogs are friends of yours now!” “Yes,” answered the Fox. “But they might not have heard the news. Besides, I have a very important errand that I had almost forgotten about.” The Cock smiled as he buried his head in his feathers and went to sleep, for he had succeeded in outwitting a very crafty enemy. The trickster is easily tricked. Go back to Table of Contents THE DOG IN THE MANGER A Dog asleep in a manger filled with hay, was awakened by the Cattle, which came in tired and hungry from working in the field. But the Dog would not let them get near the manger, and snarled and snapped as if it were filled with the best of meat and bones, all for himself. The Cattle looked at the Dog in disgust. “How selfish he is!” said one. “He cannot eat the hay and yet he will not let us eat it who are so hungry for it!” Now the farmer came in. When he saw how the Dog was acting, he seized a stick and drove him out of the stable with many a blow for his selfish behavior. Do not grudge others what you cannot enjoy yourself. Go back to Table of Contents THE WOLF AND THE GOAT A hungry Wolf spied a Goat browsing at the top of a steep cliff where he could not possibly get at her. “That is a very dangerous place for you,” he called out, pretending to be very anxious about the Goat’s safety. “What if you should fall! Please listen to me and come down! Here you can get all you want of the finest, tenderest grass in the country.” The Goat looked over the edge of the cliff. “How very, very anxious you are about me,” she said, “and how generous you are with your grass! But I know you! It’s your own appetite you are thinking of, not mine!” An invitation prompted by selfishness is not to be accepted. Go back to Table of Contents THE ASS AND THE GRASSHOPPERS One day as an Ass was walking in the pasture, he found some Grasshoppers chirping merrily in a grassy corner of the field. He listened with a great deal of admiration to the song of the Grasshoppers. It was such a joyful song that his pleasure-loving heart was filled with a wish to sing as they did. “What is it?” he asked very respectfully, “that has given you such beautiful voices? Is there any special food you eat, or is it some divine nectar that makes you sing so wonderfully?” “Yes,” said the Grasshoppers, who were very fond of a joke; “it is the dew we drink! Try some and see.” So thereafter the Ass would eat nothing and drink nothing but dew. Naturally, the poor foolish Ass soon died. The laws of nature are unchangeable. Go back to Table of Contents THE MULE A Mule had had a long rest and much good feeding. He was feeling very vigorous indeed, and pranced around loftily, holding his head high. “My father certainly was a full-blooded racer,” he said. “I can feel that distinctly.” Next day he was put into harness again and that evening he was very downhearted indeed. “I was mistaken,” he said. “My father was an Ass after all.” Be sure of your pedigree before you boast of it. Go back to Table of Contents THE FOX AND THE GOAT A Fox fell into a well, and though it was not very deep, he found that he could not get out again. After he had been in the well a long time, a thirsty Goat came by. The Goat thought the Fox had gone down to drink, and so he asked if the water was good. “The finest in the whole country,” said the crafty Fox, “jump in and try it. There is more than enough for both of us.” The thirsty Goat immediately jumped in and began to drink. The Fox just as quickly jumped on the Goat’s back and leaped from the tip of the Goat’s horns out of the well. The foolish Goat now saw what a plight he had got into, and begged the Fox to help him out. But the Fox was already on his way to the woods. “If you had as much sense as you have beard, old fellow,” he said as he ran, “you would have been more cautious about finding a way to get out again before you jumped in.” Look before you leap. Go back to Table of Contents THE CAT, THE COCK, AND THE YOUNG MOUSE A very young Mouse, who had never seen anything of the world, almost came to grief the very first time he ventured out. And this is the story he told his mother about his adventures. “I was strolling along very peaceably when, just as I turned the corner into the next yard, I saw two strange creatures. One of them had a very kind and gracious look, but the other was the most fearful monster you can imagine. You should have seen him. “On top of his head and in front of his neck hung pieces of raw red meat. He walked about restlessly, tearing up the ground with his toes, and beating his arms savagely against his sides. The moment he caught sight of me he opened his pointed mouth as if to swallow me, and then he let out a piercing roar that frightened me almost to death.” Can you guess who it was that our young Mouse was trying to describe to his mother? It was nobody but the Barnyard Cock and the first one the little Mouse had ever seen. “If it had not been for that terrible monster,” the Mouse went on, “I should have made the acquaintance of the pretty creature, who looked so good and gentle. He had thick, velvety fur, a meek face, and a look that was very modest, though his eyes were bright and shining. As he looked at me he waved his fine long tail and smiled. “I am sure he was just about to speak to me when the monster I have told you about let out a screaming yell, and I ran for my life.” “My son,” said the Mother Mouse, “that gentle creature you saw was none other than the Cat. Under his kindly appearance, he bears a grudge against every one of us. The other was nothing but a bird who wouldn’t harm you in the least. As for the Cat, he eats us. So be thankful, my child, that you escaped with your life, and, as long as you live, never judge people by their looks.” Do not trust alone to outward appearances. Go back to Table of Contents THE WOLF AND THE SHEPHERD A Wolf had been prowling around a flock of Sheep for a long time, and the Shepherd watched very anxiously to prevent him from carrying off a Lamb. But the Wolf did not try to do any harm. Instead he seemed to be helping the Shepherd take care of the Sheep. At last the Shepherd got so used to seeing the Wolf about that he forgot how wicked he could be. One day he even went so far as to leave his flock in the Wolf’s care while he went on an errand. But when he came back and saw how many of the flock had been killed and carried off, he knew how foolish to trust a Wolf. Once a wolf, always a wolf. Go back to Table of Contents THE PEACOCK AND THE CRANE A Peacock, puffed up with vanity, met a Crane one day, and to impress him spread his gorgeous tail in the Sun. “Look,” he said. “What have you to compare with this? I am dressed in all the glory of the rainbow, while your feathers are gray as dust!” The Crane spread his broad wings and flew up toward the sun. “Follow me if you can,” he said. But the Peacock stood where he was among the birds of the barnyard, while the Crane soared in freedom far up into the blue sky. The useful is of much more importance and value, than the ornamental. Go back to Table of Contents THE FARMER AND THE CRANES Some Cranes saw a farmer plowing a large field. When the work of plowing was done, they patiently watched him sow the seed. It was their feast, they thought. So, as soon as the Farmer had finished planting and had gone home, down they flew to the field, and began to eat as fast as they could. The Farmer, of course, knew the Cranes and their ways. He had had experience with such birds before. He soon returned to the field with a sling. But he did not bring any stones with him. He expected to scare the Cranes just by swinging the sling in the air, and shouting loudly at them. At first the Cranes flew away in great terror. But they soon began to see that none of them ever got hurt. They did not even hear the noise of stones whizzing through the air, and as for words, they would kill nobody. At last they paid no attention whatever to the Farmer. The Farmer saw that he would have to take other measures. He wanted to save at least some of his grain. So he loaded his sling with stones and killed several of the Cranes. This had the effect the Farmer wanted, for from that day the Cranes visited his field no more. Bluff and threatening words are of little value with rascals. Bluff is no proof that hard fists are lacking. Go back to Table of Contents THE FARMER AND HIS SONS A rich old farmer, who felt that he had not many more days to live, called his sons to his bedside. “My sons,” he said, “heed what I have to say to you. Do not on any account part with the estate that has belonged to our family for so many generations. Somewhere on it is hidden a rich treasure. I do not know the exact spot, but it is there, and you will surely find it. Spare no energy and leave no spot unturned in your search.” The father died, and no sooner was he in his grave than the sons set to work digging with all their might, turning up every foot of ground with their spades, and going over the whole farm two or three times. No hidden gold did they find; but at harvest time when they had settled their accounts and had pocketed a rich profit far greater than that of any of their neighbors, they understood that the treasure their father had told them about was the wealth of a bountiful crop, and that in their industry had they found the treasure. Industry is itself a treasure. Go back to Table of Contents THE TWO POTS Two Pots, one of brass and the other of clay, stood together on the hearthstone. One day the Brass Pot proposed to the Earthen Pot that they go out into the world together. But the Earthen Pot excused himself, saying that it would be wiser for him to stay in the corner by the fire. “It would take so little to break me,” he said. “You know how fragile I am. The least shock is sure to shatter me!” “Don’t let that keep you at home,” urged the Brass Pot. “I shall take very good care of you. If we should happen to meet anything hard I will step between and save you.” So the Earthen Pot at last consented, and the two set out side by side, jolting along on three stubby legs first to this side, then to that, and bumping into each other at every step. The Earthen Pot could not survive that sort of companionship very long. They had not gone ten paces before the Earthen Pot cracked, and at the next jolt he flew into a thousand pieces. Equals make the best friends. Go back to Table of Contents THE GOOSE AND THE GOLDEN EGG There was once a Countryman who possessed the most wonderful Goose you can imagine, for every day when he visited the nest, the Goose had laid a beautiful, glittering, golden egg. The Countryman took the eggs to market and soon began to get rich. But it was not long before he grew impatient with the Goose because she gave him only a single golden egg a day. He was not getting rich fast enough. Then one day, after he had finished counting his money, the idea came to him that he could get all the golden eggs at once by killing the Goose and cutting it open. But when the deed was done, not a single golden egg did he find, and his precious Goose was dead. Those who have plenty want more and so lose all they have. THE GOOSE AND THE GOLDEN EGG Go back to Table of Contents THE FIGHTING BULLS AND THE FROG Two Bulls were fighting furiously in a field, at one side of which was a marsh. An old Frog living in the marsh, trembled as he watched the fierce battle. “What are you afraid of?” asked a young Frog. “Do you not see,” replied the old Frog, “that the Bull who is beaten, will be driven away from the good forage up there to the reeds of this marsh, and we shall all be trampled into the mud?” It turned out as the Frog had said. The beaten Bull was driven to the marsh, where his great hoofs crushed the Frogs to death. When the great fall out, the weak must suffer for it. Go back to Table of Contents THE MOUSE AND THE WEASEL A little hungry Mouse found his way one day into a basket of corn. He had to squeeze himself a good deal to get through the narrow opening between the strips of the basket. But the corn was tempting and the Mouse was determined to get in. When at last he had succeeded, he gorged himself to bursting. Indeed he he became about three times as big around the middle as he was when he went in. At last he felt satisfied and dragged himself to the opening to get out again. But the best he could do was to get his head out. So there he sat groaning and moaning, both from the discomfort inside him and his anxiety to escape from the basket. Just then a Weasel came by. He understood the situation quickly. “My friend,” he said, “I know what you’ve been doing. You’ve been stuffing. That’s what you get. You will have to stay there till you feel just like you did when you went in. Good night, and good enough for you.” And that was all the sympathy the poor Mouse got. Greediness leads to misfortune. Go back to Table of Contents THE FARMER AND THE SNAKE A Farmer walked through his field one cold winter morning. On the ground lay a Snake, stiff and frozen with the cold. The Farmer knew how deadly the Snake could be, and yet he picked it up and put it in his bosom to warm it back to life. The Snake soon revived, and when it had enough strength, bit the man who had been so kind to it. The bite was deadly and the Farmer felt that he must die. As he drew his last breath, he said to those standing around: Learn from my fate not to take pity on a scoundrel. Go back to Table of Contents THE SICK STAG A Stag had fallen sick. He had just strength enough to gather some food and find a quiet clearing in the woods, where he lay down to wait until his strength should return. The Animals heard about the Stag’s illness and came to ask after his health. Of course, they were all hungry, and helped themselves freely to the Stag’s food; and as you would expect, the Stag soon starved to death. Good will is worth nothing unless it is accompanied by good acts. Go back to Table of Contents THE GOATHERD AND THE WILD GOATS One cold stormy day a Goatherd drove his Goats for shelter into a cave, where a number of Wild Goats had also found their way. The Shepherd wanted to make the Wild Goats part of his flock; so he fed them well. But to his own flock, he gave only just enough food to keep them alive. When the weather cleared, and the Shepherd led the Goats out to feed, the Wild Goats scampered off to the hills. “Is that the thanks I get for feeding you and treating you so well?” complained the Shepherd. “Do not expect us to join your flock,” replied one of the Wild Goats. “We know how you would treat us later on, if some strangers should come as we did.” It is unwise to treat old friends badly for the sake of new ones. Go back to Table of Contents THE SPENDTHRIFT AND THE SWALLOW A young fellow, who was very popular among his boon companions as a good spender, quickly wasted his fortune trying to live up to his reputation. Then one fine day in early spring he found himself with not a penny left, and no property save the clothes he wore. He was to meet some jolly young men that morning, and he was at his wits’ end how to get enough money to keep up appearances. Just then a Swallow flew by, twittering merrily, and the young man, thinking summer had come, hastened off to a clothes dealer, to whom he sold all the clothes he wore down to his very tunic. A few days later a change in weather brought a severe frost; and the poor swallow and that foolish young man in his light tunic, and with his arms and knees bare, could scarcely keep life in their shivering bodies. One swallow does not make a summer. Go back to Table of Contents THE CAT AND THE BIRDS A Cat was growing very thin. As you have guessed, he did not get enough to eat. One day he heard that some Birds in the neighborhood were ailing and needed a doctor. So he put on a pair of spectacles, and with a leather box in his hand, knocked at the door of the Bird’s home. The Birds peeped out, and Dr. Cat, with much solicitude, asked how they were. He would be very happy to give them some medicine. “Tweet, tweet,” laughed the Birds. “Very smart, aren’t you? We are very well, thank you, and more so, if you only keep away from here.” Be wise and shun the quack. Go back to Table of Contents THE DOG AND THE OYSTER There was once a Dog who was very fond of eggs. He visited the hen house very often and at last got so greedy that he would swallow the eggs whole. One day the Dog wandered down to the seashore. There he spied an Oyster. In a twinkling the Oyster was resting in the Dog’s stomach, shell and all. It pained the Dog a good deal, as you can guess. “I’ve learned that all round things are not eggs,” he said groaning. Act in haste and repent at leisure—and often in pain. Go back to Table of Contents THE ASTROLOGER A man who lived a long time ago believed that he could read the future in the stars. He called himself an Astrologer, and spent his time at night gazing at the sky. One evening he was walking along the open road outside the village. His eyes were fixed on the stars. He thought he saw there that the end of the world was at hand, when all at once, down he went into a hole full of mud and water. There he stood up to his ears, in the muddy water, and madly clawing at the slippery sides of the hole in his effort to climb out. His cries for help soon brought the villagers running. As they pulled him out of the mud, one of them said: “You pretend to read the future in the stars, and yet you fail to see what is at your feet! This may teach you to pay more attention to what is right in front of you, and let the future take care of itself.” “What use is it,” said another, “to read the stars, when you can’t see what’s right here on the earth?” Take care of the little things and the big things will take care of themselves. Go back to Table of Contents THREE BULLOCKS AND A LION A Lion had been watching three Bullocks feeding in an open field. He had tried to attack them several times, but they had kept together, and helped each other to drive him off. The Lion had little hope of eating them, for he was no match for three strong Bullocks with their sharp horns and hoofs. But he could not keep away from that field, for it is hard to resist watching a good meal, even when there is little chance of getting it. Then one day the Bullocks had a quarrel, and when the hungry Lion came to look at them and lick his chops as he was accustomed to do, he found them in separate corners of the field, as far away from one another as they could get. It was now an easy matter for the Lion to attack them one at a time, and this he proceeded to do with the greatest satisfaction and relish. In unity is strength. Go back to Table of Contents MERCURY AND THE WOODMAN A poor Woodman was cutting down a tree near the edge of a deep pool in the forest. It was late in the day and the Woodman was tired. He had been working since sunrise and his strokes were not so sure as they had been early that morning. Thus it happened that the axe slipped and flew out of his hands into the pool. The Woodman was in despair. The axe was all he possessed with which to make a living, and he had not money enough to buy a new one. As he stood wringing his hands and weeping, the god Mercury suddenly appeared and asked what the trouble was. The Woodman told what had happened, and straightway the kind Mercury dived into the pool. When he came up again he held a wonderful golden axe. “Is this your axe?” Mercury asked the Woodman. “No,” answered the honest Woodman, “that is not my axe.” Mercury laid the golden axe on the bank and sprang back into the pool. This time he brought up an axe of silver, but the Woodman declared again that his axe was just an ordinary one with a wooden handle. Mercury dived down for the third time, and when he came up again he had the very axe that had been lost. The poor Woodman was very glad that his axe had been found and could not thank the kind god enough. Mercury was greatly pleased with the Woodman’s honesty. “I admire your honesty,” he said, “and as a reward you may have all three axes, the gold and the silver as well as your own.” The happy Woodman returned to his home with his treasures, and soon the story of his good fortune was known to everybody in the village. Now there were several Woodmen in the village who believed that they could easily win the same good fortune. They hurried out into the woods, one here, one there, and hiding their axes in the bushes, pretended they had lost them. Then they wept and wailed and called on Mercury to help them. And indeed, Mercury did appear, first to this one, then to that. To each one he showed an axe of gold, and each one eagerly claimed it to be the one he had lost. But Mercury did not give them the golden axe. Oh no! Instead he gave them each a hard whack over the head with it and sent them home. And when they returned next day to look for their own axes, they were nowhere to be found. Honesty is the best policy. Go back to Table of Contents THE FROG AND THE MOUSE A young Mouse in search of adventure was running along the bank of a pond where lived a Frog. When the Frog saw the Mouse, he swam to the bank and croaked: “Won’t you pay me a visit? I can promise you a good time if you do.” The Mouse did not need much coaxing, for he was very anxious to see the world and everything in it. But though he could swim a little, he did not dare risk going into the pond without some help. The Frog had a plan. He tied the Mouse’s leg to his own with a tough reed. Then into the pond he jumped, dragging his foolish companion with him. The Mouse soon had enough of it and wanted to return to shore; but the treacherous Frog had other plans. He pulled the Mouse down under the water and drowned him. But before he could untie the reed that bound him to the dead Mouse, a Hawk came sailing over the pond. Seeing the body of the Mouse floating on the water, the Hawk swooped down, seized the Mouse and carried it off, with the Frog dangling from its leg. Thus at one swoop he had caught both meat and fish for his dinner. Those who seek to harm others often come to harm themselves through their own deceit. Go back to Table of Contents THE FOX AND THE CRAB A Crab one day grew disgusted with the sands in which he lived. He decided to take a stroll to the meadow not far inland. There he would find better fare than briny water and sand mites. So off he crawled to the meadow. But there a hungry Fox spied him, and in a twinkling, ate him up, both shell and claw. Be content with your lot. Go back to Table of Contents THE SERPENT AND THE EAGLE A Serpent had succeeded in surprising an Eagle and had wrapped himself around the Eagle’s neck. The Eagle could not reach the Serpent, neither with beak nor claws. Far into the sky he soared trying to shake off his enemy. But the Serpent’s hold only tightened, and slowly the Eagle sank back to earth, gasping for breath. A Countryman chanced to see the unequal combat. In pity for the noble Eagle he rushed up and soon had loosened the coiling Serpent and freed the Eagle. The Serpent was furious. He had no chance to bite the watchful Countryman. Instead he struck at the drinking horn, hanging at the Countryman’s belt, and into it let fly the poison of his fangs. The Countryman now went on toward home. Becoming thirsty on the way, he filled his horn at a spring, and was about to drink. There was a sudden rush of great wings. Sweeping down, the Eagle seized the poisoned horn from out his savior’s hands, and flew away with it to hide it where it could never be found. An act of kindness is well repaid. Go back to Table of Contents THE WOLF IN SHEEP’S CLOTHING A certain Wolf could not get enough to eat because of the watchfulness of the Shepherds. But one night he found a sheep skin that had been cast aside and forgotten. The next day, dressed in the skin, the Wolf strolled into the pasture with the Sheep. Soon a little Lamb was following him about and was quickly led away to slaughter. That evening the Wolf entered the fold with the flock. But it happened that the Shepherd took a fancy for mutton broth that very evening, and, picking up a knife, went to the fold. There the first he laid hands on and killed was the Wolf. The evil doer often comes to harm through his own deceit. Go back to Table of Contents THE BULL AND THE GOAT A Bull once escaped from a Lion by entering a cave which the Goatherds used to house their flocks in stormy weather and at night. It happened that one of the Goats had been left behind, and the Bull had no sooner got inside than this Goat lowered his head and made a rush at him, butting him with his horns. As the Lion was still prowling outside the entrance to the cave, the Bull had to submit to the insult. “Do not think,” he said, “that I submit to your cowardly treatment because I am afraid of you. When that Lion leaves, I’ll teach you a lesson you won’t forget.” It is wicked to take advantage of another’s distress. Go back to Table of Contents THE EAGLE AND THE BEETLE A Beetle once begged the Eagle to spare a Hare which had run to her for protection. But the Eagle pounced upon her prey, the sweep of her great wings tumbling the Beetle a dozen feet away. Furious at the disrespect shown her, the Beetle flew to the Eagle’s nest and rolled out the eggs. Not one did she spare. The Eagle’s grief and anger knew no bounds, but who had done the cruel deed she did not know. Next year the Eagle built her nest far up on a mountain crag; but the Beetle found it and again destroyed the eggs. In despair the Eagle now implored great Jupiter to let her place her eggs in his lap. There none would dare harm them. But the Beetle buzzed about Jupiter’s head, and made him rise to drive her away; and the eggs rolled from his lap. Now the Beetle told the reason for her action, and Jupiter had to acknowledge the justice of her cause. And they say that ever after, while the Eagle’s eggs lie in the nest in spring, the Beetle still sleeps in the ground. For so Jupiter commanded. Even the weakest may find means to avenge a wrong. THE EAGLE AND THE BEETLE Go back to Table of Contents THE OLD LION AND THE FOX An old Lion, whose teeth and claws were so worn that it was not so easy for him to get food as in his younger days, pretended that he was sick. He took care to let all his neighbors know about it, and then lay down in his cave to wait for visitors. And when they came to offer him their sympathy, he ate them up one by one. The Fox came too, but he was very cautious about it. Standing at a safe distance from the cave, he inquired politely after the Lion’s health. The Lion replied that he was very ill indeed, and asked the Fox to step in for a moment. But Master Fox very wisely stayed outside, thanking the Lion very kindly for the invitation. “I should be glad to do as you ask,” he added, “but I have noticed that there are many footprints leading into your cave and none coming out. Pray tell me, how do your visitors find their way out again?” Take warning from the misfortunes of others. Go back to Table of Contents THE MAN AND THE LION A Lion and a Man chanced to travel in company through the forest. They soon began to quarrel, for each of them boasted that he and his kind were far superior to the other both in strength and mind. Now they reached a clearing in the forest and there stood a statue. It was a representation of Heracles in the act of tearing the jaws of the Nemean Lion. “See,” said the man, “that’s how strong we are! The King of Beasts is like wax in our hands!” “Ho!” laughed the Lion, “a Man made that statue. It would have been quite a different scene had a Lion made it!” It all depends on the point of view, and who tells the story. Go back to Table of Contents THE ASS AND THE LAP DOG There was once an Ass whose Master also owned a Lap Dog. This Dog was a favorite and received many a pat and kind word from his Master, as well as choice bits from his plate. Every day the Dog would run to meet the Master, frisking playfully about and leaping up to lick his hands and face. All this the Ass saw with much discontent. Though he was well fed, he had much work to do; besides, the Master hardly ever took any notice of him. Now the jealous Ass got it into his silly head that all he had to do to win his Master’s favor was to act like the Dog. So one day he left his stable and clattered eagerly into the house. Finding his Master seated at the dinner table, he kicked up his heels and, with a loud bray, pranced giddily around the table, upsetting it as he did so. Then he planted his forefeet on his Master’s knees and rolled out his tongue to lick the Master’s face, as he had seen the Dog do. But his weight upset the chair, and Ass and man rolled over together in the pile of broken dishes from the table. The Master was much alarmed at the strange behavior of the Ass, and calling for help, soon attracted the attention of the servants. When they saw the danger the Master was in from the clumsy beast, they set upon the Ass and drove him with kicks and blows back to the stable. There they left him to mourn the foolishness that had brought him nothing but a sound beating. Behavior that is regarded as agreeable in one is very rude and impertinent in another. Do not try to gain favor by acting in a way that is contrary to your own nature and character. Go back to Table of Contents THE MILKMAID AND HER PAIL A Milkmaid had been out to milk the cows and was returning from the field with the shining milk pail balanced nicely on her head. As she walked along, her pretty head was busy with plans for the days to come. “This good, rich milk,” she mused, “will give me plenty of cream to churn. The butter I make I will take to market, and with the money I get for it I will buy a lot of eggs for hatching. How nice it will be when they are all hatched and the yard is full of fine young chicks. Then when May day comes I will sell them, and with the money I’ll buy a lovely new dress to wear to the fair. All the young men will come over to speak with me—but I shall very quickly send them about their business!” As she thought of how she would settle that matter, she tossed her head scornfully, and down fell the pail of milk to the ground. And all the milk flowed out, and with it vanished butter and eggs and chicks and new dress and all the milkmaid’s pride. Do not count your chickens before they are hatched. Go back to Table of Contents THE WOLF AND THE SHEPHERD A Wolf, lurking near the Shepherd’s hut, saw the Shepherd and his family feasting on a roasted lamb. “Aha!” he muttered. “What a great shouting and running about there would have been, had they caught me at just the very thing they are doing with so much enjoyment!” Men often condemn others for what they see no wrong in doing themselves. Go back to Table of Contents THE GOATHERD AND THE GOAT A Goat strayed away from the flock, tempted by a patch of clover. The Goatherd tried to call it back, but in vain. It would not obey him. Then he picked up a stone and threw it, breaking the Goat’s horn. The Goatherd was frightened. “Do not tell the master,” he begged the Goat. “No,” said the Goat, “that broken horn can speak for itself!” Wicked deeds will not stay hid. Go back to Table of Contents THE MISER A Miser had buried his gold in a secret place in his garden. Every day he went to the spot, dug up the treasure and counted it piece by piece to make sure it was all there. He made so many trips that a Thief, who had been observing him, guessed what it was the Miser had hidden, and one night quietly dug up the treasure and made off with it. When the Miser discovered his loss, he was overcome with grief and despair. He groaned and cried and tore his hair. A passerby heard his cries and asked what had happened. “My gold! O my gold!” cried the Miser, wildly, “someone has robbed me!” “Your gold! There in that hole? Why did you put it there? Why did you not keep it in the house where you could easily get it when you had to buy things?” “Buy!” screamed the Miser angrily. “Why, I never touched the gold. I couldn’t think of spending any of it.” The stranger picked up a large stone and threw it into the hole. “If that is the case,” he said, “cover up that stone. It is worth just as much to you as the treasure you lost!” A possession is worth no more than the use we make of it. Go back to Table of Contents THE WOLF AND THE HOUSE DOG There was once a Wolf who got very little to eat because the Dogs of the village were so wide awake and watchful. He was really nothing but skin and bones, and it made him very downhearted to think of it. One night this Wolf happened to fall in with a fine fat House Dog who had wandered a little too far from home. The Wolf would gladly have eaten him then and there, but the House Dog looked strong enough to leave his marks should he try it. So the Wolf spoke very humbly to the Dog, complimenting him on his fine appearance. “You can be as well-fed as I am if you want to,” replied the Dog. “Leave the woods; there you live miserably. Why, you have to fight hard for every bite you get. Follow my example and you will get along beautifully.” “What must I do?” asked the Wolf. “Hardly anything,” answered the House Dog. “Chase people who carry canes, bark at beggars, and fawn on the people of the house. In return you will get tidbits of every kind, chicken bones, choice bits of meat, sugar, cake, and much more beside, not to speak of kind words and caresses.” The Wolf had such a beautiful vision of his coming happiness that he almost wept. But just then he noticed that the hair on the Dog’s neck was worn and the skin was chafed. “What is that on your neck?” “Nothing at all,” replied the Dog. “What! nothing!” “Perhaps you see the mark of the collar to which my chain is fastened.” “What! A chain!” cried the Wolf. “Don’t you go wherever you please?” “Not always! But what’s the difference?” replied the Dog. “All the difference in the world! I don’t care a rap for your feasts and I wouldn’t take all the tender young lambs in the world at that price.” And away ran the Wolf to the woods. There is nothing worth so much as liberty. Go back to Table of Contents THE FOX AND THE HEDGEHOG A Fox, swimming across a river, was barely able to reach the bank, where he lay bruised and exhausted from his struggle with the swift current. Soon a swarm of blood-sucking flies settled on him; but he lay quietly, still too weak to run away from them. A Hedgehog happened by. “Let me drive the flies away,” he said kindly. “No, no!” exclaimed the Fox, “do not disturb them! They have taken all they can hold. If you drive them away, another greedy swarm will come and take the little blood I have left.” Better to bear a lesser evil than to risk a greater in removing it. Go back to Table of Contents THE BAT AND THE WEASELS A Bat blundered into the nest of a Weasel, who ran up to catch and eat him. The Bat begged for his life, but the Weasel would not listen. “You are a Mouse,” he said, “and I am a sworn enemy of Mice. Every Mouse I catch, I am going to eat!” “But I am not a Mouse!” cried the Bat. “Look at my wings. Can Mice fly? Why, I am only a Bird! Please let me go!” The Weasel had to admit that the Bat was not a Mouse, so he let him go. But a few days later, the foolish Bat went blindly into the nest of another Weasel. This Weasel happened to be a bitter enemy of Birds, and he soon had the Bat under his claws, ready to eat him. “You are a Bird,” he said, “and I am going to eat you!” “What,” cried the Bat, “I, a Bird! Why, all Birds have feathers! I am nothing but a Mouse. ‘Down with all Cats,’ is my motto!” And so the Bat escaped with his life a second time. Set your sails with the wind. Go back to Table of Contents THE QUACK TOAD An old Toad once informed all his neighbors that he was a learned doctor. In fact he could cure anything. The Fox heard the news and hurried to see the Toad. He looked the Toad over very carefully. “Mr. Toad,” he said, “I’ve been told that you cure anything! But just take a look at yourself, and then try some of your own medicine. If you can cure yourself of that blotchy skin and that rheumatic gait, someone might believe you. Otherwise, I should advise you to try some other profession.” Those who would mend others, should first mend themselves. Go back to Table of Contents THE FOX WITHOUT A TAIL A Fox that had been caught in a trap, succeeded at last, after much painful tugging, in getting away. But he had to leave his beautiful bushy tail behind him. For a long time he kept away from the other Foxes, for he knew well enough that they would all make fun of him and crack jokes and laugh behind his back. But it was hard for him to live alone, and at last he thought of a plan that would perhaps help him out of his trouble. He called a meeting of all the Foxes, saying that he had something of great importance to tell the tribe. When they were all gathered together, the Fox Without a Tail got up and made a long speech about those Foxes who had come to harm because of their tails. This one had been caught by hounds when his tail had become entangled in the hedge. That one had not been able to run fast enough because of the weight of his brush. Besides, it was well known, he said, that men hunt Foxes simply for their tails, which they cut off as prizes of the hunt. With such proof of the danger and uselessness of having a tail, said Master Fox, he would advise every Fox to cut it off, if he valued life and safety. When he had finished talking, an old Fox arose, and said, smiling: “Master Fox, kindly turn around for a moment, and you shall have your answer.” When the poor Fox Without a Tail turned around, there arose such a storm of jeers and hooting, that he saw how useless it was to try any longer to persuade the Foxes to part with their tails. Do not listen to the advice of him who seeks to lower you to his own level. Go back to Table of Contents THE MISCHIEVOUS DOG There was once a Dog who was so ill-natured and mischievous that his Master had to fasten a heavy wooden clog about his neck to keep him from annoying visitors and neighbors. But the Dog seemed to be very proud of the clog and dragged it about noisily as if he wished to attract everybody’s attention. He was not able to impress anyone. “You would be wiser,” said an old acquaintance, “to keep quietly out of sight with that clog. Do you want everybody to know what a disgraceful and ill-natured Dog you are?” Notoriety is not fame. Go back to Table of Contents THE ROSE AND THE BUTTERFLY A Butterfly once fell in love with a beautiful Rose. The Rose was not indifferent, for the Butterfly’s wings were powdered in a charming pattern of gold and silver. And so, when he fluttered near and told how he loved her, she blushed rosily and said yes. After much pretty love-making and many whispered vows of constancy, the Butterfly took a tender leave of his sweetheart. But alas! It was a long time before he came back to her. “Is this your constancy?” she exclaimed tearfully. “It is ages since you went away, and all the time, you have been carrying on with all sorts of flowers. I saw you kiss Miss Geranium, and you fluttered around Miss Mignonette until Honey Bee chased you away. I wish he had stung you!” “Constancy!” laughed the Butterfly. “I had no sooner left you than I saw Zephyr kissing you. You carried on scandalously with Mr. Bumble Bee and you made eyes at every single Bug you could see. You can’t expect any constancy from me!” Do not expect constancy in others if you have none yourself. THE ROSE AND THE BUTTERFLY Go back to Table of Contents THE CAT AND THE FOX Once a Cat and a Fox were traveling together. As they went along, picking up provisions on the way—a stray mouse here, a fat chicken there—they began an argument to while away the time between bites. And, as usually happens when comrades argue, the talk began to get personal. “You think you are extremely clever, don’t you?” said the Fox. “Do you pretend to know more than I? Why, I know a whole sackful of tricks!” “Well,” retorted the Cat, “I admit I know one trick only, but that one, let me tell you, is worth a thousand of yours!” Just then, close by, they heard a hunter’s horn and the yelping of a pack of hounds. In an instant the Cat was up a tree, hiding among the leaves. “This is my trick,” he called to the Fox. “Now let me see what yours are worth.” But the Fox had so many plans for escape he could not decide which one to try first. He dodged here and there with the hounds at his heels. He doubled on his tracks, he ran at top speed, he entered a dozen burrows,—but all in vain. The hounds caught him, and soon put an end to the boaster and all his tricks. Common sense is always worth more than cunning. Go back to Table of Contents THE BOY AND THE NETTLE A Boy, stung by a Nettle, ran home crying, to get his mother to blow on the hurt and kiss it. “Son,” said the Boy’s mother, when she had comforted him, “the next time you come near a Nettle, grasp it firmly, and it will be as soft as silk.” Whatever you do, do with all your might. Go back to Table of Contents THE OLD LION A Lion had grown very old. His teeth were worn away. His limbs could no longer bear him, and the King of Beasts was very pitiful indeed as he lay gasping on the ground, about to die. Where now his strength and his former graceful beauty? Now a Boar spied him, and rushing at him, gored him with his yellow tusk. A Bull trampled him with his heavy hoofs. Even a contemptible Ass let fly his heels and brayed his insults in the face of the Lion. It is cowardly to attack the defenseless, though he be an enemy. Go back to Table of Contents THE FOX AND THE PHEASANTS One moonlight evening as Master Fox was taking his usual stroll in the woods, he saw a number of Pheasants perched quite out of his reach on a limb of a tall old tree. The sly Fox soon found a bright patch of moonlight, where the Pheasants could see him clearly; there he raised himself up on his hind legs, and began a wild dance. First he whirled ’round and ’round like a top, then he hopped up and down, cutting all sorts of strange capers. The Pheasants stared giddily. They hardly dared blink for fear of losing him out of their sight a single instant. Now the Fox made as if to climb a tree, now he fell over and lay still, playing dead, and the next instant he was hopping on all fours, his back in the air, and his bushy tail shaking so that it seemed to throw out silver sparks in the moonlight. By this time the poor birds’ heads were in a whirl. And when the Fox began his performance all over again, so dazed did they become, that they lost their hold on the limb, and fell down one by one to the Fox. Too much attention to danger may cause us to fall victims to it. Go back to Table of Contents TWO TRAVELERS AND A BEAR Two Men were traveling in company through a forest, when, all at once, a huge Bear crashed out of the brush near them. One of the Men, thinking of his own safety, climbed a tree. The other, unable to fight the savage beast alone, threw himself on the ground and lay still, as if he were dead. He had heard that a Bear will not touch a dead body. It must have been true, for the Bear snuffed at the Man’s head awhile, and then, seeming to be satisfied that he was dead, walked away. The Man in the tree climbed down. “It looked just as if that Bear whispered in your ear,” he said. “What did he tell you?” “He said,” answered the other, “that it was not at all wise to keep company with a fellow who would desert his friend in a moment of danger.” Misfortune is the test of true friendship. Go back to Table of Contents THE PORCUPINE AND THE SNAKES A Porcupine was looking for a good home. At last he found a little sheltered cave, where lived a family of Snakes. He asked them to let him share the cave with them, and the Snakes kindly consented. The Snakes soon wished they had not given him permission to stay. His sharp quills pricked them at every turn, and at last they politely asked him to leave. “I am very well satisfied, thank you,” said the Porcupine. “I intend to stay right here.” And with that, he politely escorted the Snakes out of doors. And to save their skins, the Snakes had to look for another home. Give a finger and lose a hand. Go back to Table of Contents THE FOX AND THE MONKEY At a great meeting of the Animals, who had gathered to elect a new ruler, the Monkey was asked to dance. This he did so well, with a thousand funny capers and grimaces, that the Animals were carried entirely off their feet with enthusiasm, and then and there, elected him their king. The Fox did not vote for the Monkey and was much disgusted with the Animals for electing so unworthy a ruler. One day he found a trap with a bit of meat in it. Hurrying to King Monkey, he told him he had found a rich treasure, which he had not touched because it belonged by right to his majesty the Monkey. The greedy Monkey followed the Fox to the trap. As soon as he saw the meat he grasped eagerly for it, only to find himself held fast in the trap. The Fox stood off and laughed. “You pretend to be our king,” he said, “and cannot even take care of yourself!” Shortly after that, another election among the Animals was held. The true leader proves himself by his qualities. Go back to Table of Contents THE MOTHER AND THE WOLF Early one morning a hungry Wolf was prowling around a cottage at the edge of a village, when he heard a child crying in the house. Then he heard the Mother’s voice say: “Hush, child, hush! Stop your crying, or I will give you to the Wolf!” Surprised but delighted at the prospect of so delicious a meal, the Wolf settled down under an open window, expecting every moment to have the child handed out to him. But though the little one continued to fret, the Wolf waited all day in vain. Then, toward nightfall, he heard the Mother’s voice again as she sat down near the window to sing and rock her baby to sleep. “There, child, there! The Wolf shall not get you. No, no! Daddy is watching and Daddy will kill him if he should come near!” Just then the Father came within sight of the home, and the Wolf was barely able to save himself from the Dogs by a clever bit of running. Do not believe everything you hear. Go back to Table of Contents THE FLIES AND THE HONEY A jar of honey was upset and the sticky sweetness flowed out on the table. The sweet smell of the honey soon brought a large number of Flies buzzing around. They did not wait for an invitation. No, indeed; they settled right down, feet and all, to gorge themselves. The Flies were quickly smeared from head to foot with honey. Their wings stuck together. They could not pull their feet out of the sticky mass. And so they died, giving their lives for the sake of a taste of sweetness. Be not greedy for a little passing pleasure. It may destroy you. Go back to Table of Contents THE EAGLE AND THE KITE An Eagle sat high in the branches of a great Oak. She seemed very sad and drooping for an Eagle. A Kite saw her. “Why do you look so woebegone?” asked the Kite. “I want to get married,” replied the Eagle, “and I can’t find a mate who can provide for me as I should like.” “Take me,” said the Kite; “I am very strong, stronger even than you!” “Do you really think you can provide for me?” asked the Eagle eagerly. “Why, of course,” replied the Kite. “That would be a very simple matter. I am so strong I can carry away an Ostrich in my talons as if it were a feather!” The Eagle accepted the Kite immediately. But after the wedding, when the Kite flew away to find something to eat for his bride, all he had when he returned, was a tiny Mouse. “Is that the Ostrich you talked about?” said the Eagle in disgust. “To win you I would have said and promised anything,” replied the Kite. Everything is fair in love. Go back to Table of Contents THE STAG, THE SHEEP, AND THE WOLF One day a Stag came to a Sheep and asked her to lend him a measure of wheat. The Sheep knew him for a very swift runner, who could easily take himself out of reach, were he so inclined. So she asked him if he knew someone who would answer for him. “Yes, yes,” answered the Stag confidently, “the Wolf has promised to be my surety.” “The Wolf!” exclaimed the Sheep indignantly. “Do you think I would trust you on such security? I know the Wolf! He takes what he wants and runs off with it without paying. As for you, you can use your legs so well that I should have little chance of collecting the debt if I had to catch you for it!” Two blacks do not make a white. Go back to Table of Contents THE ANIMALS AND THE PLAGUE Once upon a time a severe plague raged among the animals. Many died, and those who lived were so ill, that they cared for neither food nor drink, and dragged themselves about listlessly. No longer could a fat young hen tempt Master Fox to dinner, nor a tender lamb rouse greedy Sir Wolf’s appetite. At last the Lion decided to call a council. When all the animals were gathered together he arose and said: “Dear friends, I believe the gods have sent this plague upon us as a punishment for our sins. Therefore, the most guilty one of us must be offered in sacrifice. Perhaps we may thus obtain forgiveness and cure for all. “I will confess all my sins first. I admit that I have been very greedy and have devoured many sheep. They had done me no harm. I have eaten goats and bulls and stags. To tell the truth, I even ate up a shepherd now and then. “Now, if I am the most guilty, I am ready to be sacrificed. But I think it best that each one confess his sins as I have done. Then we can decide in all justice who is the most guilty.” “Your majesty,” said the Fox, “you are too good. Can it be a crime to eat sheep, such stupid mutton heads? No, no, your majesty. You have done them great honor by eating them up. “And so far as shepherds are concerned, we all know they belong to that puny race that pretends to be our masters.” All the animals applauded the Fox loudly. Then, though the Tiger, the Bear, the Wolf, and all the savage beasts recited the most wicked deeds, all were excused and made to appear very saint-like and innocent. It was now the Ass’s turn to confess. “I remember,” he said guiltily, “that one day as I was passing a field belonging to some priests, I was so tempted by the tender grass and my hunger, that I could not resist nibbling a bit of it. I had no right to do it, I admit—” A great uproar among the beasts interrupted him. Here was the culprit who had brought misfortune on all of them! What a horrible crime it was to eat grass that belonged to someone else! It was enough to hang anyone for, much more an Ass. Immediately they all fell upon him, the Wolf in the lead, and soon had made an end to him, sacrificing him to the gods then and there, and without the formality of an altar. The weak are made to suffer for the misdeeds of the powerful. THE SHEPHERD AND THE LION A Shepherd, counting his Sheep one day, discovered that a number of them were missing. Much irritated, he very loudly and boastfully declared that he would catch the thief and punish him as he deserved. The Shepherd suspected a Wolf of the deed and so set out toward a rocky region among the hills, where there were caves infested by Wolves. But before starting out he made a vow to Jupiter that if he would help him find the thief he would offer a fat Calf as a sacrifice. The Shepherd searched a long time without finding any Wolves, but just as he was passing near a large cave on the mountain side, a huge Lion stalked out, carrying a Sheep. In great terror the Shepherd fell on his knees. “Alas, O Jupiter, man does not know what he asks! To find the thief I offered to sacrifice a fat Calf. Now I promise you a full-grown Bull, if you but make the thief go away!” We are often not so eager for what we seek, after we have found it. Do not foolishly ask for things that would bring ruin if they were granted. Go back to Table of Contents THE DOG AND HIS REFLECTION A Dog, to whom the butcher had thrown a bone, was hurrying home with his prize as fast as he could go. As he crossed a narrow footbridge, he happened to look down and saw himself reflected in the quiet water as if in a mirror. But the greedy Dog thought he saw a real Dog carrying a bone much bigger than his own. If he had stopped to think he would have known better. But instead of thinking, he dropped his bone and sprang at the Dog in the river, only to find himself swimming for dear life to reach the shore. At last he managed to scramble out, and as he stood sadly thinking about the good bone he had lost, he realized what a stupid Dog he had been. It is very foolish to be greedy. THE HARE AND THE TORTOISE A Hare was making fun of the Tortoise one day for being so slow. “Do you ever get anywhere?” he asked with a mocking laugh. “Yes,” replied the Tortoise, “and I get there sooner than you think. I’ll run you a race and prove it.” The Hare was much amused at the idea of running a race with the Tortoise, but for the fun of the thing he agreed. So the Fox, who had consented to act as judge, marked the distance and started the runners off. The Hare was soon far out of sight, and to make the Tortoise feel very deeply how ridiculous it was for him to try a race with a Hare, he lay down beside the course to take a nap until the Tortoise should catch up. The Tortoise meanwhile kept going slowly but steadily, and, after a time, passed the place where the Hare was sleeping. But the Hare slept on very peacefully; and when at last he did wake up, the Tortoise was near the goal. The Hare now ran his swiftest, but he could not overtake the Tortoise in time. The race is not always to the swift. THE HARE AND THE TORTOISE Go back to Table of Contents THE BEES AND WASPS, AND THE HORNET A store of honey had been found in a hollow tree, and the Wasps declared positively that it belonged to them. The Bees were just as sure that the treasure was theirs. The argument grew very pointed, and it looked as if the affair could not be settled without a battle, when at last, with much good sense, they agreed to let a judge decide the matter. So they brought the case before the Hornet, justice of the peace in that part of the woods. When the Judge called the case, witnesses declared that they had seen certain winged creatures in the neighborhood of the hollow tree, who hummed loudly, and whose bodies were striped, yellow and black, like Bees. Counsel for the Wasps immediately insisted that this description fitted his clients exactly. Such evidence did not help Judge Hornet to any decision, so he adjourned court for six weeks to give him time to think it over. When the case came up again, both sides had a large number of witnesses. An Ant was first to take the stand, and was about to be cross-examined, when a wise old Bee addressed the Court. “Your honor,” he said, “the case has now been pending for six weeks. If it is not decided soon, the honey will not be fit for anything. I move that the Bees and the Wasps be both instructed to build a honey comb. Then we shall soon see to whom the honey really belongs.” The Wasps protested loudly. Wise Judge Hornet quickly understood why they did so: They knew they could not build a honey comb and fill it with honey. “It is clear,” said the Judge, “who made the comb and who could not have made it. The honey belongs to the Bees.” Ability proves itself by deeds. Go back to Table of Contents THE LARK AND HER YOUNG ONES A Lark made her nest in a field of young wheat. As the days passed, the wheat stalks grew tall and the young birds, too, grew in strength. Then one day, when the ripe golden grain waved in the breeze, the Farmer and his son came into the field. “This wheat is now ready for reaping,” said the Farmer. “We must call in our neighbors and friends to help us harvest it.” The young Larks in their nest close by were much frightened, for they knew they would be in great danger if they did not leave the nest before the reapers came. When the Mother Lark returned with food for them, they told her what they had heard. “Do not be frightened, children,” said the Mother Lark. “If the Farmer said he would call in his neighbors and friends to help him do his work, this wheat will not be reaped for a while yet.” A few days later, the wheat was so ripe, that when the wind shook the stalks, a hail of wheat grains came rustling down on the young Larks’ heads. “If this wheat is not harvested at once,” said the Farmer, “we shall lose half the crop. We cannot wait any longer for help from our friends. Tomorrow we must set to work, ourselves.” When the young Larks told their mother what they had heard that day, she said: “Then we must be off at once. When a man decides to do his own work and not depend on any one else, then you may be sure there will be no more delay.” There was much fluttering and trying out of wings that afternoon, and at sunrise next day, when the Farmer and his son cut down the grain, they found an empty nest. Self-help is the best help. Go back to Table of Contents THE CAT AND THE OLD RAT There was once a Cat who was so watchful, that a Mouse hardly dared show the tip of his whiskers for fear of being eaten alive. That Cat seemed to be everywhere at once with his claws all ready for a pounce. At last the Mice kept so closely to their dens, that the Cat saw he would have to use his wits well to catch one. So one day he climbed up on a shelf and hung from it, head downward, as if he were dead, holding himself up by clinging to some ropes with one paw. When the Mice peeped out and saw him in that position, they thought he had been hung up there in punishment for some misdeed. Very timidly at first they stuck out their heads and sniffed about carefully. But as nothing stirred, all trooped joyfully out to celebrate the death of the Cat. Just then the Cat let go his hold, and before the Mice recovered from their surprise, he had made an end of three or four. Now the Mice kept more strictly at home than ever. But the Cat, who was still hungry for Mice, knew more tricks than one. Rolling himself in flour until he was covered completely, he lay down in the flour bin, with one eye open for the Mice. Sure enough, the Mice soon began to come out. To the Cat it was almost as if he already had a plump young Mouse under his claws, when an old Rat, who had had much experience with Cats and traps, and had even lost a part of his tail to pay for it, sat up at a safe distance from a hole in the wall where he lived. “Take care!” he cried. “That may be a heap of meal, but it looks to me very much like the Cat. Whatever it is, it is wisest to keep at a safe distance.” The wise do not let themselves be tricked a second time. Go back to Table of Contents THE FOX AND THE CROW One bright morning as the Fox was following his sharp nose through the wood in search of a bite to eat, he saw a Crow on the limb of a tree overhead. This was by no means the first Crow the Fox had ever seen. What caught his attention this time and made him stop for a second look, was that the lucky Crow held a bit of cheese in her beak. “No need to search any farther,” thought sly Master Fox. “Here is a dainty bite for my breakfast.” Up he trotted to the foot of the tree in which the Crow was sitting, and looking up admiringly, he cried, “Good-morning, beautiful creature!” The Crow, her head cocked on one side, watched the Fox suspiciously. But she kept her beak tightly closed on the cheese and did not return his greeting. “What a charming creature she is!” said the Fox. “How her feathers shine! What a beautiful form and what splendid wings! Such a wonderful Bird should have a very lovely voice, since everything else about her is so perfect. Could she sing just one song, I know I should hail her Queen of Birds.” Listening to these flattering words, the Crow forgot all her suspicion, and also her breakfast. She wanted very much to be called Queen of Birds. So she opened her beak wide to utter her loudest caw, and down fell the cheese straight into the Fox’s open mouth. “Thank you,” said Master Fox sweetly, as he walked off. “Though it is cracked, you have a voice sure enough. But where are your wits?” The flatterer lives at the expense of those who will listen to him. Go back to Table of Contents THE ASS AND ITS SHADOW A Traveler had hired an Ass to carry him to a distant part of the country. The owner of the Ass went with the Traveler, walking beside him to drive the Ass and point out the way. The road led across a treeless plain where the Sun beat down fiercely. So intense did the heat become, that the Traveler at last decided to stop for a rest, and as there was no other shade to be found, the Traveler sat down in the shadow of the Ass. Now the heat had affected the Driver as much as it had the Traveler, and even more, for he had been walking. Wishing also to rest in the shade cast by the Ass, he began to quarrel with the Traveler, saying he had hired the Ass and not the shadow it cast. The two soon came to blows, and while they were fighting, the Ass took to its heels. In quarreling about the shadow we often lose the substance. Go back to Table of Contents THE MILLER, HIS SON, AND THE ASS One day, a long time ago, an old Miller and his Son were on their way to market with an Ass which they hoped to sell. They drove him very slowly, for they thought they would have a better chance to sell him if they kept him in good condition. As they walked along the highway some travelers laughed loudly at them. “What foolishness,” cried one, “to walk when they might as well ride. The most stupid of the three is not the one you would expect it to be.” The Miller did not like to be laughed at, so he told his son to climb up and ride. They had gone a little farther along the road, when three merchants passed by. “Oho, what have we here?” they cried. “Respect old age, young man! Get down, and let the old man ride.” Though the Miller was not tired, he made the boy get down and climbed up himself to ride, just to please the Merchants. At the next turnstile they overtook some women carrying market baskets loaded with vegetables and other things to sell. “Look at the old fool,” exclaimed one of them. “Perched on the Ass, while that poor boy has to walk.” The Miller felt a bit vexed, but to be agreeable he told the Boy to climb up behind him. They had no sooner started out again than a loud shout went up from another company of people on the road. “What a crime,” cried one, “to load up a poor dumb beast like that! They look more able to carry the poor creature, than he to carry them.” “They must be on their way to sell the poor thing’s hide,” said another. The Miller and his Son quickly scrambled down, and a short time later, the market place was thrown into an uproar as the two came along carrying the Donkey slung from a pole. A great crowd of people ran out to get a closer look at the strange sight. The Ass did not dislike being carried, but so many people came up to point at him and laugh and shout, that he began to kick and bray, and then, just as they were crossing a bridge, the ropes that held him gave way, and down he tumbled into the river. The poor Miller now set out sadly for home. By trying to please everybody, he had pleased nobody, and lost his Ass besides. If you try to please all, you please none. Go back to Table of Contents THE ANT AND THE DOVE A Dove saw an Ant fall into a brook. The Ant struggled in vain to reach the bank, and in pity, the Dove dropped a blade of straw close beside it. Clinging to the straw like a shipwrecked sailor to a broken spar, the Ant floated safely to shore. Soon after, the Ant saw a man getting ready to kill the Dove with a stone. But just as he cast the stone, the Ant stung him in the heel, so that the pain made him miss his aim, and the startled Dove flew to safety in a distant wood. A kindness is never wasted. Go back to Table of Contents THE MAN AND THE SATYR A long time ago a Man met a Satyr in the forest and succeeded in making friends with him. The two soon became the best of comrades, living together in the Man’s hut. But one cold winter evening, as they were walking homeward, the Satyr saw the Man blow on his fingers. “Why do you do that?” asked the Satyr. “To warm my hands,” the Man replied. When they reached home the Man prepared two bowls of porridge. These he placed steaming hot on the table, and the comrades sat down very cheerfully to enjoy the meal. But much to the Satyr’s surprise, the Man began to blow into his bowl of porridge. “Why do you do that?” he asked. “To cool my porridge,” replied the Man. The Satyr sprang hurriedly to his feet and made for the door. “Goodby,” he said, “I’ve seen enough. A fellow that blows hot and cold in the same breath cannot be friends with me!” The man who talks for both sides is not to be trusted by either. THE MAN AND THE SATYR Go back to Table of Contents THE WOLF, THE KID, AND THE GOAT Mother Goat was going to market one morning to get provisions for her household, which consisted of but one little Kid and herself. “Take good care of the house, my son,” she said to the Kid, as she carefully latched the door. “Do not let anyone in, unless he gives you this password: ‘Down with the Wolf and all his race!'” Strangely enough, a Wolf was lurking near and heard what the Goat had said. So, as soon as Mother Goat was out of sight, up he trotted to the door and knocked. “Down with the Wolf and all his race,” said the Wolf softly. It was the right password, but when the Kid peeped through a crack in the door and saw the shadowy figure outside, he did not feel at all easy. “Show me a white paw,” he said, “or I won’t let you in.” A white paw, of course, is a feature few Wolves can show, and so Master Wolf had to go away as hungry as he had come. “You can never be too sure,” said the Kid, when he saw the Wolf making off to the woods. Two sureties are better than one. THE SWALLOW AND THE CROW The Swallow and the Crow had an argument one day about their plumage. Said the Swallow: “Just look at my bright and downy feathers. Your black stiff quills are not worth having. Why don’t you dress better? Show a little pride!” “Your feathers may do very well in spring,” replied the Crow, “but—I don’t remember ever having seen you around in winter, and that’s when I enjoy myself most.” Friends in fine weather only, are not worth much. Go back to Table of Contents JUPITER AND THE MONKEY There was once a baby show among the Animals in the forest. Jupiter provided the prize. Of course all the proud mammas from far and near brought their babies. But none got there earlier than Mother Monkey. Proudly she presented her baby among the other contestants. As you can imagine, there was quite a laugh when the Animals saw the ugly flat-nosed, hairless, pop-eyed little creature. “Laugh if you will,” said the Mother Monkey. “Though Jupiter may not give him the prize, I know that he is the prettiest, the sweetest, the dearest darling in the world.” Mother love is blind. Go back to Table of Contents THE LION, THE ASS, AND THE FOX A Lion, an Ass, and a Fox were hunting in company, and caught a large quantity of game. The Ass was asked to divide the spoil. This he did very fairly, giving each an equal share. The Fox was well satisfied, but the Lion flew into a great rage over it, and with one stroke of his huge paw, he added the Ass to the pile of slain. Then he turned to the Fox. “You divide it,” he roared angrily. The Fox wasted no time in talking. He quickly piled all the game into one great heap. From this he took a very small portion for himself, such undesirable bits as the horns and hoofs of a mountain goat, and the end of an ox tail. The Lion now recovered his good humor entirely. “Who taught you to divide so fairly?” he asked pleasantly. “I learned a lesson from the Ass,” replied the Fox, carefully edging away. Learn from the misfortunes of others. Go back to Table of Contents THE LION’S SHARE A long time ago, the Lion, the Fox, the Jackal, and the Wolf agreed to go hunting together, sharing with each other whatever they found. One day the Wolf ran down a Stag and immediately called his comrades to divide the spoil. Without being asked, the Lion placed himself at the head of the feast to do the carving, and, with a great show of fairness, began to count the guests. “One,” he said, counting on his claws, “that is myself the Lion. Two, that’s the Wolf, three, is the Jackal, and the Fox makes four.” He then very carefully divided the Stag into four equal parts. “I am King Lion,” he said, when he had finished, “so of course I get the first part. This next part falls to me because I am the strongest; and this is mine because I am the bravest.” He now began to glare at the others very savagely. “If any of you have any claim to the part that is left,” he growled, stretching his claws menacingly, “now is the time to speak up.” Might makes right. THE MOLE AND HIS MOTHER A little Mole once said to his Mother: “Why, Mother, you said I was blind! But I am sure I can see!” Mother Mole saw she would have to get such conceit out of his head. So she put a bit of frankincense before him and asked him to tell what it was. The little Mole peered at it. “Why, that’s a pebble!” “Well, my son, that proves you’ve lost your sense of smell as well as being blind.” Boast of one thing and you will be found lacking in that and a few other things as well. Go back to Table of Contents THE NORTH WIND AND THE SUN The North Wind and the Sun had a quarrel about which of them was the stronger. While they were disputing with much heat and bluster, a Traveler passed along the road wrapped in a cloak. “Let us agree,” said the Sun, “that he is the stronger who can strip that Traveler of his cloak.” “Very well,” growled the North Wind, and at once sent a cold, howling blast against the Traveler. With the first gust of wind the ends of the cloak whipped about the Traveler’s body. But he immediately wrapped it closely around him, and the harder the Wind blew, the tighter he held it to him. The North Wind tore angrily at the cloak, but all his efforts were in vain. Then the Sun began to shine. At first his beams were gentle, and in the pleasant warmth after the bitter cold of the North Wind, the Traveler unfastened his cloak and let it hang loosely from his shoulders. The Sun’s rays grew warmer and warmer. The man took off his cap and mopped his brow. At last he became so heated that he pulled off his cloak, and, to escape the blazing sunshine, threw himself down in the welcome shade of a tree by the roadside. Gentleness and kind persuasion win where force and bluster fail. Go back to Table of Contents THE HARE AND HIS EARS The Lion had been badly hurt by the horns of a Goat, which he was eating. He was very angry to think that any animal that he chose for a meal, should be so brazen as to wear such dangerous things as horns to scratch him while he ate. So he commanded that all animals with horns should leave his domains within twenty-four hours. The command struck terror among the beasts. All those who were so unfortunate as to have horns, began to pack up and move out. Even the Hare, who, as you know, has no horns and so had nothing to fear, passed a very restless night, dreaming awful dreams about the fearful Lion. And when he came out of the warren in the early morning sunshine, and there saw the shadow cast by his long and pointed ears, a terrible fright seized him. “Goodby, neighbor Cricket,” he called. “I’m off. He will certainly make out that my ears are horns, no matter what I say.” Do not give your enemies the slightest reason to attack your reputation. Your enemies will seize any excuse to attack you. Go back to Table of Contents THE WOLVES AND THE SHEEP A pack of Wolves lurked near the Sheep pasture. But the Dogs kept them all at a respectful distance, and the Sheep grazed in perfect safety. But now the Wolves thought of a plan to trick the Sheep. “Why is there always this hostility between us?” they said. “If it were not for those Dogs who are always stirring up trouble, I am sure we should get along beautifully. Send them away and you will see what good friends we shall become.” The Sheep were easily fooled. They persuaded the Dogs to go away, and that very evening the Wolves had the grandest feast of their lives. Do not give up friends for foes. Go back to Table of Contents THE COCK AND THE FOX A Fox was caught in a trap one fine morning, because he had got too near the Farmer’s hen house. No doubt he was hungry, but that was not an excuse for stealing. A Cock, rising early, discovered what had happened. He knew the Fox could not get at him, so he went a little closer to get a good look at his enemy. The Fox saw a slender chance of escape. “Dear friend,” he said, “I was just on my way to visit a sick relative, when I stumbled into this string and got all tangled up. But please do not tell anybody about it. I dislike causing sorrow to anybody, and I am sure I can soon gnaw this string to pieces.” But the Cock was not to be so easily fooled. He soon roused the whole hen yard, and when the Farmer came running out, that was the end of Mr. Fox. The wicked deserve no aid. Go back to Table of Contents THE ASS IN THE LION’S SKIN An Ass found a Lion’s skin left in the forest by a hunter. He dressed himself in it, and amused himself by hiding in a thicket and rushing out suddenly at the animals who passed that way. All took to their heels the moment they saw him. The Ass was so pleased to see the animals running away from him, just as if he were King Lion himself, that he could not keep from expressing his delight by a loud, harsh bray. A Fox, who ran with the rest, stopped short as soon as he heard the voice. Approaching the Ass, he said with a laugh: “If you had kept your mouth shut you might have frightened me, too. But you gave yourself away with that silly bray.” A fool may deceive by his dress and appearance, but his words will soon show what he really is. Go back to Table of Contents THE FISHERMAN AND THE LITTLE FISH A poor Fisherman, who lived on the fish he caught, had bad luck one day and caught nothing but a very small fry. The Fisherman was about to put it in his basket when the little Fish said: “Please spare me, Mr. Fisherman! I am so small it is not worth while to carry me home. When I am bigger, I shall make you a much better meal.” But the Fisherman quickly put the fish into his basket. “How foolish I should be,” he said, “to throw you back. However small you may be, you are better than nothing at all.” A small gain is worth more than a large promise. Go back to Table of Contents THE FIGHTING COCKS AND THE EAGLE Once there were two Cocks living in the same farmyard who could not bear the sight of each other. At last one day they flew up to fight it out, beak and claw. They fought until one of them was beaten and crawled off to a corner to hide. The Cock that had won the battle flew to the top of the hen-house, and, proudly flapping his wings, crowed with all his might to tell the world about his victory. But an Eagle, circling overhead, heard the boasting chanticleer and, swooping down, carried him off to his nest. His rival saw the deed, and coming out of his corner, took his place as master of the farmyard. Pride goes before a fall.	i don't know
In 1917, media baron Max Aitken took what title on his elevation to the peerage?	Beaverbrook Foundation Lord Beaverbrook William Maxwell ‘Max’ Aitken, First Baron Beaverbrook Bt, PC William Maxwell Aitken, the first Lord Beaverbrook, effortlessly traversed the worlds of politics, finance and newspapers, revolutionising them – with not so much as a backward glance – as he did so. Imbued with a small fortune, great restlessness and energy, and an unswerving belief in the British Empire, he moved, as a young man, from his native Canada to London. There, within a few years, he had propelled himself into Parliament and had acquired the majority shareholding in the Daily Express and the Evening Standard. He quickly gained the reputation of a fearless political fixer, (a reputation, it must be admitted, that was at times unfounded), and he was one of only three men to serve in the Cabinet in both Wars. Aitken revelled in his position as an outsider: ostentatiously keeping his Canadian drawl, largely disdaining overtures of two British monarchs, and enjoying his image as a master of intrigue and mischief maker par excellence. For nearly half a century, when cabinets fell and finance houses collapsed, the whisper across England would always be the same: Where is Max Beaverbrook? Key dates: Sir John William Maxwell Aitken Peter Rudyard Aitken The Early Years Aitken was born on 25th May 1879, the fifth child of William Aitken, a dignified and devout Presbyterian preacher of Scottish extraction. He spent his early childhood in the frontier town of Newcastle, New Brunswick, Canada. Later in life he would recall the hardship of his early years. But this was an undoubted exaggeration: though by no means rich, the Aitken family were able to live comfortably in their Canadian provincial backwater. Young Max attended high school where he showed early signs of an ability to make trouble, and tried and failed to gain entry into Dalhousie University. Moving away from his family, he studied to become a lawyer, and helped another aspiring barrister Richard Bedford Bennett, (who later became Prime Minister of Canada), to gain election to the Legislative Assembly of the North West Territories. He moved again to Halifax, where charm and some luck brought him to the attention of the dominant business family, who employed him to sell bonds on commission. In 1904 John F Stairs opened the newly formed Royal Securities Corporation; Aitken became a minority shareholder and the company’s general manager. Quickly gaining confidence he engineered a number of increasingly large business deals and began setting up companies, with interests as far wide as the Caribbean and England. By 1906, by his own reckoning, he was worth $700,000. He continued to manipulate the markets and create mergers – of which the largest and perhaps most lucrative was the Canadian cement merger – drawing censure on more than one occasion from the Canadian authorities. It is said that there were irregularities in the stock transfer resulting from the conglomeration of the cement plants. Aitken sold his shares, making a large amount of money; and then left for England. Some say that had he stayed in Canada he would have been charged with securities fraud. Introduction To Politics It was to London that Aitken arrived in the spring of 1910, ostensibly to raise capital for the acquisition of a steel company. But it was to politics that he turned. He had met Bonar Law through business; their friendship grew quickly through a mutual belief in tariff reform. To beat such a drum, Aitken needed a parliamentary seat and with the help of Bonar Law and the lesser known politician Edward Goulding, he found candidacy as a Conservative, and then election, in Ashton-under-Lyme, in Manchester. It was a remarkably swift entry to the Commons, and one that did not go unnoticed. 'Who is Mr Aitken?,' enquired the Daily Mail. It was a question that was to be repeated when Aitken, months later, accepted a knighthood in the 1911 Coronation honours. The party coffers had certainly grown since his arrival, if, so far, his reputation had not. His appearances in the Commons were brief and uninspiring, but investigations into his businesses in Canada precluded his return there for the moment. It was not for nothing that Lady Diana Cooper would later address her letters to 'Dear Lord Crooks'. Journalism Aitken had always harboured an attraction to the world of journalism since he had delivered newspapers as a small boy. He had acquired a magazine in Canada, the ‘Canadian Century’, which did little more than limp along; the absence of the proprietor, it can be assumed, was keenly felt. From 1911 he made overtures to buy the Daily Express in London, slowly increasing his stake in the newspaper from that year onwards. By 1916, through a slow process of incrementalism, he owned the paper outright, though he did little to trumpet the fact, and few for the moment knew that he owned the largest shareholding. Asquith’s Demise Victory for Aitken in the contest for control of the paper drew a sad contrast to the struggles of his adopted country on the battlefields of France. Asquith's cabinet by 1916 was riven by the fissures in the wider Liberal party; every day that the war continued his reputation as an ineffective leader grew larger. Opportunities were open. Here, behind the scenes, Aitken manoeuvred relentlessly, first promoting his old friend Bonar Law and then conspiring to bring Lloyd George and Bonar Law together into an anti-Asquith cabal. There was much to-ing and fro-ing from his rooms at the Hyde Park Hotel. On 5th December, Asquith resigned; on the 7th, Lloyd George became Prime Minister with Bonar Law at his side. Peerage On 9th December, 1917 Aitken was offered a peerage. If he had not exactly placed Asquith's head on the block, he had certainly been instrumental in bringing him to trial. Sir Max accepted the peerage, ignoring the King's objections. The Morning Post proposed that he should call himself Lord Bunty, after a popular play called ‘Bunty Pulls the Strings’, a satirical if not altogether unfair, reflection on recent events. Instead, he chose the title Beaverbrook, not – as was romantically put about – because it had been a stream near New Brunswick where he had fished as a boy; but, because, more prosaically, he had found it on a map. The 1920s and 1930s established Beaverbrook's reputation as a brilliant exponent of crusader politics. He had, of course, won appointment in the last months of the war as the first ever Minister of Information responsible for Allied propaganda in Allied and neutral countries; and Chancellor of the Duchy of Lancaster, but a series of rows with Lloyd George led to his resignation. Media tycoon It was therefore the pages of the Daily Express and the running of that newspaper, which felt the full force of his boundless energy. After the fall of Lloyd George, he used it to support Bonar Law in his successful attempt to become Prime Minister: a pyrrhic victory as within months Bonar Law was dead. More satisfying were the huge rises in circulation both in the Daily Express and Sunday Express, which had been set up in December 1918, (and to a lesser extent in the Evening Standard which he acquired in 1923.) In 1919, the Daily Express sold 400,000 copies a day; by 1938 some 2,329,000 and, much later, by 1960, the astonishing figure of 4,300,000, making it the largest ever selling British newspaper. It will be for his role as a pioneer of newspapers and for his ability to form public opinion that Beaverbrook will be ultimately remembered. In the 1930s, while personally attempting to dissuade King Edward VIII from continuing his potentially ruinous affair with American divorcee, Wallis Simpson, Beaverbrook’s papers published every titbit of the affair, especially allegations about pro-Nazi sympathies. He did, of course, try to maintain the hardly plausible outward appearance of a benign proprietor. But anyone who visited Cherkley Court, his country house near Leatherhead in Surrey, could not be deceived. There was ticker tape with the latest news continually arriving, there were banks of telephones ringing, sound scribing machines in operation. Amongst it all sat Beaverbrook firing off memorandums, leaking gossip, and barking orders down the telephone to terrified editors. The Daily Express became the voice of intellectual populism with Beaverbrook's appointment of writers such as Michael Foot, John Junor, Woodrow Wyatt, and the cartoonist David Low. It was also a useful stick with which he could beat friends and foes alike. Appeasement and War Thus the Express leant wholehearted support to his Empire Crusade of 1929-31 – even introducing the helmeted crusader on its masthead which the paper keeps to this day – which was the extension of his early tariff reform sympathies to 'whole hog' protectionism; it gave cover to his attacks on Baldwin; and, most notoriously of all, it became a sounding board for his opinions on the abdication crisis, appeasement, and relations with Russia. The crusades of appeasement and the campaign for closer relations with Russia almost left the Daily Express seriously derailed, (not in the battle for circulation, indeed in these years circulation climbed further), but as a continuing beacon of serious opinion. The issues illustrated both the power of subjugating the press to the mind-set of a single person, and the chronic myopia that such a practice could create. Beaverbrook had been in tentative contact with Ribbentrop since 1937, and had – admittedly in the name of European stability – been preaching a conciliatory attitude towards Germany through his newspapers. An Evening Standard leader opined in September 1937: 'The chief error in British policy towards Germany is a matter not so much of actions as of attitudes. For years past British politicians have spoken harshly of Nazi Germany purely because it is Nazi … is it not possible to sweep that atmosphere away?'. On learning of Ribbentrop's appointment as Foreign Minister in March 1938, Beaverbrook wrote to congratulate him: 'It is with real pleasure that I hear today of your appointment … I know full well that you will take full advantage of your great authority and immense power … you will have the loyal support of my newspapers.' In September 1938, the Daily Express famously declared that Britain would 'not be involved in a European war this year, or next year either'. Beaverbrook kept on declaring it to the bitter end, almost until Hitler's Panzer divisions arrived at the gates of Cherkley. (It is ironic indeed that the searing polemic, ‘Guilty Men’, fired off in 1940 against the appeasers of the 1930s, was written by a number of Beaverbrook journalists: Michael Foot, Peter Howard, and Frank Owen. It did not mention Beaverbrook. It should have done.) A similar lack of foresight was evident in his dealings with Russia: a meeting with Stalin in September 1941, led to a determined campaign to supply Russia with armaments and to open up a second front as soon as was possible, perfectly arguable in their own right. Not so, was his sympathetic stance towards Stalin, a stance that continued in the post war years against all evidence to the contrary. Speaking in Washington in April 1942 he argued that 'Communism under Stalin has provided us with examples of patriotism equal to the finest annals of history? Communism under Stalin has won the applause and admiration of all western nations? Political purges? Of course. But it is now clear that the men who were shot down would have betrayed Russia to her German enemy.' Cabinet Minister Beaverbrook's energies found more productive results in his tenure as Minister of Aircraft Production, and later Minister of Supplies, with a place in the War Cabinet, from mid-1940 onwards. It was a post offered by Churchill, against the advice of George VI. For Churchill had always been impressed by Beaverbrook's 'vital and vibrant energy' even though they had, on several occasions over the last thirty years, been at each other's throats. The new Prime Minister had long regarded Beaverbrook as a confidant, and now, a very necessary addition to the war effort. The minister's irascible zeal soon proved its worth. Fighter and bomber production were immeasurably increased. 'This was his hour,' Churchill later declared. 'His personal force and genius, combined with so much persuasion and contrivance, swept aside many obstacles. Everything in the supply line was drawn forward to the battle…' That said, there were those in his Ministry who did not enjoy being treated like his newspaper editors. And it is a reflection on his character that he could not understand why. Again and again he complained of the difficulties that he faced, firing off a letter of resignation as he did so. Finally, one was accepted. In addition to his ministerial role, Beaverbrook accompanied Churchill to several wartime meetings with President Roosevelt; and later in 1941 he headed the British delegation to Moscow with American counterpart Averell Harriman. But by September 1943 he was back: as Lord Privy Seal. For all their differences, Churchill could not live without the counsel of the wily Max. The Post War Years The post war years, with their combination of rigorous socialism and imperial decline, were an unpleasant reality for the aging Beaverbrook. To the outside world his legend continued: his editors still waited nervously for the call and the unmistakable bark: 'What's news?' But there seemed more of a sense of nostalgia about his conversation and his work, and certainly an embittered isolation from political affairs. He found solace in travel – a tough yearly schedule that took him from Cherkley, to La Capponcina in the south of France, to the Bahamas, to New York, to Canada and back – and, of course, in writing. He turned out well written, if somewhat indulgent, accounts of his heroes and his own contribution to the First World War. After the War, Beaverbrook served as Chancellor of the University of New Brunswick and became the university’s greatest benefactor, fulfilling the same role for the city of Fredericton and the Province as a whole. He provided additions to the University, scholarship funds, the Beaverbrook Art Gallery, the Beaverbrook Skating Rink, the Lord Beaverbrook Hotel, the Playhouse, and many other projects. He once estimated that he had given some $16 million to various causes in New Brunswick alone. He set up and chaired Foundations both in the UK and Canada to further his philanthropic aims. Lord Rosbery said of him: ‘He used his wealth unostentatiously, sometimes not even letting his right hand know what his left hand did. He helped many in distress. I have known even his enemies, of whom he had many, to be helped by him anonymously when he heard that they were in an impoverished condition.’ In England, Beaverbrook lived at Cherkley Court, near Leatherhead, Surrey. He remained a widower until 1963 when he married Marcia Anastasia Christofrides, the widow of his friend Sir James Dunn. By the early 1960s, however, it was clear that the curtain was falling. He was feted one last time at a dinner at the Dorchester for his eighty-fifth birthday in late May 1964. He died two weeks later on 9th June. He could show outwardly, at least, that there had been no decline. Publications	Max Aitken, 1st Baron Beaverbrook
In which publication could you read a column Called to Ordure written by Gavel Basher?	Max Aitken, 1st Baron Beaverbrook Max Aitken, 1st Baron Beaverbrook 4 February 1942 – 19 February 1942 Prime Minister 29 June 1941 – 4 February 1942 Prime Minister 14 May 1940 – 1 May 1941 Prime Minister 10 February – 4 November 1918 Prime Minister 10 February – 4 November 1918 Prime Minister 3 December 1910 – 23 December 1916 Preceded by Occupation Legislator, author, entrepreneur William Maxwell “Max” Aitken, 1st Baron Beaverbrook, PC , ONB , (25 May 1879 – 9 June 1964) was a Canadian-British business tycoon, politician, newspaper publisher, and writer who was an influential figure in British society of the first half of the 20th century. [1] The young Max Aitken had a gift for making money and was a millionaire by 30. His business ambitions quickly exceeded opportunities in Canada and he moved to Britain. There he befriended Andrew Bonar Law and with his support won a seat in the House of Commons at the general election held in December 1910. A knighthood followed shortly after. During World War I , he ran the Canadian Records office in London and played a role in the removal of H. H. Asquith as prime minister in 1916. The resulting Tory-led coalition government (with Lloyd George as prime minister and Bonar Law as Chancellor of the Exchequer), rewarded Aitken with a peerage and, briefly, a Cabinet post as Minister of Information . Post-war, the now Lord Beaverbrook concentrated on his business interests. He built the Daily Express into the most successful mass circulation newspaper in the world and used it to pursue personal campaigns, most notably for tariff reform and for the British Empire to become a free trade bloc. Beaverbrook supported appeasement throughout the 1930s but was persuaded by another long standing political friend, Winston Churchill , to serve as Minister of Aircraft Production in 1940. After numerous clashes with other Cabinet members he resigned in 1941 but later in the war was appointed Lord Privy Seal . Beaverbrook spent his later life running his newspapers, which by then included the London Evening Standard and the Sunday Express. [2] He served as Chancellor of the University of New Brunswick and developed a reputation as a historian with his books on political and military history. [3] [4] Contents 17 External links Early life Aitken was born in Maple, Ontario , Canada, (near Keele Street and Major Mackenzie Drive ) in 1879, one of the ten children of William Cuthbert Aitken, a Scottish-born Presbyterian minister and Jane Noble, the daughter of a prosperous local farmer and storekeeper. The following year, the family moved to Newcastle, New Brunswick which Aitken considered to be his hometown. It was here, at the age of 13, that he set up a school newspaper, The Leader. Whilst at school, he delivered newspapers, sold newspaper subscriptions and was the local correspondent for the St. John Daily Star. [5] Aitken took the entrance examinations for Dalhousie University , but because he had refused to sit the Greek and Latin papers he was refused entry. He registered at the King’s College Law School , but left after a short while. This was to be his only formal higher education. Aitken worked in a shop then borrowed some money to move to Chatham, New Brunswick where he worked as a local correspondent for the Montreal Star , sold life insurance and also collected debts. Aitken attempted to train as a lawyer and worked for a short time in the law office of Richard Bedford Bennett , a future Prime Minister of Canada. Aitken managed Bennett’s successful campaign for a place on Chatham Town Council. When Bennett left the law firm, Aitken moved to Saint John, New Brunswick where he again sold life insurance before moving to Calgary where he helped to run Bennett’s campaign for a seat in the Legislative Assembly of the North-West Territories in the 1898 general election . After an unsuccessful attempt to establish a meat business, Aitken returned to Saint John and to selling insurance. [6] Early business career In 1900, Aitken made his way to Halifax , Nova Scotia, where John F. Stairs , a member of the city’s dominant business family, gave him employment and trained him in the business of finance. In 1904, when Stairs launched the Royal Securities Corporation , Aitken became a minority shareholder and the firm’s general manager. Under the tutelage of Stairs, who would be his mentor and friend, Aitken engineered a number of successful business deals and was planning a series of bank mergers. Stairs’ unexpected early death in late September 1904 led to Aitken acquiring control of the company and moving to Montreal . There he bought and sold companies, invested in stocks and shares and also developed business interests in both Cuba and Puerto Rico. He started a weekly magazine, the Canadian Century in 1910, invested in the Montreal Herald and almost acquired the Montreal Gazette . [6] In 1907 he founded the Montreal Engineering Company . [7] In 1909, also under the umbrella of his Royal Securities Company, Aitken founded the Calgary Power Company Limited, now the TransAlta Corporation , and oversaw the building of the Horseshoe Falls hydro station. [8] In 1910-11 Aitken acquired many of the small regional cement plants across Canada, including Sandford Fleming ‘s Western Canada Cement Co. plant at Exshaw, Alberta, and amalgamated them into Canada Cement, eventually controlling four-fifths of the cement production in Canada. Canada was booming economically at the time and Aitken had a monopoly on the material. There were irregularities in the stock transfers leading to the conglomeration of the cement plants, resulting in much criticism of Aitken, as well as accusations of price-gouging and poor management of the cement plants under his company’s control. [9] Aitken sold his shares, making a large amount of money, then left for Britain. Aitken had made his first visit to Britain in September 1908 and when he returned there in the Spring of 1910, in an attempt to raise money to buy a steel company, he decided to make the move permanent. [6] Move to Britain In 1910 Aitken moved to Britain and he became friends with Andrew Bonar Law , another native of New Brunswick and the only Canadian to become Prime Minister of the United Kingdom . The two men had a lot in common—they were both sons of the manse from Scottish-Canadian families and both were successful businessmen. Aitken persuaded Bonar Law to support him in standing for the Unionist Party in the December 1910 general election at Ashton-under-Lyne . Although Aitken was a poor public speaker he was an excellent organiser and, with plenty of money for publicity, he won the seat by 196 votes. [6] [10] Aitken rarely spoke in the House of Commons , but did promise substantial financial support to the Unionist Party, and in 1911 he was knighted by King George V . Aitken’s political influence grew when Bonar Law replaced A.J. Balfour as leader of the Unionist party late in 1911. Aitken bought Cherkley Court near Leatherhead and entertained lavishly there. In 1913 the house was offered as a venue for negotiations, between Bonar Law and the Prime Minister H.H. Asquith , over Ulster and Irish home rule . [6] Aitken continued to grow his business interests while in Parliament and also began to build a British newspaper empire. After the death of Charles Rolls in 1910, Aitken bought his shares in Rolls-Royce Limited , and over the next two years gradually increased his holding in the company. However, Claude Johnson , Rolls-Royce’s Commercial managing director, resisted Aitken’s attempt to gain control of the company, and in October 1913 he sold his holding to James Buchanan Duke , of the American Tobacco Company . [11] In January 1911, Aitken, secretly, invested £25,000 in the failing Daily Express . An attempt to buy the London Evening Standard failed but he did gain control of another London evening paper, The Globe . In November 1916 a share deal worth £17,500, with Lawson Johnson, landed Aitken a controlling interest in the Daily Express, but again he kept the deal secret. [6] World War One Lord Beaverbrook During World War I , the Canadian government put Aitken in charge of creating the Canadian War Records Office in London, and he made certain that news of Canada’s contribution to the war was printed in Canadian and British newspapers. He was innovative in the employment of artists, photographers, and film makers to record life on the Western Front . Aitken also established the Canadian War Memorials Fund that evolved into a collection of war art by the premier artists and sculptors in Britain and Canada. [12] His visits to the Western Front, with the honorary rank of colonel in the Canadian Army , resulted in his 1916 book Canada in Flanders, a three-volume collection that chronicled the achievements of Canadian soldiers on the battlefields. After the war, Aitken wrote several books including Politicians and the Press in 1925 and Politicians and the War in 1928. Aitken became increasingly hostile towards the Prime Minister, H.H. Asquith whom he considered to be mismanaging the war effort. Aitken’s opinion of Asquith didn’t improve when he failed to get a post in the Cabinet reshuffle of May 1915. An attempt by Bonar Law to secure the KCMG for Aitken was also blocked by Asquith. Aitken was happy to play a small part, which he greatly exaggerated, as a go-between when Asquith was forced from office and replaced by David Lloyd George in December 1916. [6] Lloyd George offered to appoint Aitken as President of the Board of Trade . At that time, an MP taking a cabinet post for the first time had to resign and stand for re-election in a by-election. Aitken made arrangements for this, but then Lloyd George decided to appoint Albert Stanley instead. Aitken was a friend of Stanley and agreed to continue with the resignation, so that Stanley could take Aitken’s seat in Parliament and be eligible for ministerial office. In return, Aitken received a peerage in 1917 as the 1st Baron Beaverbrook, [13] the name “Beaverbrook” being adopted from a small community near his boyhood home. He had initially considered “Lord Miramichi “, but rejected it on the advice of Louise Manny as too difficult to pronounce. [14] [15] [16] The name “Beaverbrook” also had the advantage of conveying a distinctive Canadian ring to the title. Later in 1917, Beaverbrook’s controlling stake in the Daily Express became public knowledge and he was criticised by parts of the Conservative Party for financing a publication they regarded as irresponsible and often unhelpful to the party. [6] In February 1918, Beaverbrook became the first Minister of Information in the newly formed Ministry of Information and was also made Chancellor of the Duchy of Lancaster with a seat in Cabinet. Beaverbrook became responsible for propaganda in Allied and neutral countries and Lord Northcliffe (owner of the Daily Mail and The Times)became Director of Propaganda with control of propaganda in enemy countries. Beaverbrook established the British War Memorials Committee within the Ministry, on lines similar to the earlier Canadian war art scheme, but when he established a private charity that would receive income from BWMC exhibitions, it was regarded as a conflict of interest and he dropped the scheme. [12] Beaverbrook had a number of clashes with the Foreign Secretary Arthur Balfour over the use of intelligence material. He felt that intelligence should become part of his department, but Balfour disagreed. Eventually the intelligence committee was assigned to Beaverbrook but they then resigned en masse to be re-employed by the Foreign Office. In August 1918, Lloyd George became furious with Beaverbrook over a leader in the Daily Express threatening to withdrew support from the government over tariff reform. Beaverbrook increasingly came under attack from MPs who distrusted a press baron being employed by the state. Beaverbrook survived but became increasingly frustrated with his limited role and influence, and in October 1918, he resigned, claiming ill health. [6] A J P Taylor later wrote that Beaverbrook was a pathbreaker who “invented all the methods of publicity” used by Britain to promote the war, including the nation’s first war artists, the first war photographers, and the first makers of war films. He was especially effective in promoting the sales of war bonds to the general public. Nevertheless, he was widely disliked and distrusted by the political elite, who were suspicious of all they sneeringly called “press lords.” [17] First Baron of Fleet Street Lord Beaverbrook, c. August 1941 After the war, Beaverbrook concentrated on running the Daily Express. He turned the dull newspaper into a glittering and witty journal with an optimistic attitude, filled with an array of dramatic photo layouts. He hired first-rate writers such as Francis Williams and the cartoonist David Low . He embranced new technology and bought new presses to print the paper in Manchester. In 1919 the circulation of the Daily Express was under 40,000 a day; by 1937 it was 2,329,000 a day, making it the most successful of all British newspapers and generating huge profits for Beaverbrook whose wealth was already such that he never took a salary. After the Second World War , the Daily Express became the largest-selling newspaper in the world by far, with a circulation of 3,706,000. Beaverbrook launched the Sunday Express in December 1918, but it only established a significant readership after John Junor became its editor in 1954. In 1923, in a joint deal with Lord Rothermere , Beaverbrook bought the London Evening Standard . Beaverbrook acquired a controlling stake in the Glasgow Evening Citizen and, in 1928, he launched the Scottish Daily Express. [6] Beaverbrook would become regarded by some historians as the first baron of Fleet Street and as one of the most powerful men in Britain whose newspapers could make or break almost anyone. Beaverbrook enjoyed using his papers to attack his opponents and to promote his friends. From 1919 to 1922 he attacked David Lloyd George and his government on several issues. He began supporting independent Conservative candidates and campaigned for fifteen years to remove Stanley Baldwin from the leadership of the Conservative Party. He very shrewdly sold the majority of his share holdings before the 1929 crash and in the resulting depression launched a new political party to promote free trade within the British Empire. Empire Free Trade Crusade candidates had some success. An Independent Conservative who supported Empire Free Trade won the Twickenham by-election in 1929. The Empire Free Trade candidate won the South Paddington by-election in October 1930. In February 1931, Empire Free Trade lost the Islington East by-election and allowed Labour to hold a seat they had been expected to lose. Duff Cooper ‘s victory for the Conservatives in St. George’s Westminster by-election in March 1931 marked the end of the movement as an electoral force. [6] On 17 March 1931, during the St. George’s Westminster by-election, Stanley Baldwin described the media barons who owned British newspapers as having “Power without responsibility – the prerogative of the harlot throughout the ages.” In the 1930s, while personally attempting to dissuade King Edward VIII from continuing his potentially ruinous affair with American divorcee, Wallis Simpson , Beaverbrook’s newspapers published every titbit of the affair, especially allegations about pro-Nazi sympathies. Beaverbrook supported the Munich Agreement and hoped the newly named Duke of Windsor would seek a peace deal with Germany. Testifying before a Parliamentary inquiry in 1947, former Express employee and future MP Michael Foot alleged that Beaverbrook kept a blacklist of notable public figures who were to be denied any publicity in his papers because of personal disputes. Foot said they included Sir Thomas Beecham , Paul Robeson , Haile Selassie , and Noël Coward . Beaverbrook himself gave evidence before the inquiry and vehemently denied the allegations; Express Newspapers general manager E.J. Robertson denied that Robeson had been blacklisted, but did admit that Coward had been “boycotted” because he had enraged Beaverbrook with his film In Which We Serve —in the opening sequence Coward includes an ironic shot showing a copy of the Daily Express floating in the dockside garbage bearing the headline “No War This Year”. [18] [19] [20] The Second World War Lord Beaverbrook during the Second World War In the late 1930s Beaverbrook had used his newspapers to promote the appeasement policies of the Chamberlain government. The slogan ‘There will be no war’ was used by the Daily Express. [21] During the Second World War, in May 1940, his friend Winston Churchill , the British Prime Minister , appointed Beaverbrook as Minister of Aircraft Production . With Churchill’s blessing Beaverbrook overhauled all aspects of war-time aircraft production;- he increased production targets by 15% across the board, took control of aircraft repairs and RAF storage units, replaced the management of plants that were underperforming, and released German Jewish engineers from internment to work in the factories. He seized materials and equipment destined for other departments and was perpetually at odds with the Air Ministry . [22] Under Beaverbrook, fighter and bomber production increased so much so that Churchill declared: “His personal force and genius made this Aitken’s finest hour.” Beaverbrook’s impact on wartime production has been much debated but his innovative style certainly energised production at a time when it was desperately needed. However it has been argued that aircraft production was already rising when Beaverbrook took charge and that he was fortunate to inherit a system which was just beginning to bear fruit. [23] His appeal for housewives to give up their aluminium pots and pans “to make Spitfires” was afterwards revealed by his son Sir Max Aitken to have been a waste of good pans. They were of no use at all for aircraft production. The appeal had been nothing more than a propaganda exercise, he said in the TV documentary series The World at War. Still, a Time Magazine cover story declared, “Even if Britain goes down this fall [1940], it will not be Lord Beaverbrook’s fault. If she holds out, it will be his triumph. This war is a war of machines. It will be won on the assembly line.” [24] Beaverbrook resigned on 30 April 1941 and, after a month as Minister of State, Churchill appointed him to the post of Minister of Supply . Here Beaverbrook clashed with Ernest Bevin who, as Minister of Labour and National Service , refused to let Beaverbrook take over any of his responsibilities. In February 1942, Beaverbrook became Minister of War Production and again clashed with Bevin, this time over shipbuilding. In the face of Bevin’s refusal to work with him, Beaverbrook resigned after only twelve days in the post. In September 1943 he was appointed Lord Privy Seal , outside of the Cabinet, and held that post until the end of the war. [6] In 1941, Beaverbrook headed the British delegation to Moscow with his American counterpart Averell Harriman . This made Beaverbrook the first senior British politician to meet Soviet leader Joseph Stalin since Hitler’s invasion of the Soviet Union. Much impressed by Stalin and the sacrifice of the Soviet people, he returned to London determined to persuade Churchill to launch a second front in Europe to help draw German resources away from the Eastern Front to aid the Soviets. [25] Despite their disagreement over the second front, Beaverbrook remained a close confidant of Churchill throughout the war, and could regularly be found with Churchill until the early hours of the morning. Clement Attlee commented that “Churchill often listened to Beaverbrook’s advice but was too sensible to take it.” In addition to his ministerial roles, Beaverbrook headed the Anglo-American Combined Raw Materials Board from 1942 to 1945 and accompanied Churchill to several wartime meetings with President Roosevelt . He was able to relate to Roosevelt in a different way to Churchill and became close to Roosevelt during these visits. This friendship sometimes irritated Churchill who felt that Beaverbrook was distracting Roosevelt from concentrating on the war effort. For his part Roosevelt seems to have enjoyed the distraction. Later life Lord Beaverbrook plaque in Maple, Ontario Beaverbrook devoted himself to Churchill’s 1945 General Election campaign, but a Daily Express headline warning that a Labour victory would amount to the ‘Gestapo in Britain’ was a huge mistake and completely misjudged the public mood. [5] Beaverbrook renounced his British citizenship and left the Conservative Party in 1951 but remained an Empire loyalist throughout his life. He opposed both Britain’s acceptance of post-war loans from America and Britain’s application to join the European Economic Community in 1961. [6] In 1953 he became chancellor of the University of New Brunswick and became the university’s greatest benefactor, fulfilling the same role for the city of Fredericton and the province as a whole. He would provide additions to the university, scholarship funds, the Beaverbrook Art Gallery , the Beaverbrook Skating Rink, the Lord Beaverbrook Hotel, with profits donated to charity, the Playhouse , Louise Manny ‘s early folklore work, and numerous other projects. He bought the archive papers of both Bonar Law and David Lloyd George and placed them in the Beaverbrook Library within the Daily Express Building . [6] Historian Bust of Lord Beaverbrook, where his ashes are deposited, in the town square of Newcastle, Miramichi, New Brunswick (IR Walker 2008) After the First World War, Beaverbrook had written Politicians and the Press in 1925 and Politicians and the War in 1928 and had the two books were reprinted in one volume in 1960. [26] Upon original publication, the books were largely ignored by professional historians and the only favourable reviews were in Beaverbrook’s newspapers. [27] However, when the combined edition came out, the reviews were positive: “This is Suetonius or Macaulay presented with all the visual techniques of Alfred Hitchcock “, and another review said that it was as “terse as Sallust , pithy as Clarendon “. A. J. P. Taylor said it was “ Tacitus and Aubrey rolled into one”. [28] Later on, Taylor said “The enduring merits of the book are really beyond cavil. It provides essential testimony for events during a great political crisis…It contains character sketches worthy of Aubrey. On a wider canvas, it displays the behaviour of political leaders in wartime. The narrative is carried along by rare zest and wit, yet with the detached impartialty of the true scholar”. [29] Sir John Elliot in 1981 said the work “will remain, despite all carping, the authoritative narrative; nor does the story want in the telling thereof”. [30] Men and Power 1917–1918 was published in 1956. It is not a coherent narrative but divided by separate episodes centred on one man, such as Carson, Robertson, Rothermere and others. The reviews were favourable, with Taylor’s review in The Observer greatly pleasing Beaverbrook. [31] The book sold over 23,000 copies. [32] When The Decline and Fall of Lloyd George was published in 1963, favourable reviewers included Clement Attlee , Roy Jenkins , Robert Blake , Lord Longford , Sir Charles Snow , Lady Violet Bonham Carter , Richard Crossman and Denis Brogan . [33] Kenneth Young said the book was “the finest of all his writing”. [33] Beaverbrook was both admired and despised in Britain, sometimes at the same time: in his 1956 autobiography, David Low quotes H.G. Wells as saying of Beaverbrook: “If ever Max ever gets to Heaven, he won’t last long. He will be chucked out for trying to pull off a merger between Heaven and Hell after having secured a controlling interest in key subsidiary companies in both places, of course.” Death Lord Beaverbrook died in Surrey in 1964, aged 85. He had recently attended a birthday banquet organised by fellow Canadian press baron, Lord Thomson of Fleet, where he was determined to be seen on his usual good form, despite being riddled with painful cancer. The Beaverbrook Foundation continues his philanthropic interests. In 1957, a bronze statue of Lord Beaverbrook was erected at the centre of Officers’ Square in Fredericton, New Brunswick, paid for by money raised by children throughout the province. A bust of him by Oscar Nemon stands in the park in the town square of Newcastle, New Brunswick, not far from where he sold newspapers as a young boy. His ashes are in the plinth of the bust. Legacy Beaverbrook House, formerly the Old Manse Library, and earlier the boyhood home of Max Aitken, Lord Beaverbrook, in Newcastle, Miramichi, New Brunswick (IR Walker 1983) Gladys Drury, sometime before her marriage. Beaverbrook and his wife Lady Beaverbrook have left a considerable legacy to his adopted province of New Brunswick and the United Kingdom, among others. In 2016, he was named a National Historic Person on the advice of the Historic Sites and Monuments Board of Canada . [34] His legacy includes the following buildings (or at least his name survives in the names of these buildings): The Beaverbrook Chair in Ethics, Media and Communications [37] Family On 29 January 1906, in Halifax, Aitken married Gladys Henderson Drury, daughter of Major-General Charles William Drury CBE (a first cousin of Admiral Sir Charles Carter Drury ) and Mary Louise Drury (née Henderson). They had three children before her death in 1927. His son Max Aitken Jr. became a fighter pilot with 601 Squadron, rising to Wing Commander with 16 victories in World War Two. Beaverbrook remained a widower for many years until 1963 when he married Marcia Anastasia Christoforides (1910–1994), the widow of his friend Sir James Dunn . Beaverbrook was rarely a faithful husband and even in old age was often accused of treating women with disrespect. [6] Hon. Janet Gladys Aitken (9 July 1908 – 18 November 1988); she married Ian Douglas Campbell, 11th Duke of Argyll , on 12 December 1927 and they were divorced in 1934. They have one daughter and two granddaughters. She remarried Hon. William Montagu on 5 March 1935. They have one son and three grandchildren. She remarried again, Major Thomas Kidd, on 11 July 1942. They have two children, three grandchildren, and three great-grandchildren. Lady Jeanne Campbell (10 December 1928 – 9 June 2007); she married Norman Mailer in 1962 and they were divorced in 1963. They have a daughter. She remarried John Sergeant Cram in March 1964. They have one daughter. William Montagu (9 February 1936 – 6 November 2002); he married Edna Ahlers in 1969. They have three children: Michael Drogo Montagu (10968) Monette Edna Montagu (1973) Jane Kidd (1943); she married Graham Morison Vere Nicoll in 1972. John Kidd (12 December 1944); he married Wendy Madeleine Hodge on 2 April 1973. They have three children and three grandchildren: Jack Kidd (1973) Jemma Kidd (20 September 1974); she married Arthur Wellesley, Marquess of Douro , on 4 June 2005. They have three children. Jodie Kidd (25 September 1978); she married Aidan Butler on 10 September 2005 and they were divorced in 2007. She remarried David Blakeley on 16 August 2014 and they were divorced on 1 May 2015. \| Sir John William Maxwell Aitken (15 February 1910 – 30 April 1985); he married Cynthia Monteith on 26 August 1939 and they were divorced in 1944. He remarried Ursula Kenyon-Slaney on 15 August 1946 and they were divorced in 1950. They have two daughters, five grandchildren, and two great-granddaughters. He remarried again Violet de Trafford on 1 January 1951. They have two children, seven grandchildren, and four great-grandchildren. Hon. Kirsty Jane Aitken (22 June 1947); she married Jonathan Morley on 6 September 1966 and they were divorced in 1973. They have two sons and two granddaughters. She remarried Christopher Smallwood in 1975. They have one daughter. Dominic Max Michael Morley (1967) Sebastian Finch Morley (1969); he married Victoria Whitbread in 1993. They have two daughters. Violet Mary Davina Morley (3 February 2004) Myrtle Rose Beatrice Morley (13 December 2005) Eleanor Bluebell Smallwood (1982) Hon. Lynda Mary Kathleen Aitken (30 October 1948); she married Nicholas Saxton on 25 April 1969 and they were divorced in 1974. She remarried Jonathan Dickson in 1977. They have two sons. Joshua James Dickson (20 February 1977) Leo Casper Dickson (1981) Maxwell Aitken, 3rd Baron Beaverbrook (29 December 1951); he married Susan O’Ferrall on 19 July 1974. They have four children and four grandchildren. Hon. Laura Aitken (18 November 1953); she married David Mallet in 1984. They have one son. She remarried Martin K. Levi in 1992. They have two children. David Sonny Victor Maxwell Mallet (1984) Lucci Violet Levi (1993) Louis Max Adam Levi (1 December 1994) Captain Hon. Peter Rudyard Aitken (22 March 1912- 3 August 1947); he married Janet Macneil on 25 January 1934 and they were divorced in 1939. They have one daughter and three grandsons. He remarried Marie Patricia McGuire on 28 October 1942. They have two sons and four grandsons. Caroline Ann Christine Aitken (4 April 1935); she married Conyers Baker on 7 September 1957. They have three sons: William Hugh Massey Baker (26 June 1958) Philip Massey Baker (13 March 1960) Jonathan Piers Massey Baker (14 July 1967) Timothy Maxwell Aitken (28 October 1944); he married Annete Hansen on 10 May 1966. He remarried Julie Filstead in 1972. They have two sons. Theodore Maxwell Aitken (1976) Charles Howard Filstead Aitken (1979) Peter Michael Aitken (20 February 1946); he married, secondly, Hon. Joan Rees-Williams in 1981 and they were divorced in 1985. He remarried Iryna Iwachiw on 12 September 1992. James Aitken Canada in Flanders London: Hodder & Stoughton, 1916. Success. Small, Maynard and Company, 1922, 2003. ISBN 978-0-7661-5409-4 [ Amazon-US \| Amazon-UK ]. Politicians and the Press. London: Hutchinson, 1925. Politicians and the War, Vol. 1. London: Oldbourne, 1928. Politicians and the War, Vol. 2. London: Oldbourne, 1932. The Resources of The British Empire.London: Lane Publications, 1934. Why Didn’t you Help the Finns? Are you in the Hands of the Jews? And 10 Questions, Answers. London: London Express, 1939. Spirit of the Soviet Union. London: The Pilot Press, 1942. Don’t Trust to Luck. London: London Express Newspaper, 1954. The Three Keys to Success. London: Hawthorn Books, 1956. Men and Power, 1917–1918. North Haven, Connecticut: The Shoe String Press, 1956. Friends: Sixty years of Intimate personal relations with Richard Bedford Bennett. London: Heinemann, 1959. Courage, The Story of Sir James Dunn. Fredericton: Brunswick Press, 1961. My Early Life. Fredericton: Atlantic Advocate Book, 1962. The Divine Propagandist. London: Heinnemann, 1962. The Decline and Fall of Lloyd George: and great was the fall thereof. London: Collins, 1963, 1981 ISBN 978-0-313-23007-3 [ Amazon-US \| Amazon-UK ]. The Abdication of Edward VIII. NY: Atheneum, 1966. In popular culture For a period of time Beaverbrook employed novelist Evelyn Waugh in London and abroad. Waugh later lampooned his employer by portraying him as Lord Copper in Scoop and as Lord Monomark in both Put Out More Flags and Vile Bodies . The Kinks recorded “Mr. Churchill Says” for their 1969 album Arthur , which contains the lines: “Mr. Beaverbrook says: ‘We’ve gotta save our tin/And all the garden gates and empty cans are gonna make us win…’.” Beaverbrook was one of eight notable Britons cited in Bjørge Lillelien ‘s famous “Your boys took a hell of a beating” commentary at the end of an English football team defeat to Norway in 1981, mentioned alongside British Prime Ministers Churchill, Thatcher and Attlee. [38] [39] In the alternate history novel, Dominion by C. J. Sansom , Beaverbrook served as Prime Minister from 1945 to 1953, heading a coalition government that consisted of the pro-Treaty factions of the Conservative Party and Labour Party , as well as the British Union of Fascists . [40] In Jacqueline Winspear ‘s mystery series featuring Maisie Dobbs , Beaverbrook appears as the ruthless John Otterburn, press baron and Churchill’s minister of aviation, in the novels Elegy for Eddie and Leaving Everything Most Loved. See also ^ Sansom, C.J. “My nightmare of a Nazi Britain.” The Guardian, 19 October 2012. Further reading Chisholm, Anne and Michael Davie. Lord Beaverbrook: A Life. New York: Knopf, 1993. ISBN 978-0-394-56879-9 [ Amazon-US \| Amazon-UK ]. Deighton, Len. Battle of Britain. London: Johnathon Cape, 1980. ISBN 0-224-01826-4 [ Amazon-US \| Amazon-UK ]. Pugh, Peter. The Magic of a Name: The Rolls-Royce Story, The First 40 Years. London: Icon Books, 2001. ISBN 1-84046-151-9 [ Amazon-US \| Amazon-UK ]. Rayburn, A. Geographical Names of New Brunswick. Ottawa: Canadian Permanent Committee on Geographical Names, 1975. Richards, David Adams. Lord Beaverbrook (Extraordinary Canadians). Toronto, Ontario:Penguin Canada, 2008. ISBN 978-0-670-06614-8 [ Amazon-US \| Amazon-UK ]. Sweet, Matthew. Shepperton Babylon: The Lost Worlds of British Cinema. London: Faber & Faber, 2005. ISBN 978-0-571-21297-2 [ Amazon-US \| Amazon-UK ]. Taylor, A. J. P. Beaverbrook. London: Hamilton, 1972. ISBN 0-241-02170-7 [ Amazon-US \| Amazon-UK ]. External links	i don't know
Which pop group had a 1984 UK top ten hit record entitled ‘Master and Servant’?	Top 10 Depeche Mode Songs \| WatchMojo.com Top 10 Depeche Mode Songs in: lists top 10 hosted by Rebecca Brayton Formed in 1980 in Essex, England, Depeche Mode exploded into the new wave scene with their debut record “Speak & Spell.” By the end of the decade, the band had become extremely successful in electronic music as a result of their synthpop and alternative rock blend. For this list, we’ve chosen our entries based on a combination of the artist’s fan favorites and their most commercially successful songs. Join WatchMojo.com as we count down our picks for the Top 10 Depeche Mode Songs. Special thanks to our users MorghannBale13, aldqbigsquare and Jessica Nunez for submitting the idea on our Suggest Page at WatchMojo.com/suggest	Depeche Mode
Which saint had a beehive as his emblem?	Line-Up - Let's Rock London Line-Up THE HUMAN LEAGUE The Human League are so credible it’s incredible. In fact, they’re probably more highly regarded in 2011 than they were in 1981 when they released their landmark album Dare! They’re used to everyone from Madonna to Moby, Pet Shop Boys to Robbie Williams, citing them as an influence. Now the dubstep generation – notably, the acclaimed Darkstar, who cover the League’s 1982 B-side ‘You Remind Me Of Gold’ on their current album, North – have begun to pay homage to the original sound of Sheffield. But they’re about more than esoteric infiltration – there has been mainstream penetration, too, commensurate with a band who gave us the greatest ever Christmas Number 1 single with 1981/2’s ‘Don’t You Want Me’, who have had four Top 10 albums and eight Top 10 singles in the UK as well as two US Number 1 singles and sold 20 million records worldwide: the most lauded TV program of recent times, time-travel saga Ashes To Ashes, based one of its main characters on Joanne Catherall, while the mighty Philip Oakey appeared in a recent episode of Top Gear at the personal behest of Jeremy Clarkson who regularly name-checks the League in his newspaper column. Then there are the ‘L’ girls, the new generation of synth-driven female pop artists, who have got in on the League-adoring act: La Roux is a known admirer of the electro pioneers, while Little Boots is such a fan she requested Philip Oakey’s input on her debut album. Even Lady Gaga professed to be a devotee when she met them recently; they had adjacent dressing rooms at the ‘V’ Festival. “She sat there in her bra and pants and we told her we were a huge fan of hers and she told us she was a huge fan of ours as well,” says Susan Ann Sulley, who has never been a waitress in a cocktail bar but has been a member of the League since Martyn Ware and Ian Craig Marsh left the band in 1980 to form Heaven 17. “I’m not star-struck by many people and I don’t hero-worship anyone, but she was lovely.” But not surprisingly for a group who were famously described by David Bowie in 1979 as “the sound of the future”, and indeed the group was once called The Future, The Human League have never been about resting on their laurels or relying on past glories to see them through. Which is why, in March 2011, they will be releasing Credo, their 9th studio album, as brilliant a distillation of their ideas about pop and dancing, glamour and electronics, as anything they have ever done. They called it Credo, meaning “belief”, for The Human League fans who never stopped believing in the band in the decade since their last album, 2001’s critically acclaimed Secrets. “When I was growing up, Roxy Music was the most important thing in my life,” explains Philip Oakey, along with Iggy Pop the owner of the most instantly recognizable, dolorous yet authoritative baritone in pop. “When they split up [in 1976], I was bereft. And then one day I opened a music paper and saw an announcement for a new album called Manifesto [1979] – I liked the title and the idea that it was their manifesto, which they believed in it. So I looked for a word like that, because we’ve been in the wilderness for a bit. The word ‘Credo’ is about believing – it says everything about the record, which is exactly the record we would want to have made for release in 2011.” Credo was produced by ‘I Monster’, the Sheffield duo behind the 2001 single Daydream In Blue and for many years the brains behind a slew of distinctive, playful electronica from the Steel City. “We can’t understate what I Monster have done,” says Philip of Dean Honer and Jarrod Gosling. Susan agrees: “It wouldn’t have taken such a short time had they not been involved. This is the quickest we’ve ever worked.” Adds Philip: “They grabbed the whole thing and simplified it.” They note the irony of a band who spent years working with musicians from all over the planet, including stellar R&B producers Jam & Lewis on their 1986 single Human and album Crash, now being a Sheffield-only affair. “We made the decision to not work with Sheffield musicians in case we fell out or something,” says Susan. Laughs Joanne: “We just didn’t want anyone in Sheffield finding out how horrible we are!” Joking aside, they are delighted with their all-Sheffield set-up. And Joanne credits I Monster with bringing more of a sense of coherence to Credo. “We wanted it to be a consistent record, not, you know, two tracks with that producer and two tracks with someone else,” she says. “We wanted it to have a unified feel, rather than going from one style to another”. Credo’s style is a refinement of the approach adopted by The Human League in 1980-1 when they took the revolutionary decision to employ commercial tactics to inveigle experimental art-school ideas into the mainstream. Love Action, Open Your Heart, Sound Of The Crowd, Don’t You Want Me, Do Or Die, Hard Times, The Things That Dreams Are Made Of – these love, or anti-love, songs and anthems for dispossessed teens with their shiny production and hummable melodies, given added momentum by a series of menacing synth-bass riffs and riveting electronic pulse-beats, all presented in that Vogue-magazine-ish way via the artwork for Dare!, were nothing less than acts of radical subterfuge. And so it is with ‘Credo’ – which Philip, looking forward as ever, sees as the first album of the next stage in The Human League’s evolution – and its eleven tracks, which sound like classic League but are as modern as the finest 21st century chart pop. ‘Never Let Me Go’ is an ecstatic album opener, the Auto-tuned vocals bringing to mind Cheryl Cole if she’d been brought up on Kraftwerk and Moroder as well as Richard X and Xenomania. The phased chorus – “No. Don’t. Go.” – is awesome, effortlessly straddling the high street and the art-house, the League’s stock-in-trade. The first single on an album of potential singles is ‘Night People’, another outrageously catchy burst of suburban disco pop with some of the urban nocturnal drama of ‘Sound Of The Crowd’, the girls’ voices as ever giving the lie to the idea that you have to bellow and blare to emote. ‘Sky’ paints a picture every bit as evocative as your favourite acoustic troubadour and shows what a great songwriter Philip Oakey is. ‘Got To Do’ manages to be, as per the League since day one, weird and utterly irresistible with its reference to “startled simians” harking back to the “sericulture” of ‘Being Boiled’. “Do you turn left, do you turn right, back to your bed or into the night?” croons Philip. “Wake me, shake me, just let me know.” Every lyric, every hook, has been designed for maximum impact. Even the titles – ‘Single Minded’, ‘Electric Shock’ – are immediate and striking. As ever, there is brightness here, with a feeling of danger encroaching on the dancefloor. Above all ‘Credo’ has the energy and sense of purpose of a group of particularly astute and skilled twenty somethings with something to prove about their desire to combine pop song mores with the latest electronics. “The League have always been into other areas of culture and using bits of Clockwork Orange and JG Ballard, sci-fi and stuff,” says Philip of the lyrics on ‘Credo’ and some of the references in them. “And there has always been something a bit nasty and crude in our music, a quality that I think some of our records lacked and which we tried hard to bring to ‘Credo’ – other electronic groups have a little bit of shine, their records are a bit shimmery and polished and intricate, and that doesn’t suit us. We’ve got to be a bit primitive”. “We don’t like people being too clever with our stuff or too polished because we’ve never been about that,” contends Joanne. “But,” adds Philip, “our main aim for ‘Credo’ wasn’t literate lyrics or anything like that. We just wanted it to be catchy, accessible, with good tunes and good riffs, and for everything at every stage to be as memorable as possible.” ‘Credo’ is part of that particular pop lineage that goes from Bowie, Roxy and Kraftwerk to Donna Summer, Chic and Michael Jackson to Lady Gaga, Usher and Girls Aloud. Supremely infectious chart pop music, only with the League you get an extra subversive “x” factor. “Pop to us has always meant ‘music that you’ve not heard before’,” he asserts. “Now it’s just Saturday night entertainment.” “We sat for a whole morning with loads of Lady Gaga and Usher records, comparing drums for loudness,” explains Susan. “I was saying the drums on ‘Credo’ needed to be really loud!” ‘Credo’ manages to makes itself heard above the brashest state-of-the-art pop productions. It brings some of that primitive essence to the milieu, as well as The Human League’s unique quality of apartness. “We’re peculiar,” says Susan, utterly unabashed. “People think pop music is X Factor and S Club 7 and we’re still hankering after a Roxy-Bowie-Donna Summer-Chic version of pop. We don’t fit in. People don’t quite appreciate how strange we are. There are three of us, two of whom have never written a song and are pretty average singers, plus we’ve got a lead singer who doesn’t consider himself a singer at all and can’t play any instruments very well. And yet we still think of ourselves as a pop group, not arty-farty or weird. If a market research group got hold of us, they’d change absolutely everything! And yet it works. We shouldn’t have gone on this long as we have – we should have ‘gone rock’ by now, like Depeche Mode, Simple Minds and U2 did. But we’re still a pop group.” Not just a pop group – possibly the last great pop group. Believe. SISTER SLEDGE While musical history has recorded a lengthy list of performing family groups, there are but a handful who have truly transcended the genre – who are simply great musical units, regardless of their formal kinship. Four gifted, and beautiful young women, who also happen to be real life sisters, Sister Sledge has clearly joined this elite club of performers. The dedication and strength of family has had a crucial influence on the girl’s success, supporting the hard work, positive action and love that have gone into the creation of their music. With the encouragement of mother Florez (a successful entertainer in her own right), the Sledge sisters began singing at an early age in their hometown of Philadelphia. Grandmother Viola Williams (a former opera singer, Julliard Graduate and protégé of Mary McCloud Bethune) started the young women performing at charities, civic and political affairs and other philanthropic events. Since the release of their breakthrough album We Are Family, this remarkable group has continued to develop and expand their diverse talents, blossoming into multi-faced artists who have received over one hundred awards and commendations for outstanding work in the entertainment field. Highlights include Billboard Artist of the Year, Tokyo Music Festival Silver Award, and Two (2) Grammy Nominations for Best R&B Duo or Group and Record of the Year. The song We Are Family won the Grammy for Record of the Year. Sister Sledge became established as one of the world’s most successful female groups, setting off a series of events, which made the group virtually a household name. We Are Family became a worldwide family anthem and was adopted by the Pittsburgh Pirates as the team theme. That year, the Pirates claimed victory over the Baltimore Orioles, winning the World Series. Ultimately the album soared past the RIAA Platinum mark, hitting the very top of both Pop and R&B charts. In the 80s and 90s, the world witnessed the full flowering of four college graduates with subsequent hits, Lost in Music, Love Somebody Today, Reach Your Peak and the international Gold Record, Frankie and World Rise and Shine, number 1 in Italy. In the new millennium, Sister Sledge continues to sell millions of records worldwide and travel extensively in Asia, Africa, throughout Europe, the Middle East, South America, Australia and the United States, earning rave reviews. “Sister Sledge has the stuff legends are made of,” stated one critic from the Chicago Tribune. Sister Sledge has captured the hearts of many diverse audiences, from Carnegie Hall in New York, to the Sun Plaza in Tokyo, and from the State Center Accra Ghana, to the Glastonbury Music Festival in United Kingdom, and the Burj Al Arab in Dubai. HOWARD JONES It was in 1983 that Howard Jones released his first single New Song in the UK. The expectation was that it might sell a few thousand copies and introduce his fresh new music to an unsuspecting world. The reality was quite different. The single steadily climbed the UK chart to peak at number 3. Then came the second single What Is Love? which reached number 2 in the UK and the third single, the enigmatic Hide and Seek which showed the spiritual side of Howard Jones’ writing. This was followed by the first album Human’s Lib which came straight in at number one in the UK in April 1984, eventually going platinum and which took the synthesiser and Howard to a new plateau. This success spread across the globe with Human’s Lib going gold in the USA, Japan, Germany, Italy and Australia. With a large and loyal fanbase and album sales now exceeding eight million, this consummate musician and writer has maintained an admirable independence, writing, recording, performing and touring in the way only he knows how. He has proved that he is one of the most talented writers and performers out there. His independent attitude and his ability and willingness to take risks ensure that he continues to operate on the cutting edge of today’s music. ROLAND GIFT Roland Lee Gift is a British singer and actor. He was the lead singer of the band Fine Young Cannibals. His first recording on which he played the saxophone was with Hull ska band Akrylykz, the second release on nearby York’s Red Rhino Records. Although this record was unsuccessful, it did bring him to the attention of Andy Cox and David Steele of The Beat. The Akrylykz toured with The Beat, which led to them in around 1985 asking him to be the lead singer of their new band Fine Young Cannibals after their old band, The Beat, had broken up. He also was a guest artist on the Ska City Rollers’ Time Is Tight single. In 1987, Gift had his first screen role in the film Sammy and Rosie Get Laid. In 1990 he did his first stage work, playing Romeo in the Hull Truck Theatre’s production of Shakespeare’s Romeo and Juliet, a production which had a brief run in the United States at the Staller Center for the Arts. He also appeared as a lounge singer (singing songs that were included in the Fine Young Cannibals album The Raw and the Cooked) in the film Tin Men, directed by Barry Levinson. In 1989, he appeared in Scandal as Johnny Edgecombe, Christine Keeler’s boyfriend. In 1990, he was named by People magazine as one of the “50 Most Beautiful People” in the world. In 1993, he began the first of several appearances as the evil Immortal Xavier St. Cloud in the television series Highlander: The Series, and appeared in an episode of the Yorkshire Television series Heartbeat. He has also appeared in the movie The Island of the Mapmaker’s Wife. In 2002, Gift released a self-titled solo album, featuring the single “It’s Only Money”. MATT BIANCO FEAT. MARK REILLY Matt Bianco is a UK pop group formed by the late Kito Poncioni (bass), Mark Reilly (vocals) and Danny White (keyboards) in 1982, all originally members of the band Blue Rondo A La Turk. For their first album Whose Side Are You On? they hired unknown polish vocalist Basia Trzetrzelewska. Her vocal arrangements gave the album a jazzy dimension that Reilly and White couldn’t anticipate, and hits like Get Out of Your Lazy Bed and Half a Minute turned Matt Bianco into one of the biggest acts of 1984’s Europe. The band name suggests that Matt Bianco is a personal name, but Matt is “a made up spy, a secret agent; we loved spy TV themes and film scores.” Basia and Danny White left the group after the first album to pursue a lucrative solo-career with Sony under the name Basia. Mark Reilly, now without a musical partner, found keyboard player and session musician Mark Fisher and recorded the next (self titled) Matt Bianco album, followed by a European tour that saw them perform in front of more than 250,000 people. After another album with Warner Brothers Samba In Your Casa (1991), Reilly and Fisher split from their record company and went freelance: From now on they would record their albums in their own studios and then offer them to independent distributors worldwide. After twenty years recording and touring Mark Fisher started to crave for a different lifestyle and the two split amicably. Basia and Danny White joined with Mark Reilly to reform the original Matt Bianco in 2003, after 20 years apart. In 2004, Matt Bianco released the album Matt’s Mood. The following year, they embarked on a world tour, which included stops in the UK, Japan, and the United States. HEAVEN 17 Heaven 17 were not even intended to be a group. In the beginning was the British Electric Foundation, or B.E.F., for short. Born out of the collapse of the original Human League, and the brainchild of Martyn Ware, that band’s leader, B.E.F. was less a record label, as a portfolio of future musical projects of which Heaven 17 would be just one. Ian Craig Marsh, co-founder of the Human League, would join Ware along with Glenn Gregory as lead vocalist the man who would have been the original Human League singer had he not been unavailable. B.E.F. would produce the now iconic Music For Stowaways, and Music Of Quality and Distinction 1, and provided a template that subsequent artists would use from The Assembly in the Eighties, Electronic in the Nineties, and most recently, the Damon Alban and Jamie Hewlett project, Gorillaz. But its Heaven 17 which would endure and help shape the future of modern music for over thirty years. Their first album, Penthouse And Pavement, is, and remains, a modern classic. Their next album, The Luxury Gap, was their pop masterpiece, the moment when everything just clicked into place to devastating effect. The bands favourite-ever song, Let Me Go so nearly broke them into the UK Top 40. There would be no such disappoint with its follow up. The band convinced their sceptical record company that Temptation had to be the next single. A duet between Glenn Gregory and Carol Kenyon, this song of lust, brilliantly framed by a musical structure which just kept building and building, Escher-like to an electric orgasm that seems never to come, it reached Number 2 in the UK charts in May 1983. IMAGINATION Having spanned close to 3 decades in the entertainment industry as an artist, Leee John has been an all round artist, singer, writer, record producer, actor and recently a film producer. Lee came to the world’s attention with his group Imagination which he founded in the early 80s. Imagination was signed by Morgan Khan after hearing the track “Got To Be Good”. Produced by Trevor Horn (producer of Frankie Goes To Hollywood, Seal and Grace Jones to name but a few), the master tape was sent to the states to get reproduced but got lost and the outcome looked bleak. Leee was introduced to producer Tony Swain and given a piece of music to write some lyrics and a melody. He went home and came up with what became Imagination’s first gold record, the hit single “Body Talk”. With hits such as “In And Out Of Love”, “Flashback”, “Music And Lights”, “In The Heat Of The Night” and “Just An Illusion”, millions of singles were sold internationally. Imagination also went platinum worldwide with sales in excess of 30 million albums. As a result Imagination were playing to sold out concerts across the globe. Imagination’s songs have also more recently been sampled by a number of artists including Mariah Carey and The Pharcyde. Leee and Imagination made their mark not only as musicians but as true masters of stage and performance. They were known for their outrageous costumes and stage shows and as such were invited to perform for the Princes Trust, HRH Princess Diana and Prince Charles, Princess Caroline of Monaco, the Mandela family in South Africa for the charity Operation Hunger and even for the Russian president at the Kremlin. T'PAU T’pau burst onto the music scene in 1987 with the hit “Heart & Soul” reaching No. 4 in both the UK & US charts. Taken from the debut album “Bridge Of Spies,” it’s innovative use of a rap verse by a white female vocalist introduced the world to the distinctive lead vocals of Carol Decker & the song writing talents of Carol & Ronnie Rogers. “Heart & Soul” led to a meteoric rise in T’pau’s fortunes both at home & in the USA, where the track stayed on the US billboard chart for 6 months. After a UK arena tour supporting Bryan Adams, the band immediately toured UK City Halls as headliners to tie in with the next single, the classic ballad “China In Your Hand.” Nobody could have predicted the enormous impact of “China” which stayed at No. 1 for 5 weeks – the longest serving No. 1 of the year! simultaneously Bridge Of Spies occupied the number1 album slot for 2 weeks .Keeping George Harrison off th number 1 single slot & Paul McArtney off the number1 album slot.Two Beatles trounced! ? To date, “China In Your Hand” has appeared on more than 150 compilations, and has become one of the most played songs of the 1980’s. After further hits such as “Valentine,” “I Will Be With You,” and “Sex Talk,” the “Bridge Of Spies” album was certified quadruple platinum in the UK, selling 1.2 million copies. ‘Rage’ the 2nd album also went platinum. The original line up of T’pau split in 1991 after the final hit “Whenever You Need Me” (No. 16) The final album, “Heart & Soul: The Very Best Of T’pau,” was released in 1993. Ron Rogers returned to production and studio work, whilst Carol embarked upon a co-writing career, occasionally performing solo and on other projects. Carol also addressed The Oxford Union in a Q&A about her career and take on the music business, plus an acoustic performance. By 1997, Carol had taken the decision to build a new T’Pau around her, and get back on the road after assembling a massive amount of new material. A 25-date UK tour in the summer of ’97, including some festivals, preceded the release of a brand new version of “Heart & Soul” on the band’s own Gnatfish label. Encouraged by the response, Carol embarked upon recording ‘Red’ the first new T’pau album for 6 years, After 6 months in the studio, T’pau performed an orchestrated version of “China” with the BBC Concert Orchestra at the Princess Diana Tribute Concert at Althorp in June 1998. It was broadcast live around the world, and later in a BBC primetime show. All this no mean feat as Carol had been pregnant throughout the recording of the album and gave birth to her first child, Scarlett Olivia, just 3 weeks before the Diana concert! Business as usual as T’pau quickly joined Status Quo on the European Tour. In 2004 Carol released The ‘T’pau Live’ album & appeared in the West End cast Of ‘Mum’s the Word’ at The Albery Theatre with Patsy Palmer, Imogen Stubbs & jennie Éclair. Other acting opportunities offered were’ Doctor’s’ for BBC One, ’Star’ with Nicolas Hoult for Children’s BBC Two. Uk films ,’Nine Dead Gay Guys‘ with Steven Berkoff, Fish & Michael Praed. ’Running Time, the first UK Interactive Film & BAFTA nominated. Recent TV appearances include Buzzcocks, Trigger Happy TV, Hit Me Baby One More Time, Just The Two of Us & The Mathew Wright Show. Carol has always been a regular and popular guest on radio, including Ken Bruce & Steve Wright, Claudia winkleman & Sara Cox. Carol has presented shows for Absolute 80’s, LBC & BBC Radio Berks and is a regular contributor to Sky News. Carol continues to perform live in concert regularly to huge crowds on the UK at the hugely popular 80’s festival circuit. In 2013 Carol completed a 28 date T’Pau tour, celebrating 25 years in the business,culminating in a packed out Big Top tent at IOW Festival. BONEY M Everyone knows the name. Everyone knows at least one of their songs. Now meet Boney M – featuring Maizie Williams. Maizie, original singer from the very birth of Boney M, is now joined by three dynamic singers who are celebrating the success of the second Boney M re-mixed album, The Greatest Hits Of Boney M, which included 14 tracks of the best loved songs and was re-mixed by the original founder of the group, Frank Farian. It was obvious from the vast number of record sales that the magic of Boney M was still there and now being enjoyed by a new generation. Maizie thought it was time for this new audience to see the energy that goes with each and every one of the group’s songs, and decided that they would tour. Audiences in Russia, Thailand, Hong Kong, Japan, China, Australia and many other countries have since thrilled to the energetic visual performances of all the well loved songs. Maizie, most definitely the M in Boney M, and the group have revitalised the songs while keeping the same lyrics, giving them a new and modern sound that will have all generations tapping their feet and moving to the new funky beat. So get ready to sing and dance along to their amazing repertoire, which includes ten top ten hits Brown Girl In The Ring, Ma Baker, Rivers Of Babylon, Daddy Cool, Ra-Ra-Rasputin, Sunny, Belfast, Mary’s Boy Child, Painter Man, Hooray Hooray It’s A Holi-Holiday, and have a great time! CHESNEY HAWKES In 2001 Chesney embarked on a ‘mini’ tour with his four piece band. Initially intended to take in five dates, the touring has never stopped. Headlining at universities, colleges, and clubs continues unabated and performances have now passed the 1,200 date mark during this period. Further appearances at festivals and radio promoted open air summer road shows, together with events abroad, have brought the combined ‘live’ audience to which he has performed to close to 2 million. In 2014, Chesney joined Ant and Dec for 12 dates on their nationwide ‘Takeaway’ tour and in April 2015 Chesney performed to an audience of 12,000 at the NEC to mark the 10th Anniversary of Rock Choir. TV/Radio. Appearances have included judging on Britain’s Got More Talent, BBC Breakfast, London Tonight, VH1, Question of Pop, Loose Women, The Wright Stuff, Weekend with Aled, This Morning, BBC’s The Cinema Show and Big Brother’s Big Mouth. Radio interviews include Jonathan Ross, Steve Wright, Edith Bowman, Colin Murray, Claudia Winkleman, Paul Ross, Janice Long, Clive Anderson, Alex Zane, Scott Mills, Jamie Theakston, and Dermot O’Leary. He has presented two shows for VH1/MTV and has taken part in a celebrity edition of The Weakest Link. Chesney also took part in Channel 4’s ‘The Games’ emerging a medal winner, and he performed on the Granada/LWT show ‘Hit Me Baby One More Time.’ Further appearances include the Ant & Dec Show, The One Show, Daybreak, The Graham Norton Show and in June/July 2015 Chesney took part in Celebrity Masterchef also guesting on ‘Lorraine’ on ITV. Film/Theatre. Chesney’s first acting role was as Buddy in the rock ‘n roll movie ‘Buddy’s Song’ which featured a cast of young actors destined to make their mark. These included Nick Moran and Julia Sawhala, who went on to create the character Saffy in Absolutely Fabulous, as well as Lee Ross, long before he appeared with Catherine Tate and in Eastenders. Heading the cast was The Who lead singer, Roger Daltrey, playing the role of Chesney’s dad. Chesney’s subsequent career has been firmly rooted in music but he has worked on various comedy drama TV productions including The Spa on Sky 1 with Rebecca Front and Panto on ITV with John Bishop. Songs/Compositions. Chesney has worked with writers and producers from a broad section of the industry, among them Mark Goldenberg (The Eels), Jesse Valenzuela (The Gin Blossoms) and Counting Crows producer Marvin Etzioni. Other collaborators include Howard Jones, the Police’s Stuart Copeland, Nik Kershaw, Bijou Phillips and more recently Rob Davis (co-writer of Kylie’s Can’t Get you out of My Head). Artists continue to cover his songs and he has had material recorded by three international Pop Idol winners. English band ‘Hepburn’ covered “Next Life”, which Chesney co-wrote with Phil Thornally. (Phil co-wrote “Torn” for Natalie Imbruglia). Caprice charted with “Once Around The Sun” which Chesney co-wrote with Eric Pressley and he also collaborated with Tricky on his ‘Mission Accomplished’ EP. Another of Chesney’s songs, “Almost You”, was in the film “Jawbreaker” starring Rose McGowan and Marilyn Manson and “Missing You Already” was in the film “The Night We Never Met”, starring Matthew Broderick. In mid 2007 Chesney co-composed an orchestral piece commissioned by Lexus Cars for a live presentation. The piece was recorded at AIR Studios by the London Symphony Orchestra. The Duncan Jones movie Source Code, which stars Jake Gyllenhaal, features a Nik Kershaw/Chesney Hawkes production of The One and Only. KATRINA Katrina Leskanich is the lead singer from the Grammy nominated band, Katrina & The Waves. The band got their first break in 1984 when The Bangles covered their song, ‘Going Down to Liverpool’. In 1985 ‘Walking on Sunshine’ was a top ten hit all around the globe and has since featured in countless advertisements and films including, High Fidelity, Secret of My Success, American Psycho and Walking on Sunshine and it’s been covered by Dolly Parton and was a mash up with Beyonce’s ‘Halo’ sung by the Glee cast. Follow up hits were, ‘Do You Want Crying’ (US Top 40), ‘Sun Street’ (UK Top 30), ‘That’s The Way’ (US #16). Katrina also sang back up vocals on ‘Torn’ by Natalie Imbruglio and has recorded songs with Eric Burdon and Rick Wakeman. In 1997 Katrina and the Waves’ ‘Love Shine A Light’ won the Eurovision Song Contest with the largest ever margin, followed by an unprecedented four consecutive appearances on Top Of The Pops and a No. 3 in the UK Charts. Following the split with the Waves in 1999 Katrina pursued an alternative career on radio and TV. She was a TV presenter on Watchdog on BBC1 and had her own show on BBC Radio 2 – where she presented a three-hour show, five days a week. This was followed by a stint in musical theatre, where Katrina played the lead role (the songwriter Ellie Greenwich) in Leader of the Pack, singing some of the songs that had influenced her as a young singer. Katrina published her first book – Peggy Lee Loves London: My London Guide (Metropoodle Press 2013) about some cool places in London featuring her toy poodle, Peggy Lee. Katrina has performed with her band at festivals and shows in the UK, Europe, South Africa, Canada, Australia and the US where she’s recently completed a couple of North American tours. 2015 was the 30th anniversary of ‘Walking on Sunshine’ and Katrina released her first studio album in 10 years – ‘Blisland’. Currently she is working on a follow up London guide – ‘Peggy Lee Loves London II’. JAKI GRAHAM Jaki Graham is a unique entertainer – her down-to-earth approach to life and compassion for others, combined with a powerful and inspirational voice and visual impact on stage, have made her one of the most appealing and enduring Soul entertainers to emerge from the UK. Jaki made her singing debut at the school’s Christmas talent contest with Michael Jackson’s Ben and won with a clear victory. From then on, it was only a matter of time before she would sign her first record deal. The first band she joined was One Night Affair at the age of 17, followed by the SRO Band and then Ferrari. One day, Jaki recorded a session for a jazz funk group called Medium Wave Band and it is from this that she was spotted by talent scout, Brian Freshwater and signed with EMI in 1983. It took EMI to channel her image and style into the correct direction, to form the soul seductress she is today. Her single entitled What’s the Name of Your Game? gave Jaki her first TV appearance on the children’s TV programme Crackerjack. Heaven Knows became the title track of her debut album. Could it Be I’m Falling In Love? marked a significant collaboration in Jaki’s career, and is one song that remains a timeless 80’s classic. Reaching No.5 in the British charts in March ’85, her second and last hit duet entitled Mated again received wide critical acclaim. Radio 1 presenters obviously loved her, as this song never stopped playing on the radio airwaves at that time. Round and Around was long overdue, as this was Jaki’s first successful solo hit and reached No.9 in June ’85. When Jaki was finally given the opportunity to take centre stage, there were no holds barred, as her powerful voice, positive energy and radiance were injected in every one of her performances that people couldn’t help but enjoy. Unlike so many of her 80’s contemporaries, Jaki’s hits have remained fresh, uncomplicated and modern. Set Me Free remains an ageless pop classic to this day after rocketing to No.7 in the British charts in May ’86, an anthem of that era. Breaking Away followed and offered her first location shoot abroad. It also charted at a respectable No.14 in August ‘86. Step Right Up brought Jaki back to her trademark high energy, up tempo pop hits and gave her yet another Top 20 hit in November ‘86. Her third album with EMI, From Now On was produced in 1987. One track entitled The Better Part of Me was an exceptionally beautiful ballad, with many in the entertainment business convinced that this was Jaki’s firstNo.1, guaranteed! However, surprisingly the changing climate of EMI dictated some often incredibly ill thought out ideas and both the video and album were shelved after three weeks. This decision coincided with Jaki achieving a Guinness World Record for being the first black British female solo artist to have 6 consecutive Top 10 / 20 hits, unheard of by a black British female at that time. In the same year, Michael McDonald came into Jaki’s life looking for a female singer to accompany him on the track ‘On My Own’ for his UK Tour. Michael, who has worked with some of the most influential names in showbiz including Patti Labelle and Aretha Franklin, personally chose Jaki over a stream of other UK female vocalists. After hearing her voice, he was quoted as saying that Jaki was ‘one of the best singers Britain has ever produced’. A deep friendship and mutual respect grew between the two artists and to this day, Michael’s first choice for a UK singing partner remains Jaki. Towards the end of the 80’s, sales and figures provided by Billboard magazine had established Jaki as Britain’s most successful black female artist ever. Not surprisingly, Jaki’s success was not limited to the shores of the United Kingdom. People of every culture and language from every corner of the globe loved her natural vocal perfection. The distinct, powerful delivery, coupled with her warm and compassionate ease seemed to melt the barriers of language, colour and creed. Denmark, Germany, Japan, Australia, South Africa – places she had only ever dreamed of visiting – loved her and her fan base grew worldwide. This marked a turning point and in Japan, Jaki was particularly successful and released albums and singles there that England never even knew existed . Her first album Real Life sold more than 800,000 copies in less than four weeks. By today’s standards, this record is only surpassed by the elite few. Furthermore, tickets for her Japanese tour sold out in 20 minutes flat, outselling some of her well known US contemporaries. In true down to earth style, her reaction was simply, ‘For real?’ Real Life gave Jaki many international hit singles and elevated her status further. Ain’t Nobody did exceptionally well in the United States reaching No.1 in the Billboard dance charts for 5 weeks, with its impressive video also rocketing to the Top 5 in the American Black Entertainment Charts (BET). In retrospect, it is a pity that England never had the chance to hear Jaki’s work at the time as it showed growth, professionalism and a polished depth not heard from Jaki before. In fact, it represents some of her best work (and at the same time least known to UK fans). This album, along with those that followed however, are now available on digital release in the UK, USA and Canada. Ain’t Nobody, Absolute E-Sensual, Real Life and You Can Count On Me are outstanding tracks which were released in 1994. Jaki had effortlessly slipped into the 90’s era of music and as a result, won over a new legion of eager fans worldwide. Sales of Ain’t Nobody reached gold in Australia, Japan and the USA and her next album Best Shots released only in Japan, responded quickly to her popularity with a greatest hits album. Michael McDonald also contributed album tracks specifically for Jaki, with Through Your Eyes in particular being a classic that still stands the test of time. When Jaki appeared on a German TV show with Boy George, he summed her up completely saying ‘You’ll never meet a harder working artist than Jaki Graham’. In ‘95, Jaki released her next Japanese CD entitled Rhythm of Life, followed by My Life in ‘96 and Hold On in ‘98. Sweden also took a great interest in her by releasing singles unique only to that country such as The Christmas Song and Seek and You Will Find which are now rare and highly sought after by collectors. During this period, Motown signed the album Kiss the Sky, which featured Jaki on lead and backing vocals, and has since gone on to sell in excess of a million copies worldwide, meaning the girl from Handsworth was now officially Motown. Following years of travelling the world and continuing to constantly perform live, 2009 marked a hectic year for Jaki. After being approached by the BBC to work with the BBC Big Band as part of their Radio 2 special, Jaki had only a couple of months to prepare to perform Gershwin classics, that would finally give her the opportunity to sing Jazz! Following her Gershwin & Soul concert in October 2009, people were amazed, having not heard her perform in this genre until now, and not even realising that this too was in her repertoire. Only two weeks after the concert was put out across the airwaves, she received a phone call again from the BBC and the second concert was confirmed, having received a phenomenal worldwide response from the first performance. March 12th 2010 saw Jaki again performing with the BBC Big Band, this time for an evening of Duke Ellington classics. March also saw the international release of Jaki’s 3 Japanese albums. Until this point Real Life, Rhythm of Life and My Life had only been available in limited territories which had meant that many fans have never heard some of her finest recordings. 2010 continued to be a hive of activity as Cherry Pop records released a special edition CD of Jaki’s 1986 album Breaking Away. In addition to the original 12 track album, 5 bonus tracks were added, 3 of which were exclusive to this release. The summer of 2010 also saw Jaki accompany Michael McDonald and Al Green on their UK Legends Arena Tour which included Birmingham LG, Manchester MEN and London’s O2 Arena, as Michael’s Special Guest. Jaki was invited to join Sir Cliff Richard on his successful Soulicious Arena Tour in October 2011, as his only British Special Guest alongside soul legends James Ingram, Percy Sledge, Freda Payne, Lamont Dozier and Marilyn McCoo & Billy Davis Jr of Fifth Dimension, which is available on DVD, having been filmed across 2 nights at London’s O2 Arena. As for 2012, Jaki had a busy year! SET ME FREE 2012 by DJ Paul Rudd feat. Jaki Graham, was released in May, having been approached to re-vocal the 1986 classic. Jaki was also finally back in the studio and finished recording her first, long awaited studio album in over 10 years. For Sentimental Reasons was released in October, giving Jaki the chance to pay homage to some of the classics she was herself brought up listening too, only this time with a more contemporary Jazz twist. This also tied in with Jaki being honoured on Birmingham’s Walk Of Stars joining the likes of Julie Walters, Ozzy Osbourne, Jasper Carrott, Bev Bevan and more. Following her intimate ongoing For Sentimental Reasons UK tour in 2013, Jaki received an Honorary Doctorate in Music from Wolverhampton University in recognition of her Outstanding International Contribution to R&B, Soul and Dance. Her life represents so much to so many different people. Her story is an inspiration, showing what a disadvantaged black girl from a socially deprived background can achieve. Her resilience and strength of character in conquering prejudice and ignorance in her mixed race marriage gives hope and strength to people worldwide facing similar struggles. No matter where you’re from or what struggles you may have encountered, it is for this reason that Jaki has amassed a fan base from all walks of life. Her ability to become the conqueror rather than the victim makes her an attractive role model in a society whereby it seems so few remain. Her music embodies people with a positive energy and inner strength and her voice has united and embraced nations and cultures worldwide. Of all people, Jaki would be the one who would least see these special gifts in herself. In her own words ‘I’m nothing unique…. TOYAH From punk princess to high priestess of TV, Toyah Willcox is a uniquely gifted performer. Charismatic, outspoken and impossible to categorise, she is one of Britain’s iconic household names – an award-winning rock legend as well as a much loved actress and music composer. In a career spanning thirty years Toyah has had thirteen top 40 singles, recorded twenty albums, written two books, appeared in over forty stage plays, made ten feature films and presented such diverse television programmes as The Good Sex Guide Late, Watchdog and Songs Of Praise. It all began in her hometown Birmingham in 1977 when film director Derek Jarman offered her the role of ‘Mad’ in seminal punk epic Jubilee. She continued to gain strong roles, appearing alongside Katherine Hepburn in the film, The Corn is Green, as well as playing ‘Monkey’ in the legendary Quadrophenia. She teamed up with Jarman again to play Miranda in his innovative version of The Tempest, which won her a nomination as Best Newcomer at the 1980 Evening Standard Awards. By this time Toyah’s band was gaining critical success with the debut single Victims of the Riddle (no.1 in the independent charts) and six track EP Sheep Farming in Barnet. Her first album, The Blue Meaning, became a Top 40 hit. A TV Documentary “Toyah”, an accompanying live album Toyah! Toyah! Toyah! – as well as hit singles It’s A Mystery, I Want to Be Free, Brave New World and Be Proud, Be Loud, Be Heard plus the platinum albums Anthem and The Changeling – confirmed her status as one of the most significant talents of the Eighties. In 1982 she won the Best Female Singer at the Rock & Pop Awards. Over the next two decades, as well as consolidating her reputation as a singer songwriter (with albums Minx, Desire, and her least commercial album Prostitute) Toyah also forged ahead with a career as a stage performer. Notable credits include Trafford Tanzi (lead); Cabaret (Sally Bowles); Three Men and a Horse (winner of Olivier Award for best New Comedy); the UK tour of Arthur Smith’s Live Bed Show; the title role in Calamity Jane (nominated for an Evening Standard Award for Best Musical) and most recently starring as the Devil Queen in the hugely successful rock show, Vampires Rock. Musically, the 90s saw Toyah transform from pop star to new wave diva. With her husband Robert Fripp she formed the band Sunday All Over the World, which toured world-wide. They recorded the album Kneeling at the Shrine which received rave reviews and Toyah went on to produce the critically-acclaimed albums Ophelia’s Shadow and Take the Leap! The 90s also saw Toyah dominate our TV screens. Whether it be drama – as a dog, in the half animated real life drama series The Ink Thief with Richard O’ Brien or kid’s programming (Toyah found renewed cult status as the intro and outro voice of Teletubbies), or presenting an ‘Alternative Remedies’ series on This Morning, Toyah’s range and versatility was unrivalled. She recorded two series of the BBC’s popular Fasten Your Seatbelt, two series of the BBC Scotland’s kid’s drama series Barmy Aunt Boomerang, fronted her own BBC1 series Discovering Eve and was a regular presenter on Watchdog, The Heaven & Earth Show and Holiday. She also presented Anything Goes, Time Off. The Magic & Mystery Show and Roll With It! In 1996, whilst Toyah was making the film Julie and The Cadillacs, Michael Aspel surprised her as the subject of BBC1’s This Is Your Life. The year 2000 saw the publication of her long awaited autobiography Living Out Loud and in 2001 Toyah was awarded a prestigious Honorary Doctorate by the University of Central England in recognition of her distinguished achievements in performing arts, media and broadcasting. Television continued to feature as she fronted forty programmes of Beyond Medicine for the Discovery Channel and Whose Recipe is it Anyway? for the Carlton Food Network. Carlton Television also made a documentary on Toyah’s music career as part of the Rock Legends series. Toyah also participated in the 2003Celebrity Get Me Out of Here! and most recently appeared in ITV2’s Secret Diary of a Call Girl as the mother of lead actress Billie Piper. Toyah returned to song writing in 2002 with new material for a limited edition EP, Little Tears of Love and a one-off preview concert at Ronnie Scotts. In 2002 Toyah proved her staying power selling out eleven stadium gigs for the Here and Now Tour. In May 2003 she released a brand new mini-album Velvet Lined Shell on her own record label, Vertical Species Records, showcasing a darker, edgier direction. In 2004 she returned to her musical roots as part of The Best of the 80s Tour – a UK tour alongside fellow 80s hit-makers Nick Heyward, Curiosity Killed the Cat and Altered Images. Musically, Toyah has remained fresh, uncompromising and ground-breaking. In 2007 she signed a new worldwide publishing deal with Zomba Music and released her first digital single – Latex Messiah (Viva La Rebel In You) from the 2008 album In The Court Of The Crimson Queen, written and produced in collaboration with Simon Darlow. Alongside this Toyah began a collaboration with Bill Rieflin (REM) and Chris Wong on the band project, The Humans. Described as “European experimental meets West Coast American grunge”, The Humans debut live performances took place in Estonia in 2007. Their debut album, We Are The Humans, was recorded in Seattle in 2008 and released in Estonia in May 2009 to coincide with the band’s return to play before the country’s president at Tartufest. It received a UK digital release in September 2009, along with a Humans’ single, These Boots Are Made For Walkin’. The Humans marked their first ever like UK appearances with a series of warm-up concerts in the very intimate and beautiful surroundings of churches including St. Michael’s & All Angels’ Church and St. Anne’s Church, Worcester. These were followed up by dates across the UK, featuring special guest Robert Fripp playing live with the band. They appeared on the bill of acts invited to perform at The Roundhouse for the Helping Haiti fundraiser concert. Their UK tour culminated in a headline date at London’s Scala, yielding a 4-star, review from the Financial Times who concluded it was an “intriguing, often terrific, show” with “programmed beats, sinewy, rumbling rhythms, a kind of twisted funk”. The Humans’ forthcoming, second album Sugar Rush, which sees a further development of the band’s songs and sound will be released worldwide in winter 2010. The album features guest guitar on all tracks from Robert Fripp. Toyah continues to be seen on film with her recently completed starring role in the British film Power of Three, a light-hearted feel-good comedy that follows the adventures of 3 friends who pool their strengths when the going gets tough. Additionally, the track Quicksilver by The Humans features prominently in the short film Marigolds. With new book projects and music releases in the pipeline and live concert dates scheduled for the year ahead, Toyah maintains her multi-faceted and vibrant career.	i don't know
On which date is All Saints day celebrated in the Western Church?	All Saints' Day - All Saints' Day - Saints & Angels - Catholic Online Saints & Angels Day of the Dead All Saints' Day is a solemn holy day of the Catholic Church celebrated annually on November 1. The day is dedicated to the saints of the Church, that is, all those who have attained heaven. It should not be confused with All Souls' Day, which is observed on November 2, and is dedicated to those who have died and not yet reached heaven. Although millions, or even billions of people may already be saints, All Saints' Day observances tend to focus on known saints --that is those recognized in the canon of the saints by the Catholic Church. All Saints' Day is also commemorated by members of the Eastern Orthodox Church as well as some protestant churches, such as Anglican, Lutheran and Anglican churches. Generally, All Saints' Day is a Catholic Holy Day of Obligation, meaning all Catholics are required to attend Mass on that day, unless they have an excellent excuse, such as serious illness. Other countries have different rules according to their national bishop's conferences. The bishops of each conference have the authority to amend the rules surrounding the obligation of the day. All Saints' Day was formally started by Pope Boniface IV, who consecrated the Pantheon at Rome to the Virgin Mary and all the Martyrs on May 13 in 609 AD. Boniface IV also established All Souls' Day, which follows All Saints. The choice of the day may have been intended to co-opt the pagan holiday "Feast of the Lamures," a day which pagans used to placate the restless spirits of the dead. The holy day was eventually established on November 1 by Pope Gregory III in the mid-eighth century as a day dedicated to the saints and their relics. The May 13 celebration was subsequently abandoned. In Ireland, the Church celebrated All Saints' Day on April 20, to avoid associating the day with the traditional harvest festivals and pagan feasts associated with Samhain, celebrated at the same time. Following the establishment of the Frankish Empire, and following the reign of Charlemagne, the holy day, which was already celebrated on November 1, became a holy day of obligation by decree of Pope Gregory IV and Louis the Pious, who was king over a portion of Charlemagne's former empire. Following the Protestant Reformation, many Protestants retained the holy day, although they dismissed the need to pray for the dead. Instead, the day has been used to commemorate those who have recently died, usually in the past year, and to remember the examples of those who lived holy lives. The Catholic practice however, celebrates all those who have entered heaven, including saints who are recognized by the Church and those who are not. Holy day customs vary around the world. In the United States, the day before is Halloween and is usually celebrated by dressing in costumes with themes of death commonly associated. Children go door-to-door in costume, trick-or-treating, that is soliciting candy from their neighbors. The holiday has lost much of its connection to its religious origins. Although nearly everyone celebrates Halloween for the fun of the secular holiday, the following religious solemnity, is not widely practiced or acknowledged by most Americans unless they are Catholic. In other countries, such as Portugal, Spain and Mexico, traditional practices include performance of the play, "Don Juan Tenorio" and offerings made to the dead. All Saints' Say occurs on the same day as the Mexican "Dide los Innocentes" a day dedicated to deceased children. Across much of Europe, the day is commemorated with offerings of flowers left on the graves of the dead. In Eastern Europe, candles are lit on graves instead of offerings of flowers. In some places, such as the Philippines, graves can be painted and repaired by family members. Many of these practices blur the distinction between All Saints' Day and All Souls' Day. These celebrations often blur the distinction between All Saints' Day, which is properly dedicated to those who are in heaven, and All Souls' Day, on which prayers are offered for all those who have died, but have not yet reached heaven. In Mexico, the Day of the Dead holy days extend from October 31 through November 2. It is important to remember these basic facts: Halloween is a secular holiday that comes the night before All Saints' Day. All Saints' Day is on November 1, and it is a Holy Day of Obligation. All Souls' Day in on November 2, and it is NOT a Holy Day of Obligation. The Day of the Dead is a Mexican holiday that has spread in popularity into parts of the United States and across Latin America. It is celebrated from October 31 through November 2, to coincide with both the American tradition and the Catholic holy days. Those three days are dedicated to all of the dead.to all of the dead. More about All Saints' Day from Wikipedia All Saints' Day (in the Roman Catholic Church officially the Solemnity of All Saints and also called All Hallows or Hallowmas[1]), often shortened to All Saints, is a solemnity celebrated on 1 November by parts of Western Christianity, and on the first Sunday after Pentecost in Eastern Christianity, in honor of all the saints, known and unknown. In Western Christian theology, the day commemorates all those who have attained the beatific vision in Heaven. It is a national holiday in many historically Catholic countries. In the Roman Catholic Church, the next day, All Souls' Day, specifically commemorates the departed faithful who have not yet been purified and reached heaven. Catholics celebrate All Saints' Day and All Souls' Day in the fundamental belief that there is a prayerful spiritual communion between those in the state of grace who have died and are either being purified in purgatory or are in heaven (the 'church penitent' and the 'church triumphant', respectively), and the 'church militant' who are the living. Other Christian traditions define, remember and respond to the saints in different ways. In the East Eastern Orthodox icon of All Saints. Christ is enthroned in heaven surrounded by the ranks of angels and saints. At the bottom is Paradise with the bosom of Abraham (left), and the Good Thief (right). Eastern Christians of the Byzantine Tradition follow the earlier tradition of commemorating all saints collectively on the first Sunday after Pentecost, All Saints' Sunday. The feast of All Saints achieved great prominence in the ninth century, in the reign of the Byzantine Emperor, Leo VI "the Wise" (886.911). His wife, Empress Theophano.commemorated on December 16.lived a devout life. After her death in 893,[2] her husband built a church, intending to dedicate it to her. When he was forbidden to do so, he decided to dedicate it to "All Saints," so that if his wife were in fact one of the righteous, she would also be honored whenever the feast was celebrated.[3] According to tradition, it was Leo who expanded the feast from a commemoration of All Martyrs to a general commemoration of All Saints, whether martyrs or not. This Sunday marks the close of the Paschal season. To the normal Sunday services are added special scriptural readings and hymns to all the saints (known and unknown) from the Pentecostarion. The Sunday following All Saints' Sunday.the second Sunday after Pentecost.is set aside as a commemoration of all locally venerated saints, such as "All Saints of America", "All Saints of Mount Athos", etc. The third Sunday after Pentecost may be observed for even more localized saints, such as "All Saints of St. Petersburg", or for saints of a particular type, such as "New Martyrs of the Turkish Yoke." In addition to the Sundays mentioned above, Saturdays throughout the year are days for general commemoration of all saints, and special hymns to all saints are chanted from the Octoechos. In the West The Western Christian holiday of All Saints' Day falls on November 1, followed by All Souls' Day on November 2, and is a Holy Day of Obligation in the Latin Rite of the Catholic Church. The origin of the festival of All Saints celebrated in the West dates to May 13, 609 or 610, when Pope Boniface IV consecrated the Pantheon at Rome to the Blessed Virgin and all the martyrs; the feast of the dedicatio Sanctae Mariae ad Martyres has been celebrated at Rome ever since. There is evidence that from the fifth through the seventh centuries there existed in certain places and at sporadic intervals a feast date 13 May to celebrate the holy martyrs.[4] The origin of All Saints' Day cannot be traced with certainty, and it has been observed on various days in different places. However, there are some who maintain the belief that it has origins in the pagan observation of 13 May, the Feast of the Lemures, in which the malevolent and restless spirits of the dead were propitiated. Liturgiologists base the idea that this Lemuria festival was the origin of that of All Saints on their identical dates and on the similar theme of "all the dead".[5] The feast of All Saints, on its current date, is traced to the foundation by Pope Gregory III (731.741) of an oratory in St. Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors, of all the just made perfect who are at rest throughout the world", with the day moved to 1 November and the 13 May feast suppressed.[6] This usually fell within a few weeks of the Celtic holiday of Samhain, which had a theme similar to the Roman festival of Lemuria, but which was also a harvest festival. The Irish, having celebrated Samhain in the past, did not celebrate All Hallows Day on this November 1 date, as extant historical documents attest that the celebration in Ireland took place in the spring: "...the Felire of Oengus and the Martyrology of Tallaght prove that the early medieval churches [in Ireland] celebrated the feast of All Saints on April 20."[7] A November festival of all the saints was already widely celebrated on November 1 in the days of Charlemagne. It was made a day of obligation throughout the Frankish empire in 835, by a decree of Louis the Pious, issued "at the instance of Pope Gregory IV and with the assent of all the bishops", which confirmed its celebration on November 1. The octave was added by Pope Sixtus IV (1471.1484).[8] The festival was retained after the Reformation in the calendar of the Anglican Church and in many Lutheran churches. In the Lutheran churches, such as the Church of Sweden, it assumes a role of general commemoration of the dead. In the Swedish calendar, the observance takes place on the Saturday between October 31 and November 6. In many Lutheran Churches, it is moved to the first Sunday of November. It is also celebrated by other Protestants of the English tradition, such as the United Church of Canada, the Methodist churches, and the Wesleyan Church.[9] Protestants generally regard all true Christian believers as saints and if they observe All Saints Day at all they use it to remember all Christians both past and present. In the United Methodist Church, All Saints' Day is celebrated on the first Sunday in November. It is held, not only to remember Saints, but also to remember all those that have died that were members of the local church congregation.[10] In some congregations, a candle is lit by the Acolyte as each person's name is called out by the clergy. Prayers and responsive readings may accompany the event. Often, the names of those who have died in the past year are afixed to a memorial plaque. In many Lutheran churches, All Saints' Day and Reformation Day are observed concurrently on the Sunday before or after those dates, given Reformation Day is observed in Protestant Churches on October 31. Typically, Martin Luther's A Mighty Fortress is Our God is sung during the service. Besides discussing Luther's role in the Protestant Reformation, some recognition of the prominent early leaders of the Reformed tradition, such as John Calvin and John Knox, occurs. The observance of Reformation Day may be immediately followed by a reading of those members of the local congregation who have died in the past year in observance of All Saints' Day. Otherwise, the recognition of deceased church members occurs at another designated portion of the service. Roman Catholic Obligation In the Roman Catholic Church, All Saints' Day is a Holy Day of Obligation in many (but not all) countries, meaning going to Mass on the date is required unless one has a good reason to be excused from that obligation, such as illness. However, in a number of countries that do list All Saints' Day as a Holy Day of Obligation, including England & Wales, the solemnity of All Saints' Day is transferred to the adjacent Sunday if 1 November falls on a Monday or a Saturday, while in the same circumstances in the United States the Solemnity is still celebrated on November 1 but the obligation to attend Mass is abrogated. Customs All Saints' Day at a cemetery in O.wi.cim, Poland, 1 November 1984 In Portugal, Spain, and Mexico, offerings (Portuguese: oferendas, Spanish: ofrendas) are made on this day. In Spain, the play Don Juan Tenorio is traditionally performed. In Mexico, All Saints Day coincides with the celebration of "DĂde los Inocentes" (Day of the Innocents), the first day of the Day of the Dead (Dia de los Muertos) celebration, honoring deceased children and infants. In Portugal, children celebrate the PĂŁpor-Deus tradition, and go door to door where they receive cakes, nuts and pomegranates. This only occurs in some areas around Lisbon. In Austria, Belgium, France, Hungary, Italy, Luxembourg, Malta, Portugal, Spain, and American Cities such as New Orleans people take flowers to the graves of dead relatives. In Poland, the Czech Republic, Sweden, Finland, Slovenia, Slovakia, Lithuania, Croatia, Austria, Romania, Moldova, Hungary and Catholic parts of Germany, the tradition is to light candles and visit the graves of deceased relatives. In the Philippines, this day, called "Undas", "Todos los Santos" (literally "All Saints"), and sometimes "Araw ng mga Patay" (approximately "Day of the dead") is observed as All Souls' Day. This day and the one before and one after it is spent visiting the graves of deceased relatives, where prayers and flowers are offered, candles are lit and the graves themselves are cleaned, repaired and repainted. In English-speaking countries, the festival is traditionally celebrated with the hymn "For All the Saints" by William Walsham How. The most familiar tune for this hymn is Sine Nomine by Ralph Vaughan Williams. Catholics generally celebrate with a day of rest consisting of avoiding physical exertion. Notes ^ "Hallows" meaning "saints," and "mas" meaning "Mass"; the preceding evening (Halloween) is the "Vigil or Eve of All Hallows". ^ The date in Vita Euthymii, not printed until 1888 "makes it seem practically (though not absolutely) certain that she died on 10 Nov. 893". Glanville Downey, "The Church of All Saints (Church of St. Theophano) near the Church of the Holy Apostles at Constantinople" Dumbarton Oaks Papers, Vol. 9/10, (1956:301-305). ^ Downey 1956. ^ C. Smith The New Catholic Encyclopedia 1967: s.v. "Feast of All Saints", p. 318. ^ For example, Violet Alford ("The Cat Saint", Folklore 52.3 [September 1941:161-183] p. 181 note 56) observes that "Saints were often confounded with the Lares or Dead. Repasts for both were prepared in early Christian times, and All Saints' Day was transferred in 835 to November 1st from one of the days in May which were the old Lemuralia"; Alford notes Pierre Saintyves, Les saints successeurs des dieux, Paris 1906 (sic, i.e. 1907). ^ "All Saints Day," The Oxford Dictionary of the Christian Church, 3rd edition, ed. E. A. Livingstone (Oxford: Oxford University Press, 1997), 41-42; The New Catholic Encyclopedia, eo.loc. ^ Hutton, Ronald (1996). Stations of the Sun: A History of the Ritual Year in Britain. New York: Oxford Paperbacks. ISBN 0-19-285448-8. ^ The Catholic Encyclopedia (New York, Robert Appleton Company, 1907), s.v. "All Saints' Day" (see External links, below). ^ Religions in Canada	November 1
Which saint, according to legend, nipped the Devil’s nose with red hot tongs?	All Saints' Day Home Calendar Holidays All Saints' Day All Saints' Day All Saints' Day is a celebration of all Christian saints, particularly those who have no special feast days of their own, in many Roman Catholic, Anglican and Protestant churches. In many western churches it is annually held November 1 and in many eastern churches it is celebrated on the first Sunday after Pentecost. It is also known as All Hallows Tide, All-Hallomas, or All Hallows' Day. Wheat is one of the symbols of All Saints' Day. Wheat is one of the symbols of All Saints' Day. ©iStockphoto.com/Willie B. Thomas What Do People Do? All Saints' Day is observed by Christians in many countries around the world. In countries such as Spain, Portugal and Mexico, offerings are made on this day. In countries such as Belgium, Hungary and Italy people bring flowers to the graves of dead relatives. In other parts of Europe, such as Austria, Croatia, Poland, and Romania, it is customary to light candles on top of visiting graves of deceased relatives. It is also observed in parts of Asia, such as the Philippines, where people visit graves of deceased relatives and clean or repair them. They also lay flowers on the graves and light candles. In France church services in memory of all the saints are held on November 1 but by the evening the focus turns towards the dead. Cemeteries everywhere are crowded with people who come to clean and decorate family graves. All Saints' Day is closely tied with All Souls' Day, held on November 2, which is dedicated to prayers of the dead who are not yet glorified. Public Life All Saints’ Day is a public holiday in many countries such as (but not exclusive to): Austria.	i don't know
What is the main town of the Isle of Skye?	Portree \| VisitScotland Portree Towns & Villages Portree, the main town on the Isle of Skye, is a bustling port and a thriving cultural centre. Set round its natural harbour and fringed by high ground and cliffs, the town is a popular tourists’ holiday destination and the harbour continues to be used by fishing boats as well as pleasure craft. It boasts excellent leisure facilities including a swimming pool, pony-trekking and boat cruises plus plenty of shopping opportunities in addition to the great variety of accommodation ranging from upmarket hotels through guest houses, B&Bs, self-catering establishments and hostels. There is also a campsite nearby. Portree is also the cultural hub for Skye and one of its main attractions, the award-winning Aros Centre, runs regular theatre, concerts and film screenings. The centre also incorporates an exhibition capturing the drama of Skye’s history, a spectacular RSPB exhibit with live and recorded footage of rare sea eagles plus an audio-visual presentation giving a dramatic aerial view of Skye’s incredible landscapes. The town is a popular base for exploring the rest of the island. Many visitors are drawn to the spectacular scenery of the Trotternish Ridge to the north as this wild area is dominated by weird and wonderful at the same time rock formations such as the Old Man of Storr, Kilt Rock and the truly extraordinary pinnacles of the Quaraing.	Portree
What is the alternative six letter name for Carbolic Acid?	Isle of Skye Hotel \| Accommodation on the West Coast of Scotland. Hotels The Isle of Skye has a great range of Hotels to suit many budgets, from a basic 2 star to 5 star Luxury. Most Hotels offer a range of meals and comfortable room to impress. Stay in a Hotel to enjoy a spot of the Highlife, but get out during the day to explore our rugged Island. Questions about Hotel Accommodation on Skye What time of year is best to visit the Isle of Skye? Skye is a great place to visit year round. The coldest months are December to February and the main summer season is from April to October. Mid-summer (June to August) the Island gets very busy with visitors. When should I book my visit to Skye? We can only recommend to book as early as possible, especially if you plan to visit Skye midsummer as accommodation will be is short supply from June to August. Where on the Island of Skye is best to stay? The are many great Hotels all over the Island, choosing a location will depend on many factors such as if you plan to drive or will be relying on public transport. A guideline if you want a quiet holiday then choose a Hotel that is in one of the quieter corners of the island such as: Carbost , Edinbane , Sleat , Raasay or Flodigarry . For those that would like to be a bit closer to shops, restaurants and pubs then choosing somewhere near the larger villages of Portree , Uig , Broadford , Dunvegan or Kyleakin . Browse All Skye Hotels to find a Hotel that suits you needs for your stay on Skye. How are hotels graded? Hotel owners can apply to have their business graded by the Scottish Tourist Board . This is a rating out of 5 stars. To get 5 Stars the business must be ‘exceptional’, if a business has a rating of 3 or more you can be sure it will be very comfortable. This rating is not compulsory; there are many great unrated businesses to choose from. The AA also offers a grading system with similar Star ratings. How do I book hotel accommodation on IsleofSkye.com? We don’t take bookings. Simply follow the 'More Information' link of the chosen listing to view the listed business’s private website, and then contact them directly to check availability and book. Skye Zone The Isle of Skye is a large Island, to help you find some where to stay each accommodation type has been categorised by the different areas around the Island.	i don't know
What type of fish is used in an Arbroath Smokie?	A Smokie? \| Arbroath Smokies Gordon Ramsay Chef, restaurateur, author & presenter It has a rich creaminess and moisture, and fresh like that is undoubtedly the best way to eat Smokies. Martin Wishart …eye-opening, a revelation in taste and texture Nigel Slater Cook, food writer, author & presenter That flavour was just so immense… A delight to eat your food… This man is creating a whole new culinary education. Gary Rhodes Chef, restaurateur, author & presenter The moist warm flesh is divine. It is one of the best fish I have ever tasted. Sue Lawrence Simply some of the most delicious fish I’ve ever had. Nice one, Iain. Jamie Oliver So much you can do with a SmokieRecipes What Is A ‘Smokie?’ Arbroath Smokies originated in Auchmithie, a small fishing village a few miles north of Arbroath, once populated with fisher folk of Scandinavian origin; ‘Spink’ is a Norse surname. Iain uses the same methods that were used in the late 1800’s, as shown in the Fraser Collection photos . The fishwives originally smoked the fish in halved barrels with fires underneath, trapping the smoke under layers of hessian sacking. At the start of the 20th century the first Auchmithie fisher-folk began moving to Arbroath , and the process soon became known as the Arbroath Smokie, as we know it today. Only haddock can be used to produce an authentic ‘Arbroath Smokie.’ The fish are gutted at sea, washed and boxed ready for auction at the fish market. Once back in the fish house, they are headed and cleaned, or ‘sounded.’ They are then dry salted in tubs for a given period. This helps to draw excess moisture from the fish and toughens the skin in preparation for the smoking process. The length of salting time depends on the size of the fish and how fresh they are (amongst other factors). After salting, they are thoroughly washed off, then tied by the tail in ‘pairs’ and hung on sticks. The smokie pit is then prepared. A hole is dug in the ground, and a half whisky barrel is set into it. The base of the barrel is lined with slates to protect it, and a hardwood fire of beech and oak is lit inside. The sticks of fish are then placed over the pit and the hessian cover allows the fire to breathe and maintain the required heat. The number of layers and dampening of the ‘cloots’ depends on the weather, and may be adjusted throughout the smoking to prevent the fish either smoking too quickly and burning, or smoking too slowly and drying out. The cooking time is usually a minimum of 30–40 minutes but only an experienced smokie maker knows exactly when they are ready. The resultant golden brown fish, eaten straight from the barrel is a truly mouth-watering experience that has to be tasted to be believed! Some Smokie afficionados have even been moved to write poetry... A Few Of Our Awards BBC Radio 4 Food Producer of the Year 2006 Country Living/Sainsbury’s ‘Taste Of Britain’ Gold Award 2007	Haddock
Which country is ruled by the House of Thani?	The Arbroath Smokie \| The Arbroath smokie is a type of smoke… \| Flickr FotoFling Scotland By: FotoFling Scotland The Arbroath Smokie The Arbroath smokie is a type of smoked haddock – a speciality of the town of Arbroath in Angus, Scotland. The Arbroath Smokie is said to have originated in the small fishing village of Auchmithie, three miles northeast of Arbroath. Local legend has it that a store caught fire one night, destroying barrels of haddock preserved in salt. The following morning, the people found some of the barrels had caught fire, cooking the haddock inside. Inspection revealed the haddock to be quite tasty. It is much more likely the villagers were of Scandinavian descent, as the 'Smokie making' process is similar to smoking methods which are still employed in areas of Scandinavia. Towards the end of the 19th century, as Arbroath's fishing industry died, the Town Council offered the fisherfolk from Auchmithie land in an area of the town known as the fit o' the toon. It also offered them use of the modern harbour. Much of the Auchmithie population then relocated, bringing the Arbroath Smokie recipe with them. Today, some 15 local businesses produce Arbroath smokies, selling them in major supermarkets in the UK and online. In 2004, the European Commission registered the designation "Arbroath smokies" as a Protected Geographical Indication under the EU's Protected Food Name Scheme, acknowledging its unique status. Arbroath smokies are prepared using traditional methods dating back to the late 1800s. The fish are first salted overnight. They are then tied in pairs using hemp twine, and left overnight to dry. Once they have been salted, tied and dried, they are hung over a triangular length of wood to smoke. This "kiln stick" fits between the two tied smokies, one fish on either side. The sticks are then used to hang the dried fish in a special barrel containing a hardwood fire. When the fish are hung over the fire, the top of the barrel is covered with a lid and sealed around the edges with wet jute sacks (the water prevents the jute sacks from catching fire). All of this serves to create a very hot, humid and smoky fire. The intense heat and thick smoke is essential if the fish are to be cooked, not burned, and to have the strong, smoky taste and smell people expect from Arbroath smokies. Typically in less than an hour of smoking, the fish are ready to eat. [Wikipedia] {Photo taken at Inveraray Highland Games where Smokies were prepare for games spectators to purchase and eat] Done	i don't know
Which Andre Lloyd-Webber musical was banned in South Africa in the 1970’s?	Andrew Lloyd Webber wants ITV's 'Superstar to 'start a debate about religion' - teases big name stars taking part! - Unreality TV Movies Home Reality TV Andrew Lloyd Webber wants ITV’s ‘Superstar to ‘start a debate about religion’ – teases big name stars taking part! Andrew Lloyd Webber wants ITV’s ‘Superstar to ‘start a debate about religion’ – teases big name stars taking part! 16th March 2012 by Lisa McGarry Follow @LisaMcGarryLive Andrew Lloyd Webber has claimed that he wants to start a religious debate with his new ITV reality TV show. The famous composer is looking for an actor and singer to take on the lead role in his hit musical ‘Jesus Christ Superstar’ and is currently whittling down hopefuls in the audition stages, before the live shows start this summer. He told STV that he is hoping the subject matter of his musical will spark conversations about religion when the series begins and explained: “I think it’s going to be fascinating first to start a debate about religion.” Lloyd Webber added: “I’m not talking necessarily that Jesus was God, because our piece does not go there, it’s about Christ as a man in the last few days of his life, and we leave that deliberately open.” “But I think anything that gets a debate going about where religion is in our society, which I hope will happen, is a very, very good thing.” Jesus Christ Superstar has always sparked controversy, especially when it was first staged in the 1970s. Some Christians consider the script to be blasphemous, many say that the character of Judas is too sympathetic and some of his criticisms of Jesus are very offensive to believers. At the same time, some Jews said that it bolstered the anti-Semitic claim that the Jews are responsible for Jesus’ death by showing most of the villains as Jewish and showing the crowd in Jerusalem calling for the crucifixion. The musical was banned in South Africa for being “irreligious”. It has been rumoured that the lady who takes on the role of Mary Magdalene in the new arena tour of the rock opera, will also act as a judge on the new series. So far, former X Factor judge Nicole Scherzinger has been the actress most closely linked to the role, and while Andrew refused to confirm the reports, he did admit that some major stars are interested in joining the new project. He said: “An awful lot of people want to do it, so it would be quite wrong of me to say who’s going to do it. “There are some really quite big names, not exactly queuing up, but certainly calling me.” “We’ll have whoever plays Jesus, and probably the roles of Judas and Mary Magdalene will be people who are well-known.” Two of the big named stars include former Spice Girl Mel C and Neighbours star Jason Donovan, who assisted Webber this week at the London callbacks. He also recently confirmed that some women have tried out for the title role and though it seems unlikely that they will win a place on the live show, Andrew certainly enjoyed the way they shook things up. Share this:	Jesus Christ Superstar
Which magazine features a strip entitled Sid the Sexist?	'Jesus Christ Superstar' banned in Russia \| Public Radio International 'Jesus Christ Superstar' banned in Russia The cast of 'Jesus Christ Superstar' perform onstage at the 66th Annual Tony Awards at The Beacon Theatre on June 10, 2012 in New York City. Credit: Theo Wargo "Jesus Christ Superstar" has been banned in Russia after a group of locals complained that it might offend religious sentiment. The musical was scheduled to open the Rock Opera theater in Rostov-on-Don on October 18, but has been delayed as a result of the appeal. The theater has complied and stopped selling tickets, UPI reported . The complaint, submitted by 18 locals, said that the "image of Christ presented in the opera is false from the point of view of Christianity," according to Agence France Presse . "As it stands, the work is a profanation," it added. More from GlobalPost: Al-Watan, Egyptian newspaper, fights Charlie Hebdo cartoons with cartoons Recently, conservative Christian activism has been on the uptick in Russia, which some analysts attribute to the growing collaboration between the Kremlin and church leaders, RIA Novosti reported. However, the decision to block Andrew Lloyd Webber's classic musical could be overturned after prosecutors review the complaint next week, RIA Novosti reported . "This show has been performed by our theater for 20 years," one of Rock Opera's actresses, Maria Klimova was quoted as saying by the daily Moskovsky Komsomolets, AFP reported. "People come to know this story [over] generations. There is nothing insulting in this work. It is his (Lloyd Webber's) version of the story. This is all some kind of misunderstanding." Rock Opera has put on "Jesus Christ Super Star" four times, without incident, RIA Novosti reported. The play was banned in Belarus in February, also after complaints were made. While you are here... The work we do has never been more important — whether it’s because of “news” that might not be news at all or healing the deep divides in our country. Now more than ever, we need conversation, perspective and diverse voices. Will you support PRI in our efforts to create a more informed empathetic world?	i don't know
Which county won the second division of the county championship?	County Championship Division Two: Who will gain promotion? \| Cricket News \| Sky Sports County Championship Division Two: Who will gain promotion? Here's all you need to know ahead of the 2016 season... By David Currie Last Updated: 10/04/16 10:10am Luke Wright leads Sussex for the first time in four-day cricket. Can he lead them back to Division One? Just days after the heartbreak of England's World Twenty20 final defeat, our attentions turn to a summer of domestic cricket with the first set of Specsavers County Championship fixtures on Sunday. Just one team will earn promotion from Division Two in 2016, making the fight for top spot all the more competitive. Keep up to speed with the ins and outs ahead of 2016 So who has the best chance of topping the table? Can relegated Sussex or Worcestershire bounce straight back up? Will Kent's talented crop of youngsters get the job done? Or can Leicestershire replicate their footballing counterparts, going from worst to first? Here's how we see the season unfolding... SUSSEX 2015: Eighth Division One, relegated 2016 prediction: Champions, promoted Sky Bet odds: 2/1 fav Ross Taylor arrives from New Zealand as Sussex's overseas pro Chances in a tweet: Sussex have the look of a Division One side. Complacency cost them their spot in the top division last year but expect them to bounce back. What's new? Sussex stalwart Luke Wright takes over the captaincy from Ed Joyce, with the batting further bolstered by the arrival of New Zealand's Ross Taylor, available from the start of the season through to late July. Hampshire's slow-left-armer, Danny Briggs, joins looking to resurrect his flagging four-day career, while Sussex hope he can be the replacement spinner they've tried, and failed, to find since the departure of Monty Panesar. The latest example, Ashar Zaidi, has left for Essex over the winter. Michael Yardy has retired, as has James Anyon. Wicket-taker: Ollie Robinson. The former Yorkshire prospect was signed in 2015 as cover but ended up taking 46 wickets in 11 matches at 24.71. With Anyon gone, Chris Jordan is likely to be busy a fair bit with England, and with continued fitness concerns over Ajmal Shahzad and Tymal Mills, Robinson will likely have to step up again. Steve Magoffin is 36 and can't be expected to do it alone like always. Sussex are capable of an immediate return to Division One, says Ed Joyce Century-maker: You can't look past Luke. Wright averaged 46.53 in 2015, including a career highest score of 226 not out. It's not an anomaly either, Wright's average in the two seasons prior was above 50. Can the captaincy take his batting on even further? Young player to watch: Harry Finch (batsman) KENT Sky Bet odds: 7/1 Dan Bell-Drummond is tipped for England recognition by many Chances in a tweet: A talented team tipped for great things for a while. It could finally be their year, except second spot for once won't secure promotion. What's new? Kent have also changed their captain, with Rob Key - who will continue to play for the county - handing the role over to Sam Northeast. Also, having not signed one overseas player last year, Kent have picked up two of the finest around for 2016. New Zealand opener Tom Latham and South African quick Kagiso Rabada are available for all formats during their spells with the club. Wicket-taker: Matt Coles returned to his home county in 2015 after a two-year spell with Hampshire and suitably impressed with 67 wickets at an average of 23.49. Veteran allrounder Darren Stevens took a next-best 61 scalps, which suggests the attack is a little thin, and is set to rely heavily on Coles again. Who are the next England stars across all three formats? Century-maker: A year on from topping the Kent run-scoring charts, Daniel Bell-Drummond somewhat disappointed in 2015, averaging only 26.44. But this 22-year-old has so much more to give, as evident by his 127 off 112 balls against the touring Australians last year. Young player to watch: Matt Hunn (right-arm seamer) GLOUCESTERSHIRE Sky Bet odds: 12/1 Michael Klinger helped inspire Gloucestershire's Royal London One-Day cup win in 2015 Chances in a tweet: Belief in the squad will be boosted by last season's Royal London One-Day Cup success, bringing with it greater four-day form. What's new? Geraint Jones left in emotional fashion, bowing out with after that dramatic RL One-Day Cup final win over Surrey, while promising young quick James Fuller has moved on to Middlesex. But enough quality has been retained, with Hamish Marshall and Michael Klinger sticking around for another year, although young Australian opener Cameron Bancroft covers for Klinger in the early part of the season. Wicket-taker: Liam Norwell was a surprise success story in 2015, taking 61 wickets at an average of 25.00, when he'd not managed more than 30 in any previous year. In truth though, wickets are shared among the attack, with Craig Miles, Benny Howell and David Payne also striking at under 30 a pop last year. Gareth Roderick is hopeful Gloucestershire can follow up their one-day success from last year Century-maker: It has to be Klinger. Surely no-one has come close to matching his incredible run-scoring efforts of the last 12 months across all three formats? Focusing purely on his 2015 for Gloucestershire, Klinger scored three hundreds in each the T20 Blast and RL One-Day Cup, averaging over 100 in the latter. Add to that two hundreds and two fifties in 11 first-class innings. Young player to watch: Miles Hammond (off-spinner) WORCESTERSHIRE 2015: Ninth Division One, relegated 2016 prediction: Fourth Sky Bet odds: 4/1 Kyle Abbott of South Africa strengthens Worcestershire's bowling attack Chances in a tweet: County cricket's yo-yo club won't bounce back up to Division One this time, denied Moeen Ali's runs and Saeed Ajmal's wickets. What's new? Overseas seamers, Matt Henry of New Zealand and Kyle Abbott of South Africa, add to the Worcestershire bowling attack. But the batting has been significantly weakened by the retirement of Alex Gidman, Moeen's likely absence with England, and the sad loss of 2015 top run-scorer, Tom Fell, who is undergoing a course of chemotherapy in his battle against testicular cancer. Wicket-taker: Joe Leach. Leading wicket-taker in 2015 with 59, but Leach's personal highlight for the year actually came in Worcestershire's RL One-Day Cup match against Northamptonshire, albeit in a game they lost. The medium-pacer took a hat-trick with the first three balls of the match, following in Chaminda Vaas' footsteps when he did it for Sri Lanka at the 2003 World Cup against Bangladesh. Tom Fell has taken part in training for the first time since starting chemotherapy Century-maker: Tom Kohler-Cadmore hit his maiden first-class century in the final game of the 2015 season against Middlesex, putting on 229 in partnership with Fell. His absence for likely much of 2016 requires Kohler-Cadmore to do it alone this time, filling that hole left behind by Fell. Young player to watch: Ed Barnard (all-rounder) ESSEX Sky Bet odds: 4/1 Alastair Cook is available for Essex in the early part of the summer Chances in a tweet: Having captain Cook available for the first few games will help, but a winter of change sees this very much a rebuilding year. What's new? A lot. Former Essex allrounder Ronnie Irani has arrived as chairman. After eight years as head coach, Paul Grayson has left the club by mutual consent, replaced by ex-England bowler, Chris Silverwood. England white-ball international Reece Topley has moved to Hampshire, and Mark Pettini, Leicestershire. Spinning allrounder Ashar Zaidi arrives from Sussex, while fellow left-arm-spinner - but most definitely not an allrounder - Monty Panesar leaves for Northamptonshire. Wicket-taker: Surprising bowling sensation from the last two seasons, Jesse Ryder returns, and will be called upon again by a reasonably depleted bowling attack that relies too heavily on the aging David Masters (37) and Graham Napier (36). England squad members freed for County Championship opening matches Century-maker: Nick Browne excelled in his first full season in county cricket, scoring 1,157 runs at an average of 42.85, with five centuries. Can the opener's early season pairing with Alastair Cook at the top of the order inspire, and can he in turn help develop England Under-19 international Daniel Lawrence? Young player to watch: Daniel Lawrence (opening batsman) GLAMORGAN 2016 prediction: Sixth Sky Bet odds: 12/1 Glamorgan captain Jacques Rudolph will be relied upon heavily again to score runs at the SSE Swalec Chances in a tweet: Well run, and well led club by skipper Jacques Rudolph. Not enough squad depth to launch a sustained promotion push though. What's new? Ex-England offspinner, but also fiercely proud Welshman, Robert Croft, is the county's new head coach for 2016. A few low key additions to the squad have been made, Craig Meschede's loan from Somerset has been made permanent, while it's Harry Podmore who arrives on load this time, from Middlesex, for the early part of the season. Dutchman Timm van der Gugten also joins. Wicket-taker: Michael Hogan. At 34-years-old, the Australian UK passport holder is no spring chicken, but he was quite considerably Glamorgan's best bowler in 2015, taking 48 wickets at 27.02. How much do you know about County cricket? Century-maker: Rudolph is still the star draw at the SSE Swalec. The former South Africa batsman fell just short of the 1,000 run mark last year, in part due to a poor conversion rate, with only one hundred to seven fifties - something he'll want to rectify in 2016. Young player to watch: Aneurin Donald (batsman) DERBYSHIRE Sky Bet odds: 14/1 Can Derbyshire replace Mark Footitt's wickets in 2016? Chances in a tweet: Underachieved in 2015, finishing second from bottom. Set to struggle again in 2016 without leading left-armer Mark Footitt, left for Surrey. What's new? It's pretty much as you were for Derbyshire in terms of personnel from 2015, but the county will hope that's not the case too in terms of results. Andy Carter arrives from Nottinghamshire to bolster the bowling and fill the void left behind by Footitt. New Zealand opener Hamish Rutherford adds strength to the batting too. Wicket-taker: Footitt took 76 wickets in 2015, with Tony Palladino managing a paltry next-best of 31. Therefore, Derbyshire must hope the former Notts man, Carter, can bring with him a lorry load of wickets. He played only once in 2015, although did at least take decent match figures of 5-91 against Worcestershire. Sky Bet odds: 20/1 Australian Clint McKay has made a big impression at Grace Road Chances in a tweet: Baby steps. Leicestershire registered their first win since 2012 last year, but still finished bottom. Moving up one spot would be progress. What's new? Seasoned county pros, Paul Horton (Lancashire), Mark Pettini (Essex) and Neil Dexter (Middlesex) arrive, significantly bolstering the batting. Australian Clint McKay's return as their overseas pro brings further optimism, although don't quite expect the type of 'worst to first' turnaround currently being experienced by their football team. Wicket-taker: McKay is the unquestionably the leader of the attack, but formed one part of a triple-threat of seamers who all managed over 50 wickets in 2015. Ben Raine led the way with 59, Charlie Shreck 57, and McKay sandwiched in-between with 58. Clint McKay thinks Leicestershire's County Championship struggles are now in the past Century-maker: Angus Robson. He needs to improve on his woeful conversion rate, with only two centuries to show against 18 fifties, but his one ton last year was a crucial one, helping earn Leicestershire that long-awaited win with 120 first-innings runs against Essex, plus 71 just as important ones in the second innings when chasing 163. Young player to watch: Rob Sayer (off-spinner) NORTHAMPTONSHIRE Sky Bet odds: 12/1 Can Monty Panesar resurrect his England career with a move back to Northamptonshire? Chances in a tweet: The loss of David Willey, to Yorkshire, and veteran opener Stephen Peters, to retirement will nudge Northants to the bottom. What's new? Quite a bit. Willey - so impressive for England at the World T20 - has moved on to the greener pastures of The Oval, and after nearly a decade with the county, Peters called it a day at the close of the 2015 season. There is at least one return for fans to celebrate - the Monty masks will be dominating at The County Ground crowd once again as Monty Panesar comes home. Wicket-taker: Olly Stone, the 22-year-old quick, kicked on with his development last year, appearing in 12 of Northamptonshire's 18 fixtures, taking 38 wickets at 30.21. His ascent will need to continue for Northants as they look to cover the loss of Willey, and help an aging seam attack of Azharullah (36) and Rory Kleinveldt (33).	Hampshire
Which county finished bottom of division one with a record low points total?	Lancashire win County Championship Division One title - BBC Sport BBC Sport Lancashire win County Championship Division One title 15 Sep 2011 LV County Championship Division One, Taunton Lancashire 480 & 213-2 beat Somerset 388 & 310 by eight wickets Lancashire 23pts, Somerset 5pts Lancashire's players celebrate winning the County Championship title outright for the first time in 77 years Lancashire beat Somerset by eight wickets to claim their first outright County Championship title since 1934. Set 211 to win and with Warwickshire only able to draw with Hampshire, they reached their target with more than five overs of the final day left. Stephen Moore (71) and Paul Horton (54) got the run chase off to a flying start with a stand of 131 before Steven Croft and Karl Brown saw them home. Lancs title success 'special' for Moores Peter Trego (120) had threatened to derail Lancashire as Somerset made 310. Lancashire did tie for the County Championship with Surrey in 1950, but this was their first outright title win in 77 years. But, at one stage, it looked as though they would be denied the win they needed to keep their hopes alive as Trego led an impressive Somerset recovery from 130-7. He was ably supported by Alfonso Thomas (18) in a stand of 75 for the eighth wicket, before going to his first Championship century of the summer in sharing 95 after lunch for the ninth wicket with former Lancashire man Murali Kartik (65 not out). DID YOU KNOW? Lancashire have finished second eight times in the County Championship since 1934 But, when Gary Keedy ran out Gemaal Hussain, Somerset were all out and Lancashire knew that they needed to score at around six runs an over in a session and a bit to win the title. The opening partnership spanned only 17 overs and, when Moore was second out, Lancashire still needed 76 in 17 overs. But Blackpool-born Croft (40 not out) and Bolton-born Brown (33 not out) made light work of that task. And Croft had the honour of hitting the winning runs to spark understandably jubilant scenes as Lancashire, under the captaincy of a Yorkshireman, Glen Chapple, claimed their eighth County Championship title and one that brought them great pride. Cumbes 'shocked' by Lancs success It was a third County Championship triumph for their coach Peter Moores, who had twice pipped Lancashire before with Sussex, in 2003 and 2006. But the biggest irony of Lancashire winning the title this year of all years was that it came in a season when they did not play a single match at Old Trafford - where the title was so dramatically won by Nottinghamshire in the final moments last September. Due to the work on their famous old ground, apart from playing at the other 'out' grounds, Blackpool and Southport, they switched their other six matches to Aigburth. But, after years of notoriously bad luck with the weather, fate played its part in deciding that the outcome of the Liverpool Victoria Championship would be that, with Liverpool as their base, Lancashire were victorious. VIEW FROM THE DRESSING ROOM Lancashire batsman Steven Croft: "We put in the hard yards last winter and it's turned into a great season with a real team effort from 1 to 11. "Apparently, Michael Carberry dropped Shiv Chanderpaul, who went on to make a century and we were cursing him. But he more than made up for it. "When we heard the result come through from The Rose Bowl, our supporters let us know. "And, from then on, it was just a case of keeping a cool head." Share this page	i don't know
Of which Roman poet was Maro the family name?	Behind the Name: Meaning, origin and history of the name Virgil PRONOUNCED: VUR-jəl (English) [key] Meaning & History From the Roman family name Vergilius which is of unknown meaning. This name was borne by the 1st-century BC Roman poet Publius Vergilius Maro, commonly called Virgil, who was the writer of the 'Aeneid'. Due to him, Virgil has been in use as a given name in the English-speaking world since the 19th century. Related Names	Virgil
Of which Roman poet was Flaccus the family name?	Virgil facts, information, pictures \| Encyclopedia.com articles about Virgil COPYRIGHT 2004 The Gale Group Inc. Virgil Virgil (70-19 B.C.), or Publius Vergilius Maro, was the greatest Roman poet. The Romans regarded his "Aeneid," published 2 years after his death, as their national epic. Virgil's life spans the bloody upheavals of the last decades of the violent Roman civil war (133-31 B.C.) and the first years of the era of order, stability, and peace created by Augustus (the grandnephew and adopted son of Julius Caesar, he succeeded him in power at Rome). Virgil's contemporary poets were the lyricist and satirist Horace and the writers of elegy Tibullus, Propertius, and Ovid. Together they are known as poets of the Golden Age of Latin literature, or more simply, as Augustans. Augustus, the first emperor of Rome, realized the propaganda value of literature, and so he cultivated writers, encouraged them to eulogize his new regime, and subsidized them if necessary. Of all the Augustans, Virgil was the most laudatory of the Emperor's achievements. It is impossible to understand the Aeneid without an awareness of the political situation of the period. Virgil was born on Oct. 15, 70 B.C., at Andes near Mantua in Cisalpine Gaul (modern Mantova, 20-25 miles southwest of Verona) of humble parentage. His father, either a potter or a laborer, worked for a certain Magius, who, attracted no doubt by the intelligence and industry of his employee, allowed him to marry his daughter, Magia. Because the marriage improved his position, Virgil's father was able to give his son the education reserved for children of higher status. Virgil began his study in Cremona, continued it at Milan, and then went on to Rome to study rhetoric, medicine, and mathematics before giving himself to philosophy under the tutelage of Siro the Epicurean. His education prepared him for the profession of law (the alternative was a military career), but he spoke only once in court. He was shy, retiring, and of halting speech—no match physically, temperamentally, or by inclination for the aggressively articulate Roman lawyers who had inherited Cicero's mantle. Virgil returned from Rome to his family's farm near Mantua to spend his days in study and writing and to be near his parents. His father was blind and possibly ailing. His mother had lost two other sons, one in infancy, the other at the age of 17. When Virgil's father died, she remarried and bore another son, Valerius Proculus, to whom Virgil left half his fortune. The minor poems ascribed to Virgil, known generally as the Appendix Vergiliana, belong, perhaps, to this youthful period of his life. Their authenticity is in doubt, however, and only a few can be considered genuine. In appearance Virgil was tall and dark, his face reflecting the rural peasant stock from which he came. His health was always uncertain. Horace tells us that on a journey to Brundisium in 37 B.C., he and Virgil were unable to join their fellow travelers in their games for he had sore eyes and Virgil was suffering from indigestion. Poor health and his shy nature and love of study made him a recluse. He preferred to be away from Rome, and when he was compelled to go there and was recognized and hailed on the streets, he would flee for refuge into the nearest house. The farm of Virgil's father was among the land confiscated as payment for the victorious soldiers of the Battle of Philippi (42 B.C.). But Augustus restored the farm to the family. Virgil then rendered thanks to young Caesar in his first Eclogue. He dedicated his earliest Eclogues to Asinius Pollio and mentioned Alfenus Varus in the ninth, where the evils of land confiscation are referred to, to thank them for their help as well. The final phrase of the epitaph on Virgil's supposed tomb at Naples runs "cecini pascua, rura, duces (I sang of pastures, of sown fields, and of leaders)." This summarizes the progression from Eclogues to Georgics to Aeneid (which appeared in that order) and, as has been said, "proposes a miniature of the evolution of civilization from shepherds to farmers to warriors." This sequence also shows a progression in genre from pastoral to didactic poetry to epic. Pastoral Poems The Eclogues (this, the more usual title, means "Select Poems"; they are also known as Bucolics, or "Pastorals") were written between 42 B.C. and 37 B.C. These 10 poems, songs of shepherds, all about 100 lines long, were written in hexameters and modeled on the pastoral poems, or Idylls, of Theocritus of Syracuse, a Greek poet of the early 3d century B.C. who created the genre. The poems are highly artificial and imitative. The natural landscape amid which these unlikely shepherds sing of unhappy loves or engage in singing contests is an idealized one of perennial sunny Italian early afternoon. Artificial though these poems are, Virgil's own deep love of nature keeps them from falling into brittle preciosity. Eclogue 4, the so-called Messianic Eclogue, is the best known. Written in 40 B.C., during the consulship of Pollio, Virgil's benefactor a year or two previously, it hails the birth of a baby boy who will usher in a golden age of peace and prosperity in which even nature herself will participate. The golden age is the new era of peace for which Augustus was responsible, and the child is thought to be the expected offspring of Augustus and Scribonia (the infant turned out to be a girl). The similarity of language in the poem to that of the Book of Isaiah gave rise to the idea, in the early Christian period, that the fourth Eclogue was indeed a prophecy of the birth of Christ. The similarity may be due to the fact that Jewish ideas spread over Italy in the second half of the first century B.C., and Virgil may have used his acquaintance with them to express the Roman equivalent of a Messianic expectation. The Georgics ("Points of Farming"), a didactic poem in hexameters in four books, was written from 37 B.C. to 30 B.C. Book 1 treats the farming of land; book 2 is about growing trees, especially the vine and the olive; book 3 concerns cattle raising; and 4, beekeeping. Virgil's acknowledged model is the Works and Days of the Greek poet Hesiod, but Virgil's debt to him is not great. He consulted many other sources, particularly Lucretius, whose poem De rerum natura ("On the Nature of the Universe") had demonstrated that a didactic theme could make inspiring poetry. But Virgil was not confined to handbooks and treatises for information about agriculture. He was of farming stock, and both knew much and cared deeply about rural life. Virgil's attitude toward nature is altered from that of the Eclogues. Now there is more than happy delight in fields and streams and woods. The poet, still drawn to philosophy (which at the time included what we call science), seeks to understand nature through scientific principles. Failing that, however, he can rest content with a simple love of the beauty of nature. Poetry as Propaganda Much, if not most, of the Georgics is boring to the modern reader, who cares little for detailed instructions on plow making, the sowing and tending of crops, winter chores, cattle diseases, and so on (an exception is the myth of Orpheus and Eurydice). But the work, a kind of realistic pastoral, spoke to feelings deep in the hearts of Romans. Small farmers, who, thrifty and hardworking, embodied the ideals of the Roman Republic, had been driven off their land by capitalistic landowners or else were unwilling to live on it as tenants. They migrated to Rome, where they swelled the ranks of the "mob" and added to the general turbulence and unrest. For Romans sickened by years of death and violence, it must have been consoling to become absorbed in a work which offered detailed instructions for pursuing a way of life considered ideal which was now all but lost. The work was not intended as escapist literature, however, for Augustus wanted to restore or re-create small farms—a way of depopulating Rome—and tried to revive interest in agriculture. Maecenas, his friend and adviser, had urged Virgil to compose the Georgics (the poem is dedicated to him). Virgil was not undertaking hack work, however, when he complied with Maecenas's request. He sincerely believed in Augustus as the bringer of peace and order to Italy. His praise of the Emperor in the Georgics is almost worshipful. Augustus's agricultural program coincided happily with Virgil's own feelings about rural life and his love for Italy. It was a fortuitous conjunction of the conviction of a poet and a national need for its expression. When Virgil completed the Georgics, he read them aloud to Augustus in 4 days, spelled occasionally by Maecenas. The Aeneid The Aeneid is one of the most complex and subtle works ever written. An epic poem of about 10, 000 lines composed in graceful and flowing hexameters and divided into 12 books, it tells of the efforts of the Trojan hero, Aeneas, to find a new homeland for himself and his small band of followers, from the time he escapes from burning Troy until, "much buffeted on land and sea … much, too, having suffered in war, " he founds, in Italy, Lavinium, parent town of Rome. Shortly after Actium, the final battle of the Roman civil war 31 B.C., Augustus, the victor, was looking for a poet who could give to his accomplishments their proper literary enhancement in an epic poem. This was not megalomania on Augustus's part but an established instrument of public relations. Literature was a means of enlisting support for a new regime. Maecenas offered the commission to Propertius and to Horace, both of whom declined as graciously as possible. Virgil also declined at first. These poets were not against Augustus, but a historical epic posed a difficult problem. Neither the political nor the moral issues of the past 30 years were well defined. Neither side in the civil war had a monopoly on right. Unqualified and uncritical praise of Augustus in a historical epic would have lacked credibility, and these three poets knew it. Virgil had been less reluctant than the other two and found, through his imagination, a solution. His epic of Augustan Rome would be cast in mythological form, making use of the legend of the founding of Rome by Aeneas, a Trojan hero mentioned by Homer, who, tradition held, escaped from Troy and came to Italy. Virgil's models were the Iliad and the Odyssey of Homer. The first six books, narrating the wanderings of Aeneas, draw material from the Odyssey; the last six, narrating the warfare in Italy which was waged by Aeneas and his followers to establish themselves there, have the Iliad as their model. Modern readers, unacquainted with the nature of ancient literature, might view this as dull imitation if not downright plagiarism. Such a conclusion is wrong. A Roman writer always looked to the appropriate Greek models before composing something of his own. Originality was displayed technically in the use of language and by means of metrical virtuosity and poetic devices. Also, the manipulation of themes and motifs, images and symbols allowed a poet to create significance and meaning, to make his own statement. Virgil was not a Roman Homer. His artistic purpose was different. The Aeneid can be divided into two parts of six books each or into three parts of four books each. Books 1-4, organized around Aeneas's narration of the destruction of Troy and his wanderings, have Carthage as their dramatic setting; 5-8 are an interlude between the drama of 1-4 and 9-12, the story of the fighting in Italy. Moreover, the even-numbered books are highly dramatic, while the odd-numbered books reflect a lessening of tension and have less dramatic value. An Evaluation Modern interpreters of the Aeneid are not inclined to view the epic simply as a patriotic poem glorifying Rome through the accomplishments of its stalwart hero, pious Aeneas, who embodies the character of Augustus and the quintessential spirit of Rome. Love and glorification of Rome and its mighty empire as well as admiration of Augustus are certainly present (book 6, Anchises' revelation of the future greatness of Rome; book 8, the description of Aeneas's shield on which are engraved scenes from Roman history). But there also runs through the Aeneid a constant undercurrent of awareness of the human cost of Aeneas's undertaking, that is, of the cost of building Rome's empire. This awareness reflects the moral ambiguities surrounding the new regime. Augustus established a much-needed peace and restored order after years of disruption, but his hands were just as bloody as those of anyone else. Virgil, the most melancholy of Roman poets, saw the life of his time in all its complexity, saw the "tears of things, the human situation which touches the heart, " to paraphrase his most famous line ("sunt lacrimae return et mentem mortalia tangunt"). In the course of the epic, Aeneas, while steadily growing more responsible and more devoted to his great mission, loses, nevertheless, every human tie except that to his son, to whom he is not particularly close. As he advances in pietas, the quality of devotion to duty valued so highly by the Romans, he loses his humanness. He becomes an entirely public man; there is no space in his heart for private feelings or human love. The last statement has one exception. A modern critic has drawn attention to an important theme of the poem, the subduing of the demonic, represented as furor or ira, "madness" or "wrath, " whether on the cosmic level, as in Juno; the natural level, as in the storm in book 1; or the human level, as in Dido, Amata, or Aeneas himself in book 2. Pietas, especially in Aeneas, seems slowly to subdue the forces of madness and wrath. Yet, in the final lines of the poem, Aeneas, "inflamed by madness and wrath" ("furilis accensus et ira"), in revenge for the death of Pallas, kills Turnus although he had heard the admonition of his father in the underworld to "spare those at your mercy." Lust for vengeance, then, is the only human feeling that remains in the hero, and this passage can be interpreted as a sad commentary on the demands made on Aeneas by his mission. One may note, too, that the final book ends with a death, as do so many of the others. As a recent critic says, "It is this perception of Roman history as a long Pyrrhic victory of the human spirit that makes Virgil his country's truest historian." Last Years Virgil worked on the Aeneid for the last 11 years of his life. The composition of it, from a prose outline, was never easy for him. Augustus once wrote to ask to see part of the uncompleted work. Virgil replied that he had nothing to send and added, "I have undertaken a task so difficult that I think I must have been mentally ill to have begun it." In 19 B.C. Virgil resolved to spend 3 more years on his epic after taking a trip to Greece, perhaps to check on some details necessary for his revision. At Megara he contracted a fever and became so ill that he returned to Brundisium, where he died on September 21. He left instructions that the Aeneid should be burned, but Augustus countermanded them and ordered Various and Tucca, two friends of the poet, to edit it for publication. It appeared in 17 B.C. Further Reading Biographies of Virgil are Tenney Frank, Vergil (1922), and F. J. H. Letters, Virgil (1946). Among the many studies of Virgil's work are W. F. Jackson Knight, Roman Vergil (1944); Viktor Pöschl, The Art of Vergil: Image and Symbol in the Aeneid (1962); Brooks Otis, Virgil: A Study in Civilized Poetry (1963); Michael C. J. Putnam, The Poetry of the Aeneid (1965); Kenneth Quinn, Virgil's Aeneid: A Critical Description (1968); Donald R. Dudley, ed., Virgil, in the series Studies in Latin Literature and Its Influence (1968); W. S. Anderson, The Art of the Aeneid (1969); and Michael C. J. Putnam, Virgil's Pastoral Art (1970). Steele Commager, ed., Virgil: A Collection of Critical Essays (1966), offers a variety of views on the poet's life and work. See also the discussion of Virgil by C. M. Bowra in From Virgil to Milton (1945) and by Robert Graves in On Poetry: Collected Talks and Essays (1969). Useful background works are Gilbert A. Highet, The Classical Tradition (1949), and R. R. Bolgar, The Classical Heritage and Its Beneficiaries (1954). □ Cite this article Pick a style below, and copy the text for your bibliography. MLA COPYRIGHT 2008 Greenhaven Virgil (70 b.c.–19 b.c.) Ancient Latin poet of Italy whose epic The Aeneid described the mythological founding of Rome , and whose works provided the writers of the Renaissance with their most respected poetic model from the classical world. Born as Publius Vergilius Maro, a descendant of barbarian Celts, he was raised in a small town near Verona , the son of a laborer who managed to give his son a good education. As a young man Virgil made his way to the capital, where he studied rhetoric and philosophy. Although trained to practice law, he was too bashful to make a good impression as a speaker, an essential ingredient for a successful public career in ancient Rome. Instead he turned to books, study, and the writing of poetry. When his family's farm was confiscated by the Roman government as a reward for its victorious soldiers, the emperor Augustus intervened and returned the property. In thanks for this action, Virgil wrote the Eclogues, a group of ten poems that celebrate nature and the serene life of shepherds and the countryside. In the four books of the Georgics, Virgil describes in great detail the life and the labor of farmers, modeling his writings on the Works and Days of Hesiod, an ancient Greek poet. The Aeneid, an imposing monument of ancient literature, was written by Virgil on a commission from Augustus for a historical work that would celebrate his own accomplishments in establishing the new empire of Rome. The poem describes the voyages and the battles of the hero Aeneas, a Trojan who wanders the Mediterranean in search of a new home for his defeated companions. Virgil based the twelve books of his epic on the Iliad and the Odyssey of Homer . He began work in 30 b.c. and continued for the last eleven years of his life, leaving the work unfinished at his death in 19 b.c. Although he ordered the entire poem to be burned, Augustus instead had the poem published in 17 b.c. The Aeneid was soon acclaimed as one of the great works of Roman literature, an honor it maintained through the Renaissance and still holds today. The poem was well known to the manuscript copyists of medieval Europe , where the Aeneid was often used as a book of divination. Dante Alighieri, in The Divine Comedy, made Virgil his own guide to the circles of Hell and Purgatory. Virgil was studied in universities and was a subject of debate and commentary by scholars, philosophers, and poets, who held up The Aeneid as a model of classical clarity and perfection of form. Cite this article The Oxford Dictionary of Phrase and Fable © The Oxford Dictionary of Phrase and Fable 2006, originally published by Oxford University Press 2006. Virgil (70–19 bc), Roman poet. He wrote three major works: the Eclogues, ten pastoral poems, blending traditional themes of Greek bucolic poetry with contemporary political and literary themes; the Georgics, a didactic poem on farming, treats the relationship of human beings to nature, and the Aeneid is an epic poem about the Trojan Aeneas. Virgil was highly regarded in the Middle Ages (see Maro, Prophet of the Gentiles ). In Dante's poem Virgil guides the poet through Hell and Purgatory. Virgilian lots a method of divination by selecting a passage of Virgil at random in the sortes Virgilianae (see sortes ). Cite this article	i don't know
Sand gropers traditionally hail from which Australian state?	Picking at the cross-stitching of the Federation - ABC News (Australian Broadcasting Corporation) Picking at the cross-stitching of the Federation By David Alexander Posted September 09, 2014 08:10:11 Since the time of Federation, the stronger states have contributed financially to the weaker ones. We should be wary of the push to end this equalisation measure, writes David Alexander. To what extent should the wealthy parts of Australia cross-subsidise other regions in the country? The release of the Vertigan Review of broadband has prompted an important discussion after it found that removing cross-subsidies outside urban areas would be the best outcome for the economy. The issue is actually much broader than broadband - there is currently unprecedented pressure on policymakers in Canberra to dismantle a number of policies in postal services, telephony and revenue-sharing between states that have been in existence virtually since Federation. Consider the issue, currently under review, of revenue distribution among state governments. Since the time of Federation, the economically stronger states have contributed financially to the weaker states. The principle under which the pie is divided is to equalise each state government's capacity to provide the same standard of services. In recent years the stronger states of NSW, Victoria, Queensland and Western Australia have been arguing that this principle should be ended in favour of a principle closer to per capita funding, one effect of this being lower funding levels for states like South Australia and Tasmania. The Prime Minister has said he thinks that the change proposed "makes a lot of sense", and the high-level review of the Federation has also been asked to examine the issue. Another area where cross-subsidies are coming under pressure is postal services, and in particular the so-called Community Service Obligations (CSOs). Since Federation cross-subsidies have been in place to reduce cost differentials between urban and regional areas, including a uniform postage rate since 1911. Noting the mounting financial pressures on Australia Post, the Department of Communications has recently warned that Australia Post remains "bound by strict Community Service Obligations that are increasingly difficult for the corporation to meet while remaining commercially viable". The Commission of Audit has called for an examination of the CSOs in its recommendation that Australia Post be privatised. Pressure has also increased for a winding back of cross-subsidies in the field of telephony, where a Universal Service Obligation stipulates that services "are reasonably accessible to all people in Australia on an equitable basis, wherever they reside or carry on business". Making recommendations on telecommunications policy earlier this year, the Treasury Department has questioned the ongoing need for the USO for telephony in light of internet telephony possibilities. Related to telephony is the issue of broadband cross-subsidies. The Vertigan Review emphasises the "affordable" rather than the "equitable" provision of services, thereby allowing for differentials to arise depending on location. The Review is also set to report on whether some broadband providers should be allowed to go into lucrative higher density areas to provide cheaper services, a development characterised as "cherry-picking" by critics, who argue that it would leave the NBN less capable of delivering services in regional areas. In recent months the ACCC has argued for the removal of internal cross-subsidies in the NBN, and proposed instead that the Government provide transparent subsidies to people in non-urban areas. I have listed each of these issues separately, but it is probably the case that changes in any one of these domains will intensify pressure for changes in other areas. What would Australia look like if these changes were made? One likely outcome would be stronger states breaking away further from the weak, and the capital cities gaining relative to other areas. For example, if the equalisation principles are abandoned at the federal level this will undoubtedly intensify pressure to remove the practically identical principles that govern distributions to local councils. If the universality principles are weakened in one utility this will likely place strong pressure to change arrangements in other utilities. What would Australia look like if these changes were made? One likely outcome would be stronger states breaking away further from the weak, and the capital cities gaining relative to other areas. The cost of living and conducting business in regional areas and in weaker states might be expected to increase. An information differential reflective of cost might emerge. Proponents - if I can lump them into one basket for a moment - would argue that the changes in net terms would mean a stronger economy with a higher standard of living for citizens. This may be right, but are there counterarguments? With regard to revenue distribution, the key problem concerns equality of opportunity. Treasurer Joe Hockey describes the equalisation principle as ensuring equality of opportunity for citizens across the nation regardless of location. Departing from that principle would be significant as it would mean proposing that citizens from weaker states will not get the same opportunities as people in other states. Children born into South Australia, for example, could expect lower ongoing standards of education than children born into wealthier states. How much would this impair our national meritocracy? We know that cross-subsidies entail inefficiencies, but there are also doubts about the presumption that zero cross subsidies in utilities are inherently most efficient. The creation of the Uniform Penny Post in 1840, for example, introduced significant cross-subsidies with its single rate service across the United Kingdom, but is considered to have greatly stimulated commerce and communication across the country. The success of this uniform price influenced policy across the world. Was that all a mistake? The implication of current thinking seems to be that the British government should have kept the pre-1840 arrangements and provided direct subsidies to people outside the main cities for the last 174 years. Obviously there are limits to cross-subsidies, but that notion just doesn't seem right. Clearly, the issues at hand are complex, but the deep long-term significance of the issues warrants greater consideration. Maximising long-term economic strength should be the focus of the national government, but ministers need to be mindful of unintended consequences that might flow from overturning long-standing principles. David Alexander is a former senior adviser to treasurer Peter Costello, and is now managing director (Federal) at Barton Deakin Government Relations. View his full profile here .	Western Australia
In which town is the San Fermin Running of the Bulls festival held annually?	Great Australian Slang Dictionary \| CNN Travel Great Australian Slang Dictionary: 33 essential phrases Great Australian Slang Dictionary: 33 essential phrases Oi you! Lost in Sydney bar conversation? Applying for Aussie citizenship? Master these terms and you’ll be fair dinkum By Matt Khoury 22 June, 2011 33. Fair go, mate. Fair suck of the sauce bottle. Fair crack of the whip Made famous by the ill-fated politician Kevin Rudd, who enjoyed using Australian slang to speak to the electorate and often pleaded for a "fair suck." The phrase generally means that you want to be treated fairly. “Fair suck” was coined by struggling Australian families who shared droppings of tomato sauce to flavor their meat. Such was the hard life that all they wanted was an equitable suck. In the fields, they needed a “fair crack of the whip.” Fair go, mate. 32. No worries, mate, she’ll be right Reflects a national stoicism that suggests everything (she) will turn out fine in the end. This being the case, there’s no real point in worrying about anything. 31. Have a Captain Cook A look, a brief inspection. In apparent honor of the first Brit to map eastern Australia, Captain James Cook, who skippered the HMB Endeavour. After landing at Botany Bay he sailed on past Sydney Harbour. He had a Captain Cook (a look) and liked it. 30. What’s the John Dory? John Dory is found in Sydney Harbour and it’s great grilled with lemon and pepper, or deep-fried. It also rhymes with story. So when people want to know what’s going on, or they’re requesting the “goss” (gossip), they ask what the John Dory is. 29. A few stubbies short of a six-pack. A few sandwiches short of a picnic A six-pack has evolved to mean anyone with fit abdomens, but long ago the six-pack was (and still is) a group of beers. If one is perceived as being a little slow -- more than feeling “under the weather,” they’re actually quite dumb -- they’re a few stubbies short of a six-pack. They’re not the “full quid.” For those who don’t speak about money or alcohol, they’re “a few sandwiches short of a picnic.” 28. Tell him he’s dreaming Given air time by Michael Caton in "The Castle": when you advise someone involved in a business transaction to tell their counterpart that he’s "dreaming,” you're suggesting that the other side is not offering a fair deal. 27. Dog’s breakfast Messy, but doesn’t refer to food. Often used by parents to describe their kids’ chaotic lives. Not in order, a shambles, no thought, just a bit of everything. A “dog’s breakfast.” 26. Wrap your laughing gear ’round that While some suggest you can laugh on the inside, your main laughing gear is your mouth. So when you wrap your laughing gear ’round something, you eat it. 25. Ripsnorter Someone playing a good game of sport (having a “blinder”), or something that’s exceptionally good. Can also be “bonza” or “beaut”. 24. Better than a ham sandwich. Better than a kick up the backside Something that is better than nothing. Even if you are paid peanuts -- a pay rate that usually attracts monkeys -- it’s better than a kick up the backside. You’d prefer a “fair whack.” As things become more worthwhile, they may even be better than a ham sandwich. 23. Buckley’s chance William Buckley was Australia’s very own Robinson Crusoe, a man who escaped a convict ship during the first attempt to settle Melbourne in 1803. Three decades later, colonials returned to find a tattooed, two-meter tall, long-bearded man with half Aboriginal children who spoke tribal tongue. He picked up English within days. They soon realized it was Buckley, who was given a pardon and used as a peacemaker between whites and blacks. Buckley’s local knowledge led settlers to indigenous tribes throughout modern-day Victoria. He advocated cooperation with Aboriginals. After the 1840s decade of indigenous slaughter saw locals massacred, it was said that he had “Buckley’s chance” of making peace. Buckley spent the latter part of his life as a poor loner in Tasmania. There was a concerted lobby for the government to give him a pension for his service to the colony. Once again, he had “Buckley’s.” 22. Pull the wool over your eyes Similar to “I’m so hungry I could eat a horse and chase the jockey,” this one derives from the bush. A history of “earning a buck” around woolsheds meant people had to give an honest day’s work (“eight hours' work, eight hours' play and eight bob a day” chanted the union movement). Australians had to be genuine with each other so they could all get their “fair share” of “spuds” (potatoes). If someone is being a little “sheepy,” dishonest, or “spinning a yarn,” they are trying to “pull the wool over your eyes.” 21. Dog’s eye There’s much conjecture about what really goes inside the national staple, a meat pie. Is it beef? Kangaroo? The important thing is that it rhymes. So when you’re having a pie, it’s looking back at you, in a canine kind of way. It’s a dog’s eye. Could that really be the runny meat filling? 20. Bastards Often used to refer to the British, or anyone who doesn’t play fair. The last Australian to be shot by an English firing squad in the Boer War, Breaker Morant, famously shouted his last words: “Shoot straight, you bastards!” During the infamous 1932-33 Bodyline cricket series, English captain, Douglas Jardine, walked into the Australian dressing room to complain about being called a bastard. An Australian cricketer supposedly asked his team: “Which one of you bastards called this bastard a bastard?” In politics, a third party, the Australian Democrats, was formed in the 1970s to “keep the bastards honest.” 19. Toads, banana benders, cockies, sandgropers, crow eaters These are favorite ways Aussies disparage those who live elsewhere. Tropical Queensland has many more bananas and cane toads than people, so they’re branded banana benders or cane toads. Queenslanders get their own back, calling Sydneysiders cockroaches in honor of the omnipresent, nuclear-immune pest found around the harbor city. South Australians -- particularly early settlers -- partake in the delicacy of crow eating, while Western Australians spend their lives groping sand (sandgropers). 18. Ocka, yobbo The loudmouth who’s a larrikin, who likes the sound of his own voice, is a yobbo -- often a bit of a troublemaker. A yobbo typically has a deep Australian twang to his accent, in which case he’s “ocka.” 17. Put a sock in it Tells somebody to “shut up.” 16. Throw a shrimp on the barbie In a regression to stereotype, Paul Hogan introduced the world to this phrase and in the process invited countless tourists to come over. Australians aren’t in the habit of cooking small people -- a “shrimp” refers to a yabby (or more simply, a “prawn”). It’s a way to invite someone to your house for lunch, where you throw a shrimp (or a “snag,” that’s a sausage) on the barbie. 15. Do the Harry Harold Holt was the prime minster who disappeared off Victoria’s coast in 1967. He did the bolt, some say, from the responsibilities of the prime ministership. Some suggest the (secretly communist) politician was abducted by a Chinese submarine or UFO. More likely, he was caught in deadly currents and washed out to sea from Cheviot Beach, near Portsea. His body, however, has never been found, so anyone doing a disappearing act is doing a “Harold Holt.” So, when you have to “mosey on,” or “get the hell out of here” you do the “bolt" -- the "Harold Holt.” Or simply, you do “the Harry.” 14. Six the one, half dozen the other It’s not quite you’re “damned if you do, damned if you don’t,” nor is it being “caught between the devil and the deep blue sea.” It’s when it’s 50-50 odds that whatever decision you make will not likely affect the outcome of the situation. “Six the one, half dozen the other” means you’ll end up with a dozen, anyway. Unless, of course, it’s a baker’s dozen. 13. Not pissing on someone when they’re on fire Means you don’t really care about somebody. Even if they were on fire, you wouldn’t do them the service of pissing on them to put the fire out. 12. Crikey, blimey	i don't know
In Hinduism what name is given to the festival of Colour or Colours?	Holi - ReligionFacts ReligionFacts Bowker, John (ed.) Holi In Hinduism, Holi (also called Holaka or Phagwa) is an annual festival celebrated on the day after the full moon in the Hindu month of Phalguna (early March). It celebrates spring, commemorates various events in Hindu mythology and is time of disregarding social norms and indulging in general merrymaking. Holi is probably the least religious of Hindu holidays. During Holi, Hindus attend a public bonfire, spray friends and family with colored powders and water, and generally go a bit wild in the streets. The central ritual of Holi is the throwing and applying of colored water and powders on friends and family, which gives the holiday its common name "Festival of Colors." This ritual is said to be based on the above story of Krishna and Radha as well as on Krishna's playful splashing of the maids with water, but most of all it celebrates the coming of spring with all its beautiful colors and vibrant life. History and Meaning of Holi Celebrated all over India since ancient times, Holi's precise form and purpose display great variety. Originally, Holi was an agricultural festival celebrating the arrival of spring. This aspect still plays a significant part in the festival in the form of the colored powders: Holi is a time when man and nature alike throw off the gloom of winter and rejoice in the colors and liveliness of spring. Holi also commemorates various events in Hindu mythology, but for most Hindus it provides a temporary opportunity for Hindus to disregard social norms, indulge in merrymaking and generally "let loose." The legend commemorated by the festival of Holi involves an evil king named Hiranyakashipu. He forbade his son Prahlad from worshipping Vishnu, but Radhu continued to do offer prayers to the god. Getting angry with his son, Hiranyakashipu challenged Prahlad to sit on a pyre with his wicked aunt Holika who was believed to be immune to fire. (In an alternate version, Holika put herself and Prahlad on the fire on orders from her brother.) Prahlad accepted the challenge and prayed to Vishnu to keep him safe. When the fire started, everyone watched in amazement as Holika was burnt to death, while Prahlad survived without a scar to show for it. The burning of Holika is celebrated as Holi. According to some accounts, Holika begged Prahlad for forgiveness before her demise, and he decreed that she would be remembered every year at Holi. An alternative account of the basis of the holiday is associated with a legend involving Lord Shiva, one of the major Hindu gods. Shiva is known for his meditative nature and his many hours spent in solitude and deep meditation. Madana, the God of love, decided to test his resolve and appeared to Shiva in the form of a beautiful nymph. But Shiva recognized Madana and became very angry. In a fit of rage he shot fire out of his third eye and reduced her to ashes. This is sometimes given as the basis of Holi's bonfire. The festival of Holi is also associated with the enduring love between Lord Krishna (an incarnation of Vishnu) and Radha, and Krishna in general. According to legend, the young Krishna complained to his mother Yashoda about why Radha was so fair and he so dark. Yashoda advised him to apply colour on Radha's face and see how her complexion would change. Because of this associated with Krishna, Holi is extended over a longer period in Vrindavan and Mathura, two cities with which Krishna is closely affiliated. Krishna's followers everywhere find special meaning in the joyous festival, as general frivolity is considered to be in imitation of Krishna's play with the gopis (wives and daughters of cowherds). Holi Rituals and Customs Holi is spread out over two days (it used to be five, and in some places it is longer). The entire holiday is associated with a loosening of social restrictions normally associated with caste, sex, status and age. Holi thus bridges social gaps and brings people together: employees and employers, men and women, rich and poor, young and old. Holi is also characterized by the loosening of social norms governing polite behavior and the resulting general atmosphere of licentious merrymaking and ribald language and behavior. A common saying heard during Holi is bura na mano, Holi hai ("don't feel offended, it's Holi"). On the evening of the first day of Holi, a public bonfire is held, commemorating the burning of Holika. Traditionally, Hindu boys spend the weeks prior to Holi combing the neighborhood for any waste wood they can find for the bonfire. The fire is lit sometime between 10 PM and midnight (at the rising of the moon), not generally in an orderly fashion. Everyone gathers in the street for the event, and the air rings with shouts, catcalls, curses and general mayhem. . In Bengal, Holi features the Dolayatra (Swing Festival), in which images of the gods are placed on specially decorated platforms and devotees take turns swinging them. In the meantime, women dance around and sing special songs as men spray colored water at them. References	Holi
A name meaning spiny skin, Starfish belong to which animal phylum?	BBC - Schools - Religion - Hinduism Religion Holi is a festival celebrated in north India. It marks the coming of Spring, usually in March. Celebrations Some families hold religious ceremonies, but for many Holi is more a time for fun than religious observance. Holi is a colourful festival, with dancing, singing, and throwing of powder paint and coloured water. Bonfires are lit and roasting grains, pop corn, coconut and chick peas are thrown on by Hindu families The next day, people of all ages go into the streets for fun and paint-throwing. Everyone gets involved - with no distinctions between caste, class, age or gender. Hindus have fun by smearing each other with paint and throwing coloured water at each other, all done in a spirit of celebration Religious story Holi also celebrates Krishna, and the legend of Holika and Prahlad. Some believe the origin of the festival lies with Krishna who was very mischievous as a young boy and threw coloured water over the gopis (milkmaids) This developed into the practical jokes and games of Holi. The story of Prahlad is seen to symbolise good overcoming evil and is why traditionally bonfires are lit at Holi. Prahlad was a prince. His father, the king wanted everyone in his kingdom to worship him. But Prahlad refused and worshipped Lord Vishnu instead. The king's sister Holika, who was supposed to be immune to fire, tricked her nephew Prahlad into sitting on her lap in a bonfire in order to destroy him. But because she was using her powers for evil, the plan failed and Prahlad emerged from the fire unharmed, while Holika was devoured by the flames. In some parts of India effigies of Holika are burnt on the fire. Ashes from Holi bonfires are thought to bring good luck.	i don't know
Which Spanish city was the home of the artist El Greco?	El Greco - Famous Spanish Painter \| don Quijote don Quixote Museum El Greco The famous painter El Greco is considered a Greek-born Spanish Artist. El Greco lived in Toledo for several years. Learn more about his work. Read the Spanish version The painter known as “El Greco” (The Greek) was born in Crete, Greece. His real name was Doménikos Theotokópoulos and he usually signed his paintings in Greek letters: Δομήνικος Θεοτοκόπουλος. El Greco studied in Venice and Rome before moving to Toledo, Spain in 1577 where he received major commissions and produced his best known paintings. El Greco would live and work in Spain until the end of his life. Due to the fact that he spent most of his life in Spain and produced the majority of his work there, El Greco is considered a Greek-born Spanish artist. El Greco befriended Diego de Castilla, the dean of the Cathedral of Toledo, and through him he was signed on to produce paintings for the church of Santo Domingo el Antiguo in Toledo and painting: The Disrobing of Christ (El Expolio) for the Cathedral of Toledo. The nine paintings that El Greco produced by 1579 for Santo Domingo church, including The Trinity and The Assumption of the Virgin, solidified the painter's reputation in Toledo. El Greco's aim was to win the favor of King Philip II, but after two of his paintings failed to gain the King's favor, the painter was obliged to remain in Toledo. The painter hired an assistant and opened a workshop to produce altar frames and statues in addition to paintings. In March of 1586, El Greco won the commission for The Burial of the Count of Orgaz, now his best-known work. The following decade was intense for the Spanish painter whose workshop produced various pictorial and sculptural ensembles for several religious institutions. The major commissions included the three altars for the Chapel of San José in Toledo (1597-1599), three paintings (1596-1600) for the Doña María de Aragon School in Madrid, and the St. Ildefonso painting, as well as altars, for the Hospital of Charity (Hospital de la Caridad) in Illescas (1603-1605). El Greco's last major commission was in Toledo in 1608 for the Hospital of Saint John the Baptist. El Greco had made Toledo his home and lived very comfortably. His only son, Jorge Manuel, was born to a Spanish mother in 1578. In 1614, El Greco fell ill and died one month later. His son inherited the workshop and continued working for many years imitating his father's style. El Greco's unique use of intense and unusual colors and light, preference for exceptionally elongated figures, and sometimes shocking use of imagination have led to much debate among scholars regarding Greco's art style and technique. His wholly distinct and individualistic style went against the traditional Baroque art form of the period which led the artist to be largely distained by the immediate generations following his death. El Greco's art fell into obscurity until it was revisited and rediscovered in the 19th century. The haunting intensity of his paintings would slowly gain world acclaim among artists and scholars. Nowadays, El Greco is considered an extraordinary artist whose emotional style vividly expressed passion and was centuries ahead of the time. Contact us	Toledo
What is the first of Elizabeth Kubler-Ross’ Five stages of grief?	The Art of El Greco The Art of El Greco 7. Followers Introduction The first great Spanish painter was not a native of Spain, but of the Greek island of Crete in the eastern Mediterranean. If the testimony he made towards the end of his life is true, Domenikos Theotokopoulos - for that was his name - was born in 1540 or 1541. Even this, however, is open to some doubt, for all other indications are that he was born some few years later. In vain we seek to know something of the young Domenikos in Crete, where it seems he spent his childhood and his youth, but there is absolutely no information. One thing is certain, that those years on the Greek island made a deep and permanent impression upon him; an impression concealed during the years of his early manhood spent in Italy in examining the infinity of new impressions of Western Renaissance culture, but whose spirit is remembered in his later years when he was so far from the land of his birth. It is the significance of his Byzantine and medieval origins that Paravicino, the great Toledan poet, acknowledges in his sonnet written on the passing of his friend, the great 'Toledan' painter. While nothing is known of his parents, or of the Theotokopoulos family, there is every indication that his family was of some status, and able at least to provide a liberal education for Domenikos. It is clear that he was given a thorough schooling in the Greek language and letters, a study which he was to cultivate throughout his life. Francisco Pacheco, the erudite painter and poet from Seville, Vel�zquez' master and father-in-law, who visited the aged El Greco in Toledo in 1611, tells us he was a 'great philosopher, quick and discerning in his remarks', and the library left on his death contained many works of the Greek philosophers and poets as well as devotional works in his native tongue. There is the same evidence that in Italy he applied himself to the study of the Italian philosophers and poets. It was almost certainly in Crete, too, that he received his first artistic training, and possibly in the monastery of Saint Catherine, the most important school of painting on the island, to which he seems to make reference in one of the first work painted in Italy by his hand, the Modena Triptych . Monasteries were the only places of learning and artistic training in Crete, still medieval in its culture and linked with the East, and little affected by the great Renaissance in Italy. In Italy the past two and a half centuries had seen the establishment of an entirely new culture, and all the Western world was awake to the new ideas, but in Crete, Byzantine art still flourished - the kind of art practised in Italy by Duccio, who had died some two hundred years before. The grand, hieratic, abstract images of Byzantine art, in mosaic or miniature, powerful and impressive in their design and colour, had the authority of a millennium of development, and were the expression of the spirit of a whole society. A comparable impression and authority speak from the designs of El Greco's maturity. Years in Venice At the end of the fifteenth century, in the reign of the Catholic sovereigns, Ferdinand and Isabella, the Moors were finally expelled from their last dominion in Spain, some seven hundred years after their first invasion of the peninsula; at the same time there began the real invasion, in the eastern Mediterranean, of Europe by the Turks, that was not to be halted until it reached Vienna. The incursion of the Turks, which threatened Crete, encouraged an exodus from the island, and among those who left was the young scholar and painter. The earliest known document relating to him, the letter from Giulio Clovio dated 1570, refers to him as a pupil of Titian's. It was natural for a Cretan to make for Venice, for the island was a Venetian dominion. At that time the city was the new home of thousands of 'Greeks' from the Venetian territories of the eastern Mediterranean, and the presence of so many 'Grechi' in the city adds to the difficulty of tracing reference to one individual: Domenikos Theotokopoulos now becomes simply 'il Greco'. The time of the young Domenikos' removal to Venice could not have been more favourable. It was the time of the apogee of Venetian painting, when Titian, Tintoretto and Veronese were all working in the city. It must have been an immense inspiration to work with the great master of colour. Titian was in his eighties and working in his last grand manner, and on the death in 1564 in Rome of Michelangelo, his only peer, he was the greatest living artist. The year 1564 was possibly not far from the date when El Greco entered his studio. Perhaps he had the added inspiration of aiding Titian in his important commissions for Philip II of Spain; for in 1567 the master refers to a young pupil assisting him on the Martyrdom of Saint Lawrence, the great masterpiece of his last years destined for the Escorial. At this time El Greco would have heard of the Spanish King's vast project of the Escorial, the monastery and palace which had begun building in 1563, from which the King was to direct his great crusade for the Faith - directed against the heretic at home, the Infidel in the Mediterranean, and towards the conversion of the heathen in the Indies; for the King was seeking painters to decorate his great enterprise. His first feelings of sympathy for the Spanish spirit probably originated at this time: Spain too had been close to the Orient, and had not completely broken with the medieval world; and she could appear at this moment as the one real champion of the Faith. It was to be a long time, however, before he moved to Spain. He had entered a new world, and was confronted with an infinity of new impressions which he eagerly sought to understand. The ideas and meaning of this new world were as important to the young scholar and painter as their expression in painting. Among the painters he looked to for inspiration, Titian was, if the most important, by no means the only one, and the nature of El Greco's studies in Venice indicates a strong personality with a sense of his own special gifts. He seems to have arrived with no preconceived respect for the authority of an established style or personality, or indeed for the new culture. His attitude, however, implies not disrespect, but a desire to comprehend his new environment. His works in Venice show him trying out the new subject-matter, its new interpretation, and the new techniques. He was by no means a great artist in Venice. The Modena Triptych could easily be by any one of a number of provincial 'Greek' artists working in the city. It is a work that unfortunately tells us nothing of his painting in Crete. Painted probably not long after his arrival in Venice, there is nothing in it that is transitional. For the flat and relatively rigid geometrical designs of Byzantine art he has substituted the looser, more naturalistic and three-dimensional designs of Italian and Venetian inspirations. The compositions are not original, being borrowed from a variety of sources probably through engravings. The art of engraving had developed considerably in the first half of the sixteenth century and was of inestimable value to a young artist seeking to acquaint himself with the achievements of European art. The remaining few paintings bear witness to the broad source of his inspiration. He made his own the freedom of the Venetian 'open' technique, of which his master was the supreme exponent. He essays Tintoretto 's style, with its employment of space and movement as dramatic elements of the design ( Christ healing the Blind). Later, in his efforts to express another reality, that of the spirit, he was to throw aside those dramatic empty spaces and violent perspectives; movement, however, was to remain an essential part of his painting. Similarly, he introduces himself to the possibilities of light as a dramatic element in design, especially perhaps by reference to Bassano ; but the naturalism and rustic atmosphere of the Venetian's paintings he found irrelevant, as indeed he could feel little sympathy generally for the Renaissance Italian concession to a human, temporal or local interpretation of the universal and spiritual. There was little that he did not try out in Venice, and little specifically he could make his own. Nevertheless, it was in Venice that he was introduced to a free technique, to a painting that believed in the primacy of colour, and to the dramatic possibilities of light and movement, that is, to the essential bases of his technique. Years in Rome In 1570, the first certain date in El Greco's biography, he moves to Rome, the capital of the Christian world, and the great artistic centre of Italy, where Michelangelo had only recently died. It was there that he was to complete his artistic training and his introduction to the new ideas of the West. Giulio Clovio, a 'Greek' from Croatia, introduces the young Cretan to Cardinal Alessandro Farnese, to whom he was artistic adviser and in whose famous library he was employed as a miniaturist. We do not know El Greco's self portrait that Clovio so highly extolled, but his report probably shows some over-enthusiasm for his young friend. El Greco does, indeed, prove himself an able follower of Titian in the portrait of Giulio Clovio, probably painted soon after his arrival in Rome, but there is little anticipation of the individual quality of his later works which made him one of the few really great portrait painters of all time. His introduction to the Cardinal did lead to some patronage, although he does not appear to have received any important commissions in Rome, nor does it seem that the 'young' artist who stayed in the Farnese Palace - he was apparently nearly thirty years of age when he arrived in Rome - had any need to seek commissions for his livelihood. In fact, almost all his paintings in Italy were very small, many of them almost miniatures, and only in Rome are there two or three portraits and one or two compositions of less modest size. What was of consequence to him was his introduction to the circle of scholars and men of religion who frequented the Farnese Library, and also the new impressions of the formal art of Rome. If El Greco's attitude when he first arrived in Italy was remarkable, his almost naive integrity was even more startling in Rome. The memory of Michelangelo was almost sacred, and had produced something of an artistic tyranny in the city, where nobody could easily question the learned and inhibiting theory that purported to understand and give authority to his style. If the style it encouraged was appropriate to the frigid and correct exposition of dogma, one of the consequences of the deliberations of Trent, it had little to recommend itself to El Greco. He questioned the very basis of its ideal figure art, with its insistence on the primacy of form and drawing, to which colour was a mere adjunct. He could have had even less sympathy for the importance attached to the study of anatomy by contemporary artists in Rome. Similarly the construction of space according to mathematical rules of perspective, although employed in an irrational way by the Roman Mannerists, meant little to him. Nevertheless, as in Venice, he was able to profit greatly from his stay in the Holy City. Above all, he could derive much from the spirit, if not the letter, of the High Renaissance, especially from Raphael and the early Michelangelo, and his painting in Rome gain in largeness of conception Christ Driving the Traders from the Temple. He was also possibly the only artist of his time to appreciate Michelangelo's late style. If Venice had introduced him so much that was important, Michelangelo's inspired and individual treatment of form in his last years indicated to El Greco the infinite possibilities of the more technique of painting. The small Piet� is a direct interpretation in paint of Michelangelo's late sculptured group now in Florence Cathedral, and then in Rome. In the group of portraits in the Christ driving the Traders from the Temple, he acknowledges his debt to Michelangelo and Titian, and possibly also to Raphael. The painting, first composed in Venice, loses much of its loose, disturbed quality, by contact with Rome. In his compositions in Rome and his first years in Spain, he employs figures directly inspired by the heroic style of Michelangelo (especially the Trinity, the Adoration of the Name of Jesus and the Martyrdom of St Maurice and his Legions). Later, they were to go, once he was able to replace them by his own. Contemporary Roman Mannerist painting was also not without its fruitful influence: the vertical compositions and shallow construction of space pointed the way to the elimination of three-dimensional space (especially Martyrdom of St Maurice and his Legions) ; and the combination of the more vivid and less natural colour of Rome with the richer, more substantial colour of Venice helped to lay the basis of his own personal and dramatic use of colour. It is clear that he had very little in common with the painters of Rome. Neither could he be entirely in sympathy with the Humanist atmosphere of the Papal City: the 'divine' of Michelangelo was a reference to the gods of pagan mythology, as the conception of the heroic was derived from the spirit of ancient history and myth. El Greco's prototype of the great artist was to be Saint Luke; his prototype of the heroic, the great martyrs of the Faith. To El Greco, the Roman brand of Humanism celebrated the greatness of Man - of the individual - on account of his material potentialities; El Greco, from medieval Crete, believed in the importance of Man on account of his unique spiritual being, through which, alone, the meaning of the Universe could be fulfilled. His discussions with the Spanish Humanists in the Farnese Library would have indicated an attitude in Spain - where it was possible for the great Gothic cathedrals of Salamanca and Segovia to be erected at the same time as the Escorial - closer to his own, and it was from them that he received his first important commission, and the opportunity to go to Spain. The news, received in Rome in 1571, of the great victory over the Turk at Lepanto, off the Greek mainland, must have encouraged some sympathy in the Greek artist for Spain's crusade, as later it was to inspire his Adoration of the Name of Jesus. It is unnecessary to believe that he was forced to leave Rome on account of the hostility of the artists caused by his presumption in offering to paint a 'Last Judgment' not inferior to Michelangelo's, if the work were pulled down, as related by Mancini some half a century later. At the time that El Greco was in Rome there were proposals to cover up the 'indecent' parts of Michelangelo's great work in the Sistine Chapel, composed entirely of nude figures, and Mancini no doubt merely relates a rumour, which however, certainly reflects something of El Greco's attitude. Rome was unpropitious to his genius. In 1576 he received the offer of an important commission for Toledo, made by the Dean of Toledo Cathedral through the agency of his brother in Rome, and he accepted - surely with the hope eventually of working for the Escorial. Arrival in Toledo Certainly the Dean's brother must have given a good account of the painter, for immediately on his arrival in Toledo and before starting the work for the church of Santo Domingo he was commissioned to paint the Espolio for the Cathedral. For the first time he had been given the opportunity to paint on a monumental scale. To express his pleasure at seeing the fulfilment of his ambition so near he offered to accept the small sum of 1000 ducados instead of the 1500 offered for the work for Santo Domingo, which involved the designing of the whole scheme of decoration. The two commissions were to occupy him fully for two years, and their importance inspired him to produce a whole series of masterpieces ( Assumption of the Virgin, Trinity, Resurrection, Espolio). He was now thirty-five years of age. In Italy, he had completed his artistic training, and he no longer needed to look to art for his inspiration. The first real application of the lessons learnt was not until he arrived in Spain, and his painting really began with these two commissions. Each painting was treated as a separate problem, as indeed later each subject was to decide its own appropriate colour, light, pattern and rhythm. In the first work, the Assumption, he seeks to treat in his own way a composition finally of Venetian inspiration; in the second, the Trinity, it is a composition essentially inspired by Michelangelo, and a grand development of his own Piet� painted in Rome. In the Adoration of the Shepherds, the problem is especially that of light; and in the Resurrection, dramatic movement, and a more supernatural light. The Saint John the Evangelist attempts to express the heroic in his own way; and the majestic Christ of the Espolio is the first of his completely personal images, in which pattern, movement and colour, type and gesture are in complete harmony, and in accord with the one expression. This painting is also the one of greatest variety and vitality in the handling. In all these paintings, he begins to develop his own expressive colour. Colour and light begin to combine, and take on a quality of flux. Space is little more than implied, and the distinction between sky and earth goes: the motifs of the open tomb of the Assumption, the rocks of the Resurrection and the ground of the Espolio, do not disturb the essential verticality of the compositions. The figures have lost much of their corporeality, but not their grandeur, by their surface treatment in colour and light. In this development, the nude figure of Christ of the Trinity, inspired by Michelangelo's heroic figure style, is the least advanced, and the single draped figure of Saint John the Evangelist, the most advanced. Draperies are indeed at this stage treated more freely than the figures, and become an expressive element in themselves. Both shade and light are active in colour, and if they still imply modelling of the forms, they do not stress the quality of relief. Each composition is inspired by its appropriate movement: the grand slow tempo of the soaring image of the Virgin of the Assumption ; the urgent and arrested rhythm of the shepherds of the Adoration; and above all the tremendous contained movement of the Christ of the Espolio. Movement was to be an essential element of his painting. All the paintings are full of reminiscences of Italy (as illustrated e.g. by the iconography of the Assumption), and it is some few years before they disappear. He has, however, started on the path he was to follow to its conclusion, and the advance made during the two years was immense. If he were to express the spiritual, it would be by other than material means, and the process of dematerialisation has begun. Neither corporeality, nor a distinction between earth and sky, belonged to the realm of the spirit; neither could the ideal figure art of Rome with its pagan implications, nor the sensual art of Venice with its temporal concessions, be reconciled to the expression of his view of the essential spiritual meaning of the Universe. He now sought to create a painting from colour and light, pattern and movement, and without any direct reference to the art of the past or present. His unyielding attitude before interference with his artistic interpretation of a subject is brought out in the arguments over the valuation of the Espolio ; El Greco ignored the demands made by the Cathedral authorities - probably largely to support a low valuation - to make certain drastic changes to his painting. The remarks of El Greco's valuers, when he finally agreed to accept about a third of the previous valuation, that 'if the painting should be valued at its true worth, there would be few or none prepared to pay', express the startling impression made on the artists in Toledo by El Greco's first works. Shortly after he arrived in Toledo he must have made acquaintance with a Spanish lady, Jer�nima de las Cuevas, who became his life-long companion, and who in 1578 gave him a son, Jorge Manuel, to whom he became a devoted father. All we know of the lady whom he never married is the sympathetic portrait painted apparently at the beginning of their acquaintance. (He painted her portrait again fifteen years later.) He introduces us to his son on a number of occasions ( Burial of Count Orgaz, Portrait of Jorge Manuel and Virgin of Charity). Failure at the Escorial El Greco was recognised as an artist of outstanding merit, and he had met with sympathetic patrons. In 1579, immediately after the conclusion of his first commissions for Toledo, the long-desired opportunity to work for the Escorial was offered him. He had already painted the Adoration of the Name of Jesus for the King, and he was now invited to paint specifically for the Escorial. Navarrete had died, and Philip II was looking for someone to replace the painter he so admired. El Greco put everything into the painting, the Martyrdom of Saint Maurice and his Legions, and produced a work of astounding power and originality. Already in the Espolio, he had daringly introduced the grand passage of vivid red in the mantle of Christ; in the Saint Maurice, an intense blue animates the whole composition. The complementary strident yellow enhances the powerful and moving impression. Before he started to paint the picture he had already decided on the colour that would best symbolise the event, and this becomes an essential consideration in all his subsequent painting. He worked for two years on the painting: if he were successful, his great ambition would be fulfilled. But he was to be disappointed. The splendid masterpiece of painting did not please the King, who commissioned another artist to make a substitute. El Greco turned to his first patrons in Toledo, and he was not given another opportunity to work for the King. It was perhaps inevitable, and, in the event, it was fortunate. His genius was too independent to serve the austere and rigid demands of the Escorial. His art, also, was not concerned with the militant aspect of religion, in which the Inquisition and its autos-da-f� played so important a part in Spain at that time. But in Toledo, the great cultural and ecclesiastical centre of Spain, he was to find a sympathetic atmosphere, a select circle of friends among the men of religion, scholars and poets of the town, and an appreciative and loyal clientele. The poets G�ngora and Paravicino were among his friends; the great mystics Saint Teresa of Jesus and Saint John of the Cross visited the town. It was a time in Spain of great religious fervour and spiritual activity - possibly found in its most concentrated form in Toledo - which reached its climax in the years El Greco was in the town. Mature years The failure at the Escorial closed five years of uninterrupted activity in Spain. There followed a few years of respite before any comparable commissions came his way. For El Greco this was a period of reflection, the outcome of which was the final declaration of his aesthetic. If his efforts before were particularly directed towards preparation for the Escorial, his time was now employed in getting to know more intimately the atmosphere of Toledo, in meeting with kindred spirits, and in coming to terms with himself. He finally succeeds in eliminating all direct references to the art of Venice and Rome, and the process of dematerialisation is continued. To this period belong the Saint Mary Magdalene, which still reveals its Venetian, specifically Titianesque, inspiration, and the Saint Sebastian whose Roman derivation is still apparent. At this time too he painted the Immaculate Conception, in which for the first time there is a clear recollection of his early impressions of Byzantine art. These are however among the last paintings to make any clear references to the art of Byzantium, Venice or Rome. His first completely personal work, the Burial of the Count of Orgaz, was painted in 1586, when he was forty-five. In this painting any description of space, or of the corporeality of the figures, has completely gone, allowing an undisturbed expression of the spiritual atmosphere of the scene, and of the spiritual or psychological presence of the participants. To El Greco there could not be the easy concession of depicting Heaven and Earth as two separate things, physically distinct as the earth and sky. To him, as to a Saint Teresa of Jesus, the spiritual was omnipresent: present in the celestial visitors who lay the body to rest, and expressed in the remarkable pattern formed by the two Saints and in the colour of their vestments; present in the souls of men, and realised in the activity of the earthly participants in the miraculous event; pervading the whole scene, and expressed in the variety, splendour and activity of the colour and light. And the spiritual was the only significant reality. There is absolutely no confusion, but a grand equilibrium, yet movement is an essential part of the expression: the composition, shapes, gestures, colour and light are made active and living symbols. These separate elements, and the particular rhythm that informs them, derive from the meaning of the supernatural image or event. Henceforth, El Greco was to express the spiritual by strictly extra-natural means, and the development of his paintings was in the direction of a greater simplification of the means and a greater concentration of the expression. If the popular success of the Burial of the Count of Orgaz depended largely on the 'life-like portrayal of men of Toledo of his time', he had become, for his life-time at least, an almost legendary figure to Toledans. After the completion of the painting some ten years were to elapse before, in 1596, he was again given any comparable commissions (among them the altars of the Saint Joseph Chapel in Toledo). It was nevertheless a period of great activity, in which he was engaged on a host of smaller commissions ( Agony in the Garden, Coronation of the Virgin, Holy Family. In this decade he formulated his repertoire of subjects and worked out their individual interpretation. (See in detail in the Subjects Section. ) El Greco's repertoire of subjects concerns itself with the central personalities and mysteries of the Faith: Annunciation, Nativity, Baptism, Christ on the Cross, Resurrection, Pentecost. These six subjects he composed together in the grand unified programme dedicated to the 'life of Christ', for the Colegio de Do�a Maria in Madrid. It is clear he must have played an important part in the devising of the programme, and certainly in its interpretation. In his interpretation of these subjects, the grand poetry of the Holy Scriptures was an integral and essential part of the mystery, and it is expressed in the setting as in the whole pictorial conception. The apocalyptical character of his painting increases; and it is appropriate that two of his last works were the Immaculate Conception the great masterpiece of his last years, and a subject of purely supernatural implication, which he related to Saint John's vision of the Apocalypse, and Saint John's Vision of the Opening of the Fifth Seal, in both of which he supremely realises the tremendous visionary poetry of the Revelations. The years 1600 to 1610 witnessed the full development of his powers as a portrait painter. His personal style of portrait painting begins with the Burial of the Count of Orgaz, and closes with his great masterpiece, the portrait of his friend Paravicino, painted in 1609 or 1610. The Saint Joseph and the Christ Child, was painted in 1597, the year which marks the beginning of a whole series of important commissions which keep him occupied until his death in 1614. Late years Toward the end of his life, the supernatural takes over. The late Immaculate Conception is not so much an expression of the mystery as its realisation in painting. A parallel expression is found only in the mystic poets of his time: 'On a Night dark and unfathomable, as anguish was consumed in flames of Love . . . I left my house, tranquil and calm, unseen and I not seeing, without any guide but the light that burned in my heart, . . . more resplendent than the Noon . . .' In his 'Songs of the Soul', Saint John of the Cross, El Greco's almost exact contemporary, expresses the same infinity of spiritual space, in which an all-resplendent light and an infinite darkness are compatible. The towering, rock-like form of Saint Peter, and the ecstatic Visitation, with its strange impression of the 'coming together of two celestial bodies in space' (Cam�n-Aznar, Dominico Greco, 1950), belong to the same commission as the Immaculate Conception. His Penitent Saint Jerome is a purely spiritual presence, whose material being is dissolved in the impassioned handling. The tremendous vision of Saint John belongs to his last unfinished commission for the Hospital de San Juan Bautista, Toledo, and this vision of the Apocalypse fitly closes his career. Contemporary view on El Greco It was in 1611 that Pacheco visited El Greco in Toledo. The erudite Sevillian painter was collecting material for his 'Book of Portraits' of eminent men and his 'Art of Painting', and made the journey to meet the great painter of Toledo whose fame had reached Seville. The Sevillian gives an honest and discerning report, in which admiration and understanding are mixed with a certain perplexity. It is the only contemporary account of El Greco's personality, ideas and methods of painting - apart from the eulogies of G�ngora and Paravicino. Pacheco's learned theories, if not his real sympathies, sought to uphold the primacy of Italian Renaissance painting, whose one exemplar was Michelangelo. He asks El Greco his opinion of Michelangelo as a painter, and El Greco shrewdly replies that he was not a painter, but that he was 'a good man'. This was one 'discerning remark' not appreciated by Pacheco, who was however not too surprised, for Domenikos was 'singular in everything'. There is, indeed, a truth in El Greco's reply: Michelangelo was essentially the great sculptor of the century, concerned with the human figure, form and drawing: El Greco was the great painter of the century, concerned with colour, whose art had less in common with that of the great Italian master than with that of the great contemporary poets and mystics, Paravicino and G�ngora, Saint John of the Cross and Saint Teresa of Jesus. There is, however, a remarkable consonance between the late endeavours of Michelangelo as a sculptor and El Greco as a painter, each of whom exploited to the limits the expressive possibilities of their respective materials - form and colour. Pacheco watched El Greco paint, and describes for us his 'open' and flexible technique; his diligence in making small-scale preparatory paintings; how he began with painting the design in red or black chiaroscuro - not a drawing, but the first broad statement of the design and movement in tone. The more general and 'certain' course was to make a precise delineation of the forms, and then 'fill in' with the 'final colours'. El Greco's method included no drawing or filling in, but was essentially the heightening of the first broad preliminary painting by superimposing passages and touches of colour, until he had given a final variety and effectiveness to the colours, and vitality to the design. It was the last essential touches, those 'sketchy brushstrokes made to affect dexterity', that Pacheco was unable to understand. His infinitely flexible technique, including the use of superimposed glazes of colour as well as touches of pure paint, sought to give that living quality to his paintings, observed by G�ngora: 'His brush gave life and soul to the canvas.' Followers Like all great independent geniuses, El Greco could have no real followers. His own son was no more than a superficial imitator, who could not appreciate the essential inspiration that informed his painting. He was the one outstanding painter of his age, and no painter has better expressed the spirit of a particular time and place. He was understood by only a few in his time, and soon after his death was more or less forgotten. It is true that Vel�zquez and Zurbaran, who began studying painting in the 1610s, were able to find inspiration in the great Toledan's portrait and devotional art, and two hundred years later, Goya certainly paid homage to the master when he painted his Taking of Christ to hang next to the Espolio in the Sacristy of Toledo Cathedral. Delacroix the great colourist, owned one of his paintings. To the exponents of naturalism and Impressionism El Greco's art could mean little. C�zanne's copying of the portrait of Jer�nima de las Cuevas appears appropriately as a herald of the recognition that was soon to follow. The first real appraisal was Cossio's work published in 1908. It is El Greco's independence and artistic integrity, and the essential freedom and painterly quality of his work that have appealed to the present century. The resurrection of his painting in our times has encouraged attempts to make up a biography of the man. The very absence of records has encouraged a belief in his exotic character, and has allowed various misinformed explanations of his art. It is no longer necessary to consider defective vision, mental aberration or drug addiction as explanations for his painting. Neither can we know him better by seeking to put an intriguing interpretation on his relationship with Do�a Jer�nima. The fact is, we know practically nothing about the man: time has preserved for us only the splendid revelations of one of the greatest and most individual masters of colour.	i don't know
Mary Alice Young was the dead narrator of which TV drama?	Brenda Strong - Movies and TV \| TWC Central Share Brenda Strong Brenda Lee Strong (born March 25, 1960) is an American actress and yoga instructor, best known for her role as Mary Alice Young on the ABC television comedy-drama series Desperate Housewives (2004–2012), for which she was nominated for two Emmy Awards. She also is known for role as Sally Sasser on the ABC comedy-drama Sports Night (1998–2000) and currently starring as Ann Ewing on the TNT drama series Dallas . Talk about them!	Desperate Housewives
Which body of water is nicknamed ‘The Blue Eye Of Siberia’?	Mary Alice Fallon Yeskey - News 28 December 2016 6:33 PM, PST NEWS 20 December 2011 8:01 AM, PST \| TVfanatic \| See recent TVfanatic news » It's time for another TV Fanatic Report Card. Before our writers take a break for the holidays, we've forced them to stop and evaluate many of the shows they cover. From handing out a B+ for Revenge to a B- for Supernatural, they're here to look back at what worked and ahead to what they hope will happen. With that in mind, take it away, Christina Tran. Tell us how Desperate Housewives is faring halfway into it final season... Desperate Housewives Winter Premiere Promo Best Character: Chuck Vance has been an incredible addition to Fairview. It’s been easy to love to hate the creepy and sometimes scary detective. Ignited by a broken heart, Chuck’s definitely been the most interesting character and has kept me on the edge of my seat week in and week out. I’ve loved watching him try to solve Alejandro’s murder and making the ladies squirm. » - [email protected] (Christina Tran) Desperate Housewives 8.09 " Putting It Together " Recap Devoted viewers of Desperate Housewives know they can always count on an episode before a mid-season break or a season finale to dispense drama, emotional conflict and suspense – and tonight was no exception. Due to the events of the previous week, no one is talking to Bree, who, after failed attempts to speak to Susan and Gabrielle, goes to see Lynette. She apologizes for making a mess of things, while Lynette tells her that she can’t “bake her way out of this.” Bree tries to tell her she was only trying to protect them, and Lynette disagrees – she thinks Bree was trying to control them. When Bree tells her that they can’t do anything to the girls as long as they have their friendship, Lynette tells her there is no friendship anymore – or a group. Bree’s on her own. Sparked by » 7 October 2011 12:08 PM, PDT \| Zap2It - From Inside the Box \| See recent Zap2It - From Inside the Box news » No, there almost certainly won't be any spin-offs for " Desperate Housewives ," but most stars of the show seem content to have it go on forever. When the cast recently celebrated the final season of the landmark ABC series, Zap2it caught up with two oft underused players who we'd like to see enjoy particularly fruitful careers after the lights go out on Wisteria Lane. One of them has already lined up a sweet gig and the other has an interesting pitch... "I just think the last episode really needs to be something so compelling that it requires a Delfino spin-off, " James Denton tells us of his final season expectations. "Something so fascinating that there needs to be a show called 'The Delfinios.' That's all." He's kidding -- but not totally. "It's kind of nice that we had to quit, because I never would have left," he says. "As an actor, » - [email protected] 2 October 2011 8:00 PM, PDT \| TVfanatic \| See recent TVfanatic news » Another week, another solid installment of Desperate Houswewives. Once again, this episode made me realize how much I'm going to miss this phenomenal show. "Making the Connection" reminded me that I better enjoy this while it lasts because my Sundays will soon feel a bit empty without the Wisteria women’s sometimes bizarre and silly shenanigans. Speaking of which, I didn’t care too much for Susan’s ridiculous behavior. Typically, I easily overlook the outrageousness in shows such as Desperate Housewives , but Susan’s foolishness became annoying quickly. I got that she was feeling distant and longing for some punishment after smoking in a prohibited area and placing unrecyclable items in the recycle bin. I didn’t need to see her also stealing from the freebies, parking in a fire zone, or even assaulting a motorcycle. It just wasn’t funny and Susan was obviously having trouble with dealing with her guilt. » - [email protected] (Christina Tran) 2 October 2011 7:09 PM, PDT \| TVovermind.com \| See recent TVovermind.com news » Need a refresh of last week’s season premiere? Take a look at my recap. In this week’s episode, we have a lot of suspicion (the theme of the season, it seems) and as usual, plenty of hijinks. “Making The Connection” begins where we left off, with Bree on the receiving end of a disturbing letter not unlike the one Mary Alice received in her mailbox 8 years ago. In a voice-over, Mary Alice explains how she came about to be the original recipient and how she later killed herself to seal the secret from her friends and family. Karen McCluskey comes by and Bree asks if she’s seen anyone by her mailbox, explaining that she received a rather odd note. “It’s just a note, Bree...let it go,” says Karen. Ah, to have a secret on Wisteria Lane. Gabrielle, worried that her romantic connection was Carlos has » - Andrea Towers 25 September 2011 7:05 PM, PDT \| TVovermind.com \| See recent TVovermind.com news » It’s been a long 8 years for the women of Wisteria Lane. Together, the ladies have survived deaths, marital troubles, natural disasters, injuries/sicknesses, family issues…and that’s just the tip of the iceberg! The final season kicks off with a premiere aptly titled “Secrets That I Never Wanted To Know.” Always nice to begin on a dark note, right? Then again, this is Desperate Housewives we’re talking about, and I can count on the fingers of one hand the number of premieres that haven’t been full of drama. We start only minutes from where we left off at the end of last season – with Gabrielle saying goodbye to her neighbors as they leave the dinner party, unaware that they have just spent the evening with one pretty dead stepfather in their company. The ladies take care of driving the body to an undisclosed wooded location, where » - Andrea Towers 23 September 2011 6:08 PM, PDT \| Zap2It - From Inside the Box \| See recent Zap2It - From Inside the Box news » You've seen the ads. It's time to kiss them goodbye. And on Sept. 24, the long farewell begins. The eighth and final season of " Desperate Housewives " premieres this Sunday, and to celebrate the milestone, the cast gathered on Wisteria Lane (aka Universal Studios ' historic Colonial Street) earlier in the week to talk about the upcoming run. Zap2it was there, and in addition to getting some tidbits on what the ladies would like to see go down in the final season, we got a preview of what to expect during the return, "Secrets That I Never Want to Know." "Gaby's or Eva's?" Eva Longoria said when we inquired about her mental state going into the final stretch. "Eva's mental state is a little unstable... Gaby is stressed. The women are trying to cover up the murder. It's going to test their friendship but it's also going to test her marriage. » - [email protected] 14 September 2011 6:25 PM, PDT \| Zap2It - From Inside the Box \| See recent Zap2It - From Inside the Box news » Just as creator Marc Cherry teased in August, when it was revealed that Season 8 of " Desperate Housewives " would be its last, the final run of the ABC series is going back to its roots. "The mystery of this season hearkens back to the first season with Mary Alice ( Brenda Strong )," Cherry said. "This feels right as the mystery to take us out." That mystery picks up where things left off in the Season 7 finale, with the ladies trying to find a way of dealing with a dead body. And while most of the housewives rally around Gaby ( Eva Longoria ) after Carlos ( Ricardo Antonio Chavira ) kills her violent stepfather, the below clip from the season premiere, "Secrets That I Never Want to Keep," has at least one of them getting cold feet about the cover up.(It's Susan ( Teri Hatcher ), in case you didn't guess.) Good thing Bree ( Marcia Cross ) is » - [email protected] 12 September 2011 5:35 PM, PDT \| EW - Inside Movies \| See recent EW.com - Inside Movies news » Whitney Houston hasn’t made a movie since 1996′s The Preacher’s Wife, but EW has confirmed she’s in negotiations to head back to the big screen — in a big way — with the Sony remake of the 1976 movie-musical Sparkle , which is very loosely based on the story of the Supremes. American Idol season 6 winner Jordin Sparks and comedian Mike Epps are already attached to the cast. Mara Brock Akil , who created TV series The Game and Girlfriends , wrote the film’s script; her husband, director Salim Akil ( The Game ), will helm the movie. (The Hollywood Reporter first reported the news. » - Tanner Stransky 12 September 2011 4:00 AM, PDT \| TVGuide - Breaking News \| See recent TVGuide - Breaking News news » Creator Marc Cherry tells me he's known since the first season of ABC's Desperate Housewives how he wants the show to end. That said, while he's reluctant to offer specifics, he promises "a satisfying and logical end" in the May finale. "There is an idea behind this show that has to do with the frustrations of ordinary women, so you'll see my feelings about why that life is worth it," he says. "There will be huge, life-changing events for all the women." My prediction? Mirroring the drama's premiere, in which murderer Mary Alice blew her brains out, the cover-up of Gaby's stepdad's murder will lead one of the Housewives to attempt suicide.... Read More > » 23 August 2011 4:34 PM, PDT \| TVLine.com \| See recent TVLine.com news » Got a scoop request? An anonymous tip you’re dying to share? Just want to say hi? Send any/all of the above to [email protected] Question: Any scoop on Desperate Housewives ‘ central mystery this season? Please tell there’s more to it than just the ladies playing cat-and-mouse with the cops over the death of Gabby’s stepfather. —Nadia Ausiello: There’s more to it. According to executive producer Bob Daily , “There is a big reveal at the end of the first episode that ties us back into the first season in an interesting way.” Daily confirms that » - Michael Ausiello 15 August 2011 7:57 AM, PDT \| Digital Spy \| See recent Digital Spy - Movie News news » Brenda Strong has promised that her Dallas character is not a "wallflower". The actress will play Ann, the wife of Bobby Ewing ( Patrick Duffy ), in TNT's upcoming revamp of the classic series. Strong has now told TV Guide that there are a number of differences between Ann and her Desperate Housewives character Mary Alice Young. " Mary Alice in a lot of ways was very restricted in her ability to be expressed because she did kill herself in the first episode," she explained. "My hands have been a bit tied and I feel like the gloves have just come off [in Dallas]." Strong continued: "Even though I'm Bobby Ewing's wife, she is not a wallflower. This is a woman who's got resources of her (more) » - By Catriona Wightman 14 August 2011 7:30 PM, PDT \| TVGuide - Breaking News \| See recent TVGuide - Breaking News news » It's been eight seasons since Mary Alice Young put a revolver to her head and pulled the trigger on the first episode of Desperate Housewives . But the woman behind the voice of Wisteria Lane isn't ready to give up the ghost just yet. "The reality of the loss of the show hasn't really hit me yet," Brenda Strong tells TVGuide.com of the series' end. "I have a feeling as the season progresses, it's going to be hard for me not to cry when I do the voice-over simply because it means so much to me and the show has meant so much to me." Is Desperate Housewives on your Watchlist? Add it and your other favorites now and never miss an episode However, the actress is getting ready to say goodbye in a big way. Producers have stated that the drama's final season will feature more on-screen appearances by Mary Alice . » - Kate Stanhope 8 August 2011 8:25 PM, PDT \| TVLine.com \| See recent TVLine.com news » For once, the tears caught esteemed actress Felicity Huffman by surprise. Having often produced waterworks throughout her Emmy-winning seven-year run as Desperate Housewives ‘ Lynette, Huffman tried to put on her game face when apprised that the coming season would be the ABC drama’s last. But ultimately, the weight of the loss crept up on her. “I did that thing where when you hear big news, you kind of distance yourself from it,” Huffman shared at ABC’s Television Critics Association cocktail reception, just hours after Housewives‘ fate had been announced. “I was with my friend Sarah Paulson ( Studio 60 ), and she kept going, » - Matt Webb Mitovich 8 August 2011 4:41 AM, PDT \| Digital Spy \| See recent Digital Spy - Movie News news » Brenda Strong has revealed that her character Mary Alice Young will have a "bigger presence" in the final season of Desperate Housewives . Mary Alice is the narrator on the ABC series and was killed off in the first ever episode. However, Strong has reappeared in numerous flashback sequences during the show's past seven seasons. Following the announcement that creator Marc Cherry is bringing Desperate Housewives to a close at the end of the upcoming eighth run, Strong told Deadline that she expects to figure more heavily in the finale plotlines. "Marc has always said that he intended for Mary Alice to have a bigger presence (more) » - By Alex Fletcher 8 August 2011 3:24 AM, PDT \| The Guardian - TV News \| See recent The Guardian - TV News news » It was fun to start with, but wild behaviour and ridiculous events have left little to enjoy. Will you be watching its last series? After seven series, the "for sale" signs are finally going up on Wisteria Lane. Desperate Housewives has been losing viewers faster than Bree Van de Kamp mislays husbands, and ABC has announced the upcoming series eight will be the Housewives' last hurrah. Yet unlike many long-running dramas, its producers can't be accused of jumping the shark – because the pilot episode opened suspended in mid-air over the shark, and never landed. The show saddled itself from the outset with a dead narrator, Mary Alice Young, who, after blowing her brains out, returned in voice form to spy metaphysically on her ex-neighbours and make treacly observations about love and friendship. Initially, she at least had a role to play in overseeing the recovery of the body that she'd helped to kill. » - Flic Everett	i don't know
What is the common English name of Mozart’s Serenade for Strings in d major?	Music History 102 Born: Salzburg, January 27, 1756 Died: Vienna, December 5, 1791 At the age of four he could learn a piece of music in half an hour. At five he was playing the clavier incredibly well. At six he began composing, writing his first symphonies at the age of eight. He was constantly traveling all over Europe with his father, Leopold Mozart (1719-1787), a violinist, minor composer and Vice-Kapellmeister at the court of the Archbishop of Salzburg. The musical feats and tricks of young Wolfgang were exhibited to the courts (beginning in Munich in 1762), to musical academicians, and to the public. Between the ages of seven and fifteen, the young Mozart spent half of his time on tour. During these tours, Mozart heard, absorbed, and learned various European musical idioms, eventually crystallizing his own mature style. Fully expecting to find an ideal post outside his sleepy home town of Salzburg and the detested archiepiscopal court, in 1777 Wolfgang went on a tour with his mother to Munich, Mannheim, and Paris. It was in Paris that his mother died suddenly in July, 1778. With no prospects of a job, Mozart dejectedly returned to Salzburg in 1779 and became court organist to the Archbishop. Mozart finally achieved an unceremonious dismissal from the archiepiscopal court in 1781, and thereafter became one of the first musicians in history to embark upon a free-lance career, without benefit of church, court, or a rich patron. Mozart moved to Vienna where he lived for a time with the Webers, a family he had met in 1777. He eventually married Constanze Weber in August of1782, against the wishes and strict orders of his father. Then for a time, things began to look bright for the young composer. Beginning in 1782 with the Singspiel Die Entführung aus dem Serail (The Abduction from the Seraglio), Mozart began turning out one masterpiece after another in every form and genre. Mozart is probably the only composer in history to have written undisputed masterworks in virtually every musical genre of his age. His serenades, divertimenti and dances, written on request for the entertainment and outdoor parties of the nobility, have become synonomous with the Classical "age of elegance," and are perhaps best exemplified by the well-known Serenade in G major, which the composer called Eine kleine Nachtmusik (A little night music). In Vienna, Mozart became a regular at the court of Emperor Joseph II (1741-1790), where he wrote much of his greatest music. A sampling of Mozart's mature works comprise a virtual honor roll of musical masterpieces: the last ten string quartets, the string quintets, and the Quintet for clarinet and strings; the Mass in C minor and the unfinished Requiem; the Serenade for thirteen wind instruments, the Clarinet concerto, the late piano concertos, and the last six symphonies. Mozart's more than twenty piano concertos remain models of the classic concerto form, developed by him over time into works of symphonic breadth and scope. The concertos often begin with an elaborate sonata form first movement, followed by a tender and melodious second movement, and usually conclude with a brisk, engaging rondo, as in the Piano Concerto no. 22 in E-flat. In his last three symphonies, the second of which is the great Symphony no. 40 in G minor, Mozart infused this form with a passion and expressiveness unheard of in symphonic writing until the advent of Beethoven . Of Mozart's operas, Le nozze di Figaro (The Marriage of Figaro), composed for the Viennese court in 1786, is the earliest opera still found in the repertoire of virtually all of today's opera houses. Through his dramatic and musical genius, Mozart transformed such operatic comedies and characters into living, breathing dramas peopled with real human beings. He found a kindred spirit in this regard at the Viennese court in the person of Lorenzo da Ponte (1749-1838), who supplied Mozart with the librettos of his three Italian operatic masterpieces. Figaro was followed in 1787 by Don Giovanni (Don Juan), written for Prague, where Figaro had been an overwhelming success. The intensity of Mozart's music in the penultimate scene of Don Giovanni, in which the title character is dragged down to hell, unrepentant, at the hands of an avenging spirit, might even be said to have helped usher in the Romantic era . Having scaled the heights of Italian opera buffa, Mozart turned again to the German Singspiel in the final year of his life. Again he produced yet another masterpiece, this time with the unconventional combination of low comedy and high ideals. Die Zauberflöte (The Magic Flute) tells of a young prince who successfully endures the trials put to him by a fraternal priesthood in a search for truth and love, while the everyman character of Papageno in his song Der Vogelfänger bin ich, ja yearns for the earthly pleasures of wine, food, and female companionship. During his years in Vienna, Mozart also made the acquaintance of composer Franz Joseph Haydn . The two became close friends and the older composer's music had a profound influence on Mozart. Between 1782 and 1785, Mozart composed a series of six string quartets which he dedicated to Haydn. Upon playing through some of them together, Haydn said to Mozart's father, who was present, "Before God and as an honest man, your son is the greatest composer I know, either personally or by name." Yet through his mismanagement of money (and as a successful composer of operas and a reknowned piano virtuoso, he made a great deal), and the documented incidences of his tactless, impulsive, and at times childish behavior in an era of powdered wigs and courtly manners, Mozart seemed to find it difficult to make a successful living. By 1790 he was writing letters to friends, describing himself and his family (he and Constanze had six children, only two of which survived) in desperate circumstances and begging for money. He was also by this time seriously ill, and had been intermittently for some time, with what was most likely disease of the kidneys. With the success of The Magic Flute and a newly granted yearly stipend, Mozart was just beginning to become financially stable when his illness brought an end to his life and career at the age of thirty-six. He was buried, like most Viennese in those days by the decree of Emperor Joseph, in a common grave, the exact location of which remains unknown. The influence of Mozart on the composers that followed cannot be emphasized too strongly. He was idolized by such late nineteenth century composers as Richard Wagner and Peter Tchaikovsky ; and his music came to influence the neo-classical compositions of Igor Stravinsky and Sergei Prokofiev in the twentieth century. Music History 102: a Guide to Western Composers and their music Designed, compiled and created by Robert Sherrane	A Little Night Music
In which 1988 film did Davis play the title character with the surname Ufgood?	Wolfgang Amadeus Mozart - IMDb IMDb Soundtrack \| Music Department \| Composer Wolfgang Amadeus Mozart grew up in Salzburg under the regulation of his strict father Leopold who also was a famous composer of his time. His abilities in music were obvious even when Mozart was still young so that in 1762 at the age of six, his father took him with his elder sister on a concert tour to Munich and Vienna and a second one from 1763... See full bio » Born: a list of 30 people created 14 Aug 2011 a list of 44 people created 27 Dec 2012 a list of 42 people created 12 Jan 2013 a list of 37 people created 13 Dec 2013 a list of 31 people created 21 Dec 2013 Do you have a demo reel? Add it to your IMDbPage How much of Wolfgang Amadeus Mozart's work have you seen? User Polls 2016 Soft Matter (writer: "Clarinet Concerto in A, K. 622, II. Adagio") ( completed ) 2014 Dress Rehearsal (Short) (writer: "Porgi Amor", "Voi Che Sapete", "Papagena and Papageno") ( completed ) 2014-2016 Mozart in the Jungle (TV Series) (writer - 11 episodes) - Circles Within Circles (2016) ... (writer: "Serenade No. 9 in D Major, K. 320, Posthorn: Rondo. Allegro ma non troppo", "Serenade No. 9 in D Major, K. 320, Posthorn: VII. Finale: Presto" - uncredited) - Now I Will Sing (2016) ... (writer: "Là Ci Darem La Mano") - You're the Best or You F'ing Suck (2016) ... (writer: "Oboe Concerto in C Major, K. 314: I. Allegro aperto", "Fantasy No.1 in A Major", "Concerto in C Major for Oboe and Orchestra K 314: Allegro Aperto", "Concerto in C Major for Oboe and Orchestra 314: Rondo allegretto" - uncredited) - La Fiamma (2016) ... (writer: "Pa-Pa-Pa-Papa Gena" - uncredited) - Home (2015) ... (writer: "Piano Concerto", "Requiem In D Minor K. 626 -Confutatis Maledictis", "Oboe Concerto In C Major, 3rd Movement") 2016 The Moonstone (TV Mini-Series) (1 episode) - Episode #1.1 (2016) ... ("Piano Sonata K545 'Facile' in C major, 1st movement") 2016 Tähdet, tähdet (TV Series) (writer - 1 episode) - Ooppera (2016) ... (writer: "Der Hölle Rache", "Se Vuol Ballare") 2015-2016 This Life (TV Series) (writer - 2 episodes) - Stay Positive (2016) ... (writer: "Piano Concerto in B-Flat Major KV595, No. 27 - Larghetto" - as Mozart) 2016 Merlí (TV Series) (writer - 2 episodes) - Thomas Hobbes (2016) ... (writer: "La flauta màgica: O Zitre Nicht" - as W.A. Mozart) - Els Presocràtics (2016) ... (writer: "La flauta màgica: Obertura" - as W.A. Mozart) 2016 Forza Horizon 3 (Video Game) (writer: "Allegro" - as Wolfgang Mozart) 2016 Riphagen (writer: "Mozart Grosse Messe in C-Moll") 2016/II Denial ("Dies Bildnis Ist Bezaubernd Schon") 2016/II Barry (writer: "Divertimento in B Flat - Allegro" - as Wolfgang Mozart) 2016 Who's Doing the Dishes? (TV Series) (writer - 1 episode) - Tamara Beckwith (2016) ... (writer: "Eine kleine Nachtmusik" - uncredited) 2016/I Moonlight (writer: "Laudate Dominum from Vesperae Solennes de Confessore, K. 339") 2016 Talons (writer: "Sinfonía N° 40" - as Mozart) 2016 Bad Moms (writer: "Piano Quartet No. 2") 2016 Snowden ("String Quartet No. 19 in C, K. 465, Dissonance III. Allegretto") 2016 Mr. Robot (TV Series) (performer - 1 episode) - eps2.0_unm4sk-pt1.tc (2016) ... (performer: "The Marriage of Figaro, K. 492: Overture" - uncredited) 2016 T-Crew (Short) (writer: "Symphony 38 in D Major") 2016 Now You See Me 2 (writer: "The Magic Flute, K.620, Act II: Der Hölle Rache") 2016 Cranium Intel (writer: "Piano Concerto No. 21 - Andante Execution") 2016 Divines (writer: "Mass No. 19 in D Minor, K. 626, "Requiem": VII. Lacrimosa ") 2016 La mort de Louis XIV (writer: "Mass in C Minor, K. 427") 2016 Mercenary (writer: "Deh Vieni Alla Finestra- Don Giovanni" - as W.A Mozart) 2016 From the Land of the Moon ("Andante (sonate en Do Majeur KV 545)") 2016/I The Darkness (writer: "Mozart Piano Sonata in A" - as W.A. Mozart) 2016 How to Shake Off a Bride (writer: "Rondo alla turca") 2016 Florence Foster Jenkins (writer: "Der Hölle Rache Kocht in Meinem Herzen (Queen of the Night's Aria)") 2016 The Brontes at the BBC (TV Movie documentary) ("Symphony No. 41 'Jupiter' in C major", uncredited) 2016 Hitman (Video Game) (as W.A. Mozart, "Ave verum corpus, K. 618") 2016 Brooklyn Nine-Nine (TV Series) (writer - 1 episode) - Cheddar (2016) ... (writer: "Eine kleine Nachtmusik, K. 525" - uncredited) - The Race Card (2016) ... (writer: "String Quartet No. 1 in G, K. 80: IV. Rondo" - uncredited) 2016 Mindenki (Short) (writer: "Pajtás, Örvendj") 2016 The Great Gilly Hopkins (writer: "SYMPHONY NO. 40 MOLTO ALLEGRO") 2016 Nick Shades: Entscheidung (Short) (writer: "Piano Sonata No.16 in C major, K.545") 2016 Wine & Gossip (TV Series) (writer - 1 episode) - Episode #1.2 (2016) ... (writer: "Clarinet Concerto in A K. 622, II. Adagio" - as Mozart) 2016 Agent Carter (TV Series) (writer - 1 episode) - Monsters (2016) ... (writer: "Violin Concerto No. 3 in G Major, K. 216: I. Allegro" - uncredited) 2016 Triple 9 (writer: "Mozart's Divertimento in F, K.138") 2016 The Blacklist (TV Series) (performer - 1 episode) - Lady Ambrosia (No. 77) (2016) ... (performer: "Sonata for Piano No. 8 in A Minor, K. 310: III. Presto" - uncredited) - Mac Fights Gay Marriage (2010) ... (writer: "Symphony #40 in G Minor" - uncredited) 2016 PBS NewsHour (TV Series) (writer - 1 episode) - Episode dated 26 January 2016 (2016) ... (writer: "Symphony No. 40 in G minor") 2016 Love & Friendship (writer: "March" from "Idomeneo", "Soave sia il vento" from "Cosi Fan Tutte") 2016 The Boy (writer: "The Magic Flute, K.260, Act II: Der Hölle Rache") 2016 How to Be Single (writer: "Mozart K577, 3rd Movement in B Flat Major") 2016 Zauberhaftes Salzburg - 200 Jahre bei Österreich (TV Movie) (music: "Klarinettenquintett A-Dur, KV 581", "Die Zauberflöte, KV 620", "Don Giovanni, KV 527") 2015 A Spiritual Matter (TV Movie) (as W.A. Mozart, "La Flûte enchantée - Duo Papageno-Papagena") 2015 Blood Redd (writer: "Turkish March" - as Mozart) 2015/II Invisible Ink ("Don Giavonni, K. 527", uncredited) 2015 When the World Came to San Francisco (Documentary) (writer: "Piano Concerto no. 20 in D minor, K. 466 - Romance") 2015 Criminal Minds (TV Series) (music - 1 episode) - The Night Watch (2015) ... (music: "Non piu andrai" - uncredited) 2015 Rediscovering India (Documentary) (writer: "Child in You" - as W. A. Mozart) 2015 The Colony (writer: "LAUDATE DOMINUM") 2015 Truth (writer: "String Quartet #1 - Allegro Assai" - as Wolfgang Mozart) 2015 Francis: Pray for Me (writer: "Mass nº18 in C Minor, K. 427, Great - Credo Et incarnatus est") 2015 Catalunya aixeca el teló (TV Movie) (music: "El rapte del serrall") 2015 Marguerite (writer: "Der Hölle Rache" , "Voi Che Sapete" - as Mozart) / (writer: "Ouverture" from Die Zauberflöte, "Adagio" from "Serenade No. 10, K 361") 2015 StalkHer (writer: "Cosi Fan Tutte (Soave sia il vento)" - as Mozart) 2015 Casanova (TV Movie) (writer: "The Magic Flute-Pa-Pa-Pa-Papagena!" - uncredited) 2015 Beauty and the Beast (TV Series) (writer - 1 episode) - Shotgun Wedding (2015) ... (writer: "Serenade No. 13 in G Major, K. 525, Eine kleine Nachtmusik: II. Romance. Andante" - uncredited) 2015 Wedding Doll (writer: "Mozart K622") 2015 Wimbledon (TV Series) (writer - 1 episode) 2015 Becks letzter Sommer ("Classic Medley") 2015 Davide penitente als Pferdeballett (TV Special) (music: "March of the Priests", "Masonic Funeral Music", "Davide penitente") 2015 The Surrogate Mother (TV Movie) (music: "Don Giovanni: Act I; "Ah fuggi il traditor" (Donna Elvira)) 2015 Ahora o nunca (writer: "Piano Sonata #11 In A. K 331 - 3. Rondo Alla Turca" - as W.A Mozart) 2015 April and the Extraordinary World (writer: "Eine kleine Nachtmusik, K 525: I. Allegro") 2015 Distractions (writer: "Requiem / Once Upon A Time") 2015 Bullets, Fangs and Dinner at 8 (writer: "Mozart Piano Concerto No. 21", "Mozart Requiem Introitus") 2015/I Too Late (writer: "Piano Sonata No. 1") 2015/I Tommy (Short) (writer: "Requiem, K. 626: Confutatis") 2015 El Show de Marquez & Montero and Company (TV Series) (writer - 1 episode) - Episode #1.2 (2015) ... (writer: "Concerto No.1 In F Major - Allegro") 2015 Nos femmes (writer: "Piano Concerto No. 23 (Adagio)") 2015 Locked Up (TV Series) (writer - 1 episode) - Episode #1.2 (2015) ... (writer: "Piano Concerto nº12 in A 1 Allegro DG") 2015 Miraklet i Viskan (writer: "Laudate Dominum K 339") 2015 12 Monkeys (TV Series) (writer - 2 episodes) - Arms of Mine (2015) ... (writer: "Concerto for Piano and Orchestra in A Major, K.488: II. Adagio " - as Mozart, uncredited) - Shonin (2015) ... (writer: "Ave Verum Corpus, K.618" - uncredited) 2014-2015 Forever (TV Series) (writer - 2 episodes) 2015 Once Upon a Time (TV Series) (writer - 1 episode) - Poor Unfortunate Soul (2015) ... (writer: "Cosi fan tutte: Soave sia il vento" - uncredited) 2015 Danny Collins (writer: "Piano Sonata in C Major Andante 5") 2015 Spy (writer: "String Quartet, G Major - 2nd Mvt.") 2015 Creative Control (writer: "Piano Concerto No 21 in C, K, 467- Andante" - as W.A. Mozart) 2015 Better Call Saul (TV Series) (performer - 1 episode) - Alpine Shepherd Boy (2015) ... (performer: "Cosi Fan Tutte: Soave Sia Il Vento") 2015 Passing By (Short) (writer: "Piano Sonata No.11" - as Mozart) 2015 After the Ball (writer: "Eine kleine Nachtmusik" - uncredited) 2015 The Lazarus Effect (writer: "Queen of the Night Aria from The Magic Flute") 2015 Woman in Gold (performer: "Deh vieni alla finestra") 2015 Mr Selfridge (TV Series) (1 episode) - Episode #3.3 (2015) ... ("String Quartet No. 5 in F, K. 158: Tempo Di Menuetto", uncredited) 2015 45 Years (writer: "Rondo in D major, K. 382", "Symphony No. 25 in G minor, KV 183, Andante") - Energy and Safety with the Justice League (2015) ... (writer: "Dies Irae" - as Mozart) 2015 Clever Girl (TV Series) (writer - 1 episode) - The Petersburg Girl (2015) ... (writer: "Rex Tremendae" from Requiem in D Minor) 2015 Uncanny ("Sonata in C for Violin and Piano K.296") 2015 Catastrophe (TV Series) (writer - 1 episode) - Episode #1.1 (2015) ... (writer: "Duettino - Sull'aria") 2015/II 88 (writer: "SM12589 W.MOZART - DON GIOVANNI - "Là ci darem la mano") 2015 Million Dollar American Princesses (TV Mini-Series) (1 episode) - Cash for Class (2015) ... ("Piano Sonata No 11 in A major K 331 Third movement - Rondo Alla Turca ", uncredited) 2014 The Fourth Wall (Short) (writer: "Piano Concerto No. 21") 2014 Dumb and Dumber To (writer: "Piano Quartet in G Minor") 2014 Alpha House (TV Series) (writer - 1 episode) - The Apparition (2014) ... (writer: "Eine Kleine Nachtmusik, K. 525 Romance" - uncredited) 2014 American Descent (writer: "Giunse Al Fin Deh Vieni") 2014 The Easy Way Out (writer: "Quam Olim Abrahae" - as Mozart) 2014 The Originals (TV Series) (writer - 1 episode) - Rebirth (2014) ... (writer: "Requiem" - uncredited) 2014 The Book of Life (writer: "Piano Concerto No.22") 2014 Silent Heart (writer: "Piano Sonata no 12 in F Major" - as Mozart) 2014 Danny's Doomsday (writer: "Symphony No. 40 in G-Minor, 1st Movement") 2014 My Old Lady ("La ci darem la mano", uncredited) 2014 The Strain (TV Series) (writer - 1 episode) - The Disappeared (2014) ... (writer: "O Isis und Osiris") 2014 Beyond the Reach (writer: "Mozart: Piano Concerto No. 22 in E-Flat Major, K. 482: III. Allegro") 2014 The New Girlfriend (writer: "Vesperae Solennes - Laudate Dominum K. 339") 2014 While We're Young (writer: "ALLEGRO [PIANO CONCERTO NO. 9 IN E FLAT, K.271 - 'JEUNEHOMME']") 2014 Christmas, Again (writer: "Ave Verum Corpus") 2014 Let's Be Cops (writer: "String Quartet In G Major") 2014 Royal Pains (TV Series) (writer - 1 episode) - Good Air/Bad Air (2014) ... (writer: "Eine Kleine Nachtmusick, K. 525: II. Romanzze - Andante" - uncredited) 2014 The Hundred-Foot Journey (writer: "Mozart String Quartet No 16 in E Flat Major, KV 428") 2014 O Jantar (Short) (writer: "The Magic Flute - Opera Overture, KV. 620") 2014/I Lucy (writer: "Mass No. 19 in D Minor, K.626 'Requiem': Introitus: 'Requiem Aeternam'") 2014 Hemlock Grove (TV Series) (writer - 1 episode) - Lost Generation (2014) ... (writer: "Mozart: Lacrimosa" - uncredited) 2014 The Lachrymist (Short) (writer: "Lacrymosa") 2014 Last Weekend (writer: "Cosi fan tutte" K.588: 'Soave sia il vento') 2014 Gomorrah (TV Series) (writer - 1 episode) 2014 Beauty & the Beat: Tarja Turunen & Mike Terrana (Video) (writer: "Eine kleine Nachtmusik") 2014 Misunderstood (writer: "Requiem in D minor K. 626") 2014 Cysgod Rhyfel (Documentary) (writer: "Ave Verum Corpus") 2014 Saint Laurent ("Piano Concerto N°20 in D Minor K 466 (Allegro)") 2014 The Captive (music: "Der hölle Rache" - as W.A. Mozart) 2014 Million Dollar Arm (writer: "Serenade For 13 Wind Instruments") 2014 Supernatural (TV Series) (writer - 1 episode) - King of the Damned (2014) ... (writer: "Piano Sonata No. 11 in A Major, K. 331 / K. 300i: III. Rondo Alla Turca - Allegretto") 2014 Caffeine Madness (Short) (writer: "Andante") 2013-2014 Endeavour (TV Series) (writer - 2 episodes) - Sway (2014) ... (writer: "Lacrymosa" - from the Mozart Requiem) - Girl (2013) ... (writer: "C Minor Mass" - as W A Mozart) The Simpsons (TV Series) (1 episode, 2013) (writer - 8 episodes, 1990 - 2014) (music - 1 episode, 2007) 2014 Rio 2 (writer: "Rondo Alla Turca, Piano Sonata No. 11") 2014 The Americans (TV Series) (writer - 1 episode) - A Little Night Music (2014) ... (writer: "Eine Kleine Nachtmusik" - uncredited) 2013-2014 Hannibal (TV Series) (writer - 3 episodes) - Hassun (2014) ... (writer: "Don Giovanni, K. 527, Act I: Dalla sua pace") - Sorbet (2013) ... (writer: "Requiem in D minor K626: Lacrimosa" - uncredited) - Coquilles (2013) ... (writer: "Adagio: from Concerto for Clarinet & Orchestra in a Major K622" - uncredited) 2014 We'll Never Have Paris (writer: "Violin Concerto No. 2 in D Major, K. 211") 2014 The Mend (writer: "Le nozze di Figaro, K. 492: Act IV. No. 29: Gente, gente, all'armi, all'armi!") 2014 Kelly & Cal (writer: "Piano Sonata In D K578 - 1st Movement - Allegro") 2014 The Way He Looks (writer: "Violin Concerto No.3") 2013-2014 Elementary (TV Series) (writer - 2 episodes) - Dead Clade Walking (2014) ... (writer: "Le Nozze Di Figaro, K. 492: The Marriage of Figaro" - uncredited) - Risk Management (2013) ... (writer: "Don Giovanni. K.527: Overture") 2014 High Performance (writer: "Divertimento KV 563 Es-Dur") 2014 The One I Love (writer: "Piano Concerto No.21, 2nd Movement") 2013 The Thrilling (Short) (writer: "The Marriage of Figaro" - as Mozart) 2013 Nymphomaniac: Vol. II (writer: "Requiem In D Minor: Requiem Aeternam", "Requiem Aeternam") 2013 The Good Wife (TV Series) (writer - 1 episode) - The Decision Tree (2013) ... (writer: "Eine Kleine Nachtmusik" - as Mozart, uncredited) 2013 The Time in Between (TV Series) (writer - 1 episode) - Episode #1.5 (2013) ... (writer: "Don Giovanni La ci darem la mano" - as W. A. Mozart) 2013 Le Boeuf clandestin (TV Movie) (music: "Une petite musique de nuit") 2013 M Is for Malnourished (Short) (writer: "Piano Concerto No. 21 Andante") 2013 Mop King (writer: "Sonata No. 16 in C Major") 2010-2013 White Collar (TV Series) (writer - 3 episodes) - Out of the Frying Pan (2013) ... (writer: "Madamina, il catalogo è questo" - as W.A. Mozart, uncredited) - Prisoner's Dilemma (2010) ... (writer: "Piano Sonata No. 12 in F, K. 332, 2nd Movement" - uncredited) - Copycat Caffrey (2010) ... (writer: "Piano Sonata No. 12 in F, K. 332, 2nd Movement" - uncredited) 2013 Barbie & Her Sisters in a Pony Tale (Video) (writer: "A Little Night Music" - uncredited) 2013 Buen Día, Ramón (writer: "Piano Concerto No. 20 in D Minor") 2013 Inheritance (Video short) (music: "Requiem, K. 626: Lacrimosa") - Episode #3.5 (2013) ... (writer: "Requiem" - uncredited) 2013 Doctors (TV Series) (writer - 1 episode) - Austenland: Part One (2013) ... (writer: "Voi Che Sapete (From Mozart's The Marriage of Figaro)") 2013 Cry, Queen of the Night (Short) (writer: "Der Hölle Rache kocht in meinem Herzen") 2013 The Japanese Dog (writer: "Twelve Variations on "Ah vous dirai-je, Maman" for Piano in C") 2013 Pride & Prejudice & Zombies (Short) (writer: "String Quartet in G Major", "Clarinet Concerto in B Flat Major [sic. in A major, K.622"]) 2013 Crook (writer: "Le Nozze di Figaro No. 11 Cavatina 'Porgi, Amor'") 2013 Partouze (Short) (music: "Die Entführung aus dem Serail, Act 3") 2013 Baggage Claim (writer: "Serenade No. 13 in G Major, K. 525, Eine Kleine Nachtmusik", "Rondo Concertante for Voilin and Orchestra in B Major KV 269") 2013 The Love Punch (writer: "Cise an Tutte - La MianDForabella") 2013 The Trouville Zone (Short) (writer: "Clarinet Concerto, K. 622, A ma: Adagio") 2013 One Chance (writer: "Allegro Con Brio from Symphony No. 25 in G Minor", "Confutatis maledictis from Requiem in D Minor, K. 626") 2013 The Last of Robin Hood (writer: "Piano Quartet in G Minor") 2013 The Fifth Estate (writer: "Violin Concerto No.5 In A Major Tempo Di Menuetto-Allegro Tempo Di Menuetto" - as Mozart) 2013 What Other Couples Do (writer: "Cosi fan tutte," K.588: "Soave sia il vento") 2013 The Film-Maker's Son (writer: "Le Nozze di Figaro," K.492, IV, no. 28: "Gente, gente, aiuto, aiuto!", "Zeffiretti Iusinghieri, Idomeneo, Act 3, No.19") 2013 Ida (writer: "Symphony N°41 in C Major Jupiter") 2013 Elemental Mass (Documentary) (writer: "Requiem, D minor, K.626") 2013/I Lee Daniels' The Butler (writer: "Piano Sonata No. 16 in C Major", "Variations for Piano on 'Ah, Vous Dirai-Je, Maman', K. 265", "Rondo No. 2 In C Major for Violin and Orchestra, K.373 Allegretto Grazioso") 2013 RED 2 (writer: "Act II Scene 2: Rondo - Per pieta, ben mio (Fiordiligi)") 2013 The Wolverine (writer: "Requiem KV 626 - Sequentia Rex Tremendae") Òpera en texans (TV Series) (writer - 1 episode, 2013) (music - 1 episode, 2012) - La flauta màgica (2013) ... (writer: "La reina de la nit - segona ària" - as Mozart) - Les noces de Fígaro (2012) ... (music: "Non più andrai") 2013/I Clutter (writer: "Exsultate Jubilate K165") 2013 Blue Is the Warmest Color (writer: "Clarinet Concerto in A major, K. 622. Adagio") 2013 Inside Llewyn Davis (writer: "Requiem in D Minor, Lacrimosa Dies") 2013 Jimmy P. (writer: "Symphony no 40 in G Minor (Andante)" - as W.A. Mozart) 2013 Young & Beautiful (writer: "March in D Major, K. 445") 2013 Modern Family (TV Series) (writer - 1 episode) 2009-2013 How I Met Your Mother (TV Series) (writer - 6 episodes) - The Bro Mitzvah (2013) ... (writer: "Piano Sonata No. 11 In A Major, K. 331: Rondo: Alla Turca" - uncredited) - Weekend at Barney's (2013) ... (writer: "Piano Sonata No. 11 In A Major, K. 331: Rondo: Alla Turca" - uncredited) - The Ashtray (2013) ... (writer: "Piano Sonata No. 11 In A Major, K. 331: Rondo: Alla Turca" - uncredited) - The Over-Correction (2012) ... (writer: "Piano Sonata No. 11 in A major, K. 331 (Alla Turca)" - uncredited) - Lobster Crawl (2012) ... (writer: "Piano Sonata No. 11 in A major, K. 331 (Alla Turca)" - uncredited) 2013 Revenge (TV Series) (writer - 1 episode) - Masquerade (2013) ... (writer: "Requiem in D Minor, K. 626: III. Sequentia: I. Dies Irae" - uncredited) 2013 The Noble Family (writer: "Overture of 'Die Hochzeit des Figaro'") 2013 The Frankenstein Theory (writer: "Requiem in D minor, K.626") 2013 21 & Over (writer: "Don Giovanni - II Mio Tesoro Intanto") 2013 Naked Opera (Documentary) (music: "Don Giovanni, K.527i") 2013 Boule & Bill (writer: "Variations, piano, on a Minuet by Duport, K. 573") 2013 Savannah (writer: "Sonata, violin and piano, no. 26, K. 378, B-flat major; arranged" - as W.A. Mozart) 2013 Night Train to Lisbon (writer: "Mozart Sonata N. 12 F-Dur") 2013 Our Nixon (Documentary) (writer: "Symphony, no. 40, G minor, K.550") 2013 Computer Chess (writer: "Serenade, string quintet, no. 13, K. 525 (Eine Kleine Nachtmusik)" - as W.A. Mozart) 2013 Hell Baby (writer: "Dies Irae from Requiem Mass In D Minor, KV626") 2013 The East (writer: "Divertimento No. 1") 2013 Broken City (writer: "Requiem in D minor, K.626: Intorit: Requiem aeternam") 2013 The Truth About Emanuel (writer: "Ruhe Sanft, Mein holdes Leben from Zaide, K.344") Family Guy (TV Series) (1 episode, 2006) (writer - 1 episode, 2013) - Brian's Play (2013) ... (writer: "Symphony No 29 In A, K 201; 1st Movement, Allegro Moderato" - as W. A. Mozart) - Peterotica (2006) ... ("Piano Sonata No. 11: Rondo Alla Turca") 2012 Symbol (Short) (music: "Piano Concerto No. 21 in C major, K. 467 (second movement: Andante)") 2012 Freeloaders (writer: "Eine Kleine Nahtmusik") 2012 Arròs covat (TV Series) (writer - 1 episode) - Arròs inflat part 1 (2012) ... (writer: "Requiem in D minor") 2012 Lincoln (writer: "Quintet No. 1 in B-Flat Major, K. 174, III. Menuetto Ma Allegretto", "Quintet No. 1 in B-Flat Major, K. 174, I. Allegro Moderto") 2012 Emily Owens M.D. (TV Series) (writer - 1 episode) - Emily and... the Outbreak (2012) ... (writer: "Symphony No. 40 In G Minor" - uncredited) 2012 Orchestra of Exiles (Documentary) (writer: "String Quintet No. 1 in B Flat, K. 174") 2012 Rake (TV Series) (writer - 1 episode) - Greene vs Hole (2012) ... (writer: "Piano Sonata No. 8 in A Minor, K. 310 II.Andante Cantabile") 2012 Becoming Redwood (writer: "Flute Concerto No.2, 1st Movement") 2012 Empreintes (TV Series documentary) (writer - 1 episode) 2012 The Tonight Show with Jay Leno (TV Series) (writer - 1 episode) - Carol Burnett/Armie Hammer/Lang Lang and Friends (2012) ... (writer: "Piano Sonata No. 11 in A major: Rondo alla Turca" - uncredited) 2012 666 Park Avenue (TV Series) (writer - 1 episode) - Pilot (2012) ... (writer: "Divertimento No. 17 In D Major, K. 334: I. Allegro") - Show #72 - Untergang mit Pauken und Trompeten (2012) ... (writer: "Die Hochzeit des Figaro: Ouverture") 2012 Life Is No Joke (Short) (writer: "The Magic Flute Overture, K. 620" - as W. A. Mozart) 2012 Tricked (performer: "Der welcher wandelt diese Straße voll Beschwerden" (from "Die Zauberflöte")) 2012 Little Murders (writer: "Klaviersonate Nr. 16 C-Dur, 1. Allegro KV 545") 2012 Copper (TV Series) (writer - 1 episode) - La Tempête (2012) ... (writer: "Rondo Alla Turca" - uncredited) 2012 So You Think You Can Dance (TV Series) (writer - 1 episode) - Top 4 Perform (2012) ... (writer: "Eine kleine Nachtmusik" (District 78 remix)) 2012 Dead Shadows (writer: "Sonate en Ut Mineur,K.457:Allegro Molto") 2012 In the House (as W.A Mozart, "March in D major K.445") 2012 The Lords of Salem (writer: "Requiem In D Minor, K 626 - Sequentia: Lacrimosa Dies Illa") 2012 Ecobot (Short) (writer: "Lacrimosa") 2012 Passion (writer: "VIOLIN CONCERTO No 4 IN D MAJOR K.218 (ALLEGRO)") 2012 Frances Ha (writer: "String Quartet in G Major K387 1st Movement") 2012 Requiem 70 (Short) (music: "Requiem") 2012 Step Up Revolution (writer: "String Quartet No. 17 in B flat major, K.458 Hunt") 2012 Ruby Sparks (writer: "String Quartet in F Major, K 590 Menuetto; Alleretto") 2012 Nostalgia Critic (TV Series) (music - 1 episode) - The Top 11 Awesome Movie Themes (2012) ... (music: "Requiem in D Minor" - uncredited) 2012 Episodes (TV Series) (writer - 1 episode) - Episode Nine (2012) ... (writer: "Dove Sono" - uncredited) 2012 It's a Disaster (writer: "Piano Concerto No. 21") 2012 CineMaverick TV (TV Series documentary) (writer - 1 episode) - Episode #1.15 (2012) ... (writer: "The Magic Flute: Overture") 2012 Granny's Funeral (writer: "Cosi Fan Tutte' (K.588)) 2012 Moonrise Kingdom (music: "Soave sia il vento") 2012 Eddie: The Sleepwalking Cannibal (writer: "Der Hölle Rache; Königin der Nacht") 2012 Lilyhammer (TV Series) (writer - 1 episode) - My Kind of Town (2012) ... (writer: "Requiem In D Minor, K.V. 626: Lacrymosa") - Mort i espiritualitat (2012) ... (writer: "Rèquiem (Lacrimosa)") Fringe (TV Series) (writer - 3 episodes, 2010 - 2012) (performer - 1 episode, 2010) - Making Angels (2012) ... (writer: "Violin Concerto No.1 in B flat, K.207 - 3. Presto" - uncredited) - One Night in October (2011) ... (writer: "Requiem in D Minor" - uncredited) - The Box (2010) ... (performer: "The Marriage of Figaro, Act I" - uncredited) / (writer: "The Marriage of Figaro, Act I" - uncredited) 2012 Ghost Graduation (writer: "Requiem in D minor (K.626)" - uncredited) 2012 Silver Case (writer: "Piano Concerto No. 21 'Elvira Madigan' Andante", "Le Nozze di Figaro, Overture") 2012 California Solo (writer: "Requiem Aeternam From Requiem In D Minor") 2012 Bachelorette (writer: "Quartet for Strings No. 17 Haydn Quartet No. 4 in B flat Major KV 458: Allegro vivace assai", "Quartet for Strings No. 14 Haydn Quartet No. 1 in G Major KV 387: Allegro vivace assai", "Piano Concerto No. 21 in C Major, K. 467: Elvira Madigan - III. Allegro vivace assai", "Symphony No. 9 in C Major, K. 73 I. Allegro") 2012 Liberal Arts (music: "Soave sia il vento") 2012 Robot & Frank (writer: "Fugue in C minor. K.546", "Requiem Mass") 2012 Hello I Must Be Going (writer: "Non Piu Andrai (The Marriage of Figaro)") 2011 Straight Out (Short) (writer: "Eine kleine Nachtmusik (First Movement)") - Jimmy Fallon/Michael Bublé (2011) ... (writer: "Eine Kleine Nachtmusik") - Walter Matthau (1978) ... (writer: "Dalla Sua Pace" - uncredited) 2011 Enlightened (TV Series) (writer - 1 episode) - Burn It Down (2011) ... (writer: "Der Holle Rache (The Magic Flute)" - as Mozart, uncredited) 2011 Sherlock Holmes: A Game of Shadows ("Eine kleine Nachtmusik", uncredited) / (writer: "L'Ultima Prova" from "Don Giovanni", "Ah, Signor Per Carita" from "Don Giovanni", "Don Giovanni a Cenar Teco" from "Don Giovanni") 2011 The Sitter (writer: "Dove Sono - From The Marriage Of Figaro") 2011 Extinction: The G.M.O. Chronicles (writer: "Rondo Alla Turca") 2011 A Princess for Christmas (TV Movie) (writer: "Piano Concert No.20 in D Minor, 2nd Movement") 2011 Death in Paradise (TV Series) (writer - 1 episode) - Episode #1.2 (2011) ... (writer: "Le nozze di Figaro, K. 492, 3. Akt: Canzonetta sull aria... Che soave zeffiretto ( The Shawshank Redemption)" - uncredited) 2011 The Parade (writer: "Die Zauberflöte, K.620: Papagena") 2011 Makin' a Martini (Short) (writer: "Adagio in B Minor, KV 540.") 2011 City State (music: "Madamina, il catalogo") 2011 Die GlasBlasSing Quintett Show (TV Series) (writer - 1 episode) - Episode #1.2 (2011) ... (writer: "Piano Sonata No. 11 in A Major, K 331: III. Rondo Alla Turca" - uncredited) 2011 Memoria de mis putas tristes (writer: "Terzettino (Extract from 'Così fan tutte Ossia la scuola degli amanti')", "Quarteto de cuerda No. 7in B-Mayor") - La invasión de los zombies atómicos (2011) ... (writer: "Violinkonzert Nr.4 D-Dur, KV 218-Allegro") 2011 Mon arbre (writer: "Sonata in G Major K332") 2011 Simon & the Oaks (writer: "Piano Concerto No. 20 in D Minor, K466") 2011 3satfestival (TV Series) (writer - 1 episode) - GlasBlasSing Quintett: Keine Macht den Dosen (2011) ... (writer: "Piano Sonata No. 11 in A Major, K 331: III. Rondo Alla Turca" - uncredited) 2011 The Intouchables (music: "Ein Mädchen oder Weibchen") - Love Thy Neighbor (2011) ... (writer: "Eine Kleine Nachtmusik" - uncredited) 2011 The Lady (writer: "Piano Concerto No.23") 2011 Quixote's Island (writer: "Ouverture") 2011 The Moth Diaries (writer: "Fantasia in D minor K.397") 2011 Dark Horse (writer: "Flute Concerto in G Major, K. 313: I. Allegro Maestoso") Breaking Bad (TV Series) (performer - 1 episode, 2011) (writer - 1 episode, 2011) - Hermanos (2011) ... (performer: "Concerto in C For Flute & Harp, K-299 Andantino" - uncredited) / (writer: "Concerto in C For Flute & Harp, K-299 Andantino" - uncredited) 2011 Sins of the Father (Documentary) (writer: "Requiem Mass In D Minor, K. 626: VIII. Lacrimosa" - uncredited) 2011 Parásitos (TV Series) (writer - 2 episodes) - Parasitan Pie (2011) ... (writer: "Lacrimosa Die Irae, Requiem KV 626") - Parásitos Begins (2011) ... (writer: "Serenade No.13 in G Major, K. 525") 2011 Shark Night 3D (writer: "La Clemenza di Tito - Parto ma tu ben mio") 2011 Monsieur Lazhar (as Opus K331, Mozart, "Piano Sonata No.11 in A-major") 2011 The Art of Love (writer: "Petite Musique de Nuit", "Piano Sonata No 16, Andante" - as Mozart) 2011 The Change-Up (writer: "Eine Kleine Nachtmusik") 2011 Case départ (writer: "Sonate pour flute en Do Majeur, K14 Menuet", "Sonate pour flute en LA majeur, K12, Allegro", "Sonate pour fluteen si bemol, K10, Menuet" - as Mozart) 2011 Bernie (writer: "Eine Kleine Nachtmusik") 2011 Qualquer Gato Vira-Lata (writer: "Adágio - Clarinet Concertto in A-Dur K 622:II") 2011 The Pill (music: "Sonata, piano, no. 10, C major, K. 330") 2011 Special Collector's Edition (TV Series) (writer - 2 episodes) - Especial fin de temporada (2011) ... (writer: "Serenade No. 13 in G Major, K. 525 'A Little Night Music'- II", "Pieza para clave K.33 B", "Sonata para piano Facile") - Especial redoblajes (2011) ... (writer: "QUINTETO DE CUERDA EN SOL MENOR, K-516 - AGAGIO") 2011 Holby City (TV Series) (writer - 1 episode) - Step on Up (2011) ... (writer: "Mozart Concerto for Piano No. 20 in D Minor, K. 466: 2nd Movement Romance") 2011 House of Tolerance ("Piano Concert No.23 In A Major, KV488 (Adagio)") 2011 The Tree of Life (writer: "Piano Sonata No.16 in C Major K. 545") 2011 Chez Maupassant (TV Series) (music - 1 episode) - Yvette (2011) ... (music: "Don Giovanni") 2011 Les belles soeurs (TV Movie) (music: "LA FLÛTE ENCHANTÉE") 2011 Priest (writer: "Mozart: 3. Sequentia: Dies irae (Requiem in D minor, K. 626)") / (writer: "Mozart: 3. Sequentia: Tuba mirum (Requiem in D minor, K. 626)" - as Mozart) 2011 Mildred Pierce (TV Mini-Series) (writer - 1 episode) - Part Five (2011) ... (writer: "Der Holle Rache Kocht In Meinem Herzen") 2011 Jesus Henry Christ (writer: "Piano Sonata No. 18 in D - Adagio") 2011 Sucker Punch (writer: "REQUIEM IN D MINOR, K. 626: INTROIT: REQUIEM AETERNAM") 2011 Jane Eyre (writer: "Piano Sonata No. 11 In A Major, K.331, Third Movement: 'Alla Turca'" (C. 1783)) 2011 Suicide Room (as Wolfgang Amadeusz Mozart, "Piano concerto no. 23, A major, K. 488") Gossip Girl (TV Series) (writer - 1 episode, 2011) (music - 1 episode, 2008) - Panic Roommate (2011) ... (writer: "Divertimento No. 15 in B-flat Major K.287") - School Lies (2008) ... (music: "Piano Quartet in G Minor") Private Practice (TV Series) (1 episode, 2011) (writer - 1 episode, 2008) - Heaven Can Wait (2011) ... ("Piano Concerto No. 21, Elvira Madigan", uncredited) - Serving Two Masters (2008) ... (writer: "Turkish March" - uncredited) 2011 Salvation Boulevard (writer: "Requiem - Rex Tremendae" - as Wolfgang Mozart) 2011 From Prada to Nada (writer: "Divertimento No. 17 D-Maj. K. 334-Allegro") 2011 What a Beautiful Day (writer: "Serenade in E Minor also known as Little Night Music") 2011 Nicky's Family (Documentary) (writer: "Requiem Mass in D minor, KV 626 - Lacrimosa") 2011 Ponto da poesia (Video) (writer: "Sonatina do concerto para piano", "Kyrie") 2010 Corruption.Gov (writer: "Contra Dance") 2010/I Itch (Short) ("Piano Concerto, no. 23, A major, K.488: II: Adagio") 2010 Menschenliebe (writer: "Menuet from Don Giovanni", "Voi che sapete", "Das klinget so herrlich...", "Deh vieni alla finestra", "Gia la Mensa e preparata") 2010 Secret Garden (TV Series) (writer - 1 episode) - Episode #1.11 (2010) ... (writer: "Piano Concerto No. 21 - Andante" - uncredited) 2007-2010 Chuck (TV Series) (writer - 2 episodes) - Chuck Versus the Leftovers (2010) ... (writer: "Requiem Mass in D minor: Dies irae") - Chuck Versus the Tango (2007) ... (writer: "Duettino - Sull'aria" - uncredited) 2010 Chasing Madoff (Documentary) (music: "Lacrimosa", "Confutatis") 2010 Pure (writer: "Klarinetkonsert Sals 2 (Konsert, klarinett, orkester, K. 622, A-dur)", "Introitus och lacrimosa ur requiem (Rekviem, K. 626, d-moll)", "Symphoni nr 25 Sats 1 (Symfoni, nr 7, op. 92, A-dur" )) 2010 Adventure Time (TV Series) (writer - 1 episode) - The Eyes (2010) ... (writer: "Eine kleine Nachtmusik, K. 525 (excerpt)" - uncredited) 2010/I Adagio (Short) (writer: "Piano Concerto No. 21 'Elvira Madigan' Andante") 2010 The Byron Janis Story (TV Movie documentary) (music: "Sonata" - as Mozart) 2010 Parenthood (TV Series) (writer - 1 episode) - I'm Cooler Than You Think (2010) ... (writer: "Serenade No. 13" - uncredited) 2010/I Last Night (writer: "Symphony No. 16 in C Major KV 128 - Allegro Maestoso") 2010 The Ward (writer: "Cosi Fan Tutte") 2010 The King's Speech ("The Overture to La Nozze di Figaro") / (music: "Concerto for Clarinet in A Major: Allegro") 2010 Eat Pray Love (writer: "Der Hölle Rache Kocht In Meinem Herzen") 2010 Dinner for Schmucks (writer: "Sonata for Piano No. 17 in B Major (Allegro)" (1789)) 2010 Total Drama (TV Series) (performer - 1 episode) - Slap Slap Revolution (2010) ... (performer: "La Petite Musique de Nuit") 2010 True Blood (TV Series) (writer - 2 episodes) - Trouble (2010) ... (writer: "K. 459 Mozart Piano Concerto No. 19 in F major, I Allegro" - as Mozart, uncredited) - 9 Crimes (2010) ... (writer: "Concerto No. 19 for Piano and Orchestra" - uncredited) 2010 With Love... from the Age of Reason (writer: "Clarinet Concerto in A major, K. 622") 2010 Sasha ("Rondo alla Turka für Quartett und Papier") 2010 You Will Meet a Tall Dark Stranger (writer: "Serenade No. 6 In D Major, K. 239 III Rondo Allegretto") 2010 On Tour (writer: "The Magic Flute" - Overture, K.620) 2010 Midsomer Murders (TV Series) (writer - 1 episode) - The Made-to-Measure Murders (2010) ... (writer: "Requiem') 2010 Death to Romance (Short) (writer: "Requiem in D Minor", "Piano Sonata K33-II Adagio") 2010 Iron Man 2 (music: "Concerto in C Major For Flute and Harp") 2010 Dog Pound (writer: "Concerto Pour Piano No20" - as W.A.Mozart) - Plus belle que moi (2010) ... (writer: "Concerto pour piano n°21") 2010 Wild Target (writer: "Sinfonia Concertant in E-flat Major", "'Rondo alla Turca' from Piano Sonata No. 11 in A Major" - as W A Mozart) 2010 22 Bullets (writer: "Ikhtitaf Fi Assaraya" ("L'enlevement au serail") (misspelled as '...serial') - as Mozart) 2010 Kick-Ass ("Chi Mai Del Mio Provò Piacer Piu Dolce! (Act 2) Idomeneo") 2010 Kinshasa Symphony (Documentary) ("Eina kleine Nachtmusik") 2010/I White Snow (writer: "Concerto for Piano No 9 E Flat Major K271 (Allegro)" - as W. A. Mozart) 2010/I Alice in Wonderland (music: "Twinkle Twinkle Little Star" - uncredited) 2010 An Ordinary Execution (writer: "Piano Concerto No. 23, Adagio") 2010 Jack Goes Boating (writer: "Clarinet Quartet, K. 374f in E Flat Major: III. Rondo: Allegretto") 2010 Rammbock (writer: "3. Sequentia: Lacrimosa (Requiem in D Minor, K.626)") 2010 Flexing with Monty (Video) ("Fantasia D Minor KV 397 Edition Breitkopf 8139") 2010 Nip/Tuck (TV Series) (writer - 1 episode) - Dan Daly (2010) ... (writer: "Adantino", "Divertimento No. 10" - uncredited) 2010 The Perfect Host (writer: "Concerto for Piano and Orchestra, No. 21 in C Major, K 467: II. Andante") 2009 House of Boys (music: "Lacrymosa" - as W.A. Mozart) 2009 Fantastic Mr. Fox (writer: "Horn Concerto No. 4 In E Flat Major") 2009 Zombieland (writer: "The Marriage of Figaro, K.492") 2009 House (TV Series) (music - 1 episode) - Broken (2009) ... (music: "Das klinget so herrlich" - uncredited) 2009 Chloe (writer: "Excerpt from 'Don Giovani' - Aria No. 4 'Madamina, il catalogo è questo'") 2009 Mao's Last Dancer (writer: "Piano Trio in B-Flat major, K502 1. Allegro", "Piano Sonata in D") 2009 1981 (writer: "Introitus" - uncredited) 2009 The Last Station ("Gente, gente, all'armi, all'armi") 2009 Halloween II (writer: "Eine Kleine Nachtmusic 2nd Mvt." - as W.A. Mozart) 2009/I Nothing Personal (writer: "Soave Sia Il Vento") 2009 Neuilly sa mère! (as W.A. Mozar, "Sonate pour piano en Fa Majeur K. 280 - allegro assai", "Sonate pour piano en Si bémol Majeur K. 333 - Andante cantabile") 2009 The Hedgehog (writer: "Requiem en Ré mineur: Confutatis maledictis" - as W.A. Mozart) 2007-2009 Banda sonora (TV Series) (writer - 3 episodes) - Episode #5.23 (2009) ... (writer: "La flauta màgica") - Episode #1.6 (2007) ... (writer: "Requiem") 2009 So Woman! (writer: "Che Soave Zeffiretto (N°21 Duettino)") 2009 Army of Crime (music: "Quatuor a cordes no 17 KV458 en si bémol majeur OP. 10 no3", "1er Quatuor avec piano en sol mineur Opus 25 'rondo alla zingarese'" - as Mozart) / (writer: "Concerto for two pianos and orchestra in E-Flat Major K.365 / Rondo : Allegro") / (writer: "Quatuor a cordes no 17 KV458 en si bémol majeur OP. 10 no3", "1er Quatuor avec piano en sol mineur Opus 25 'rondo alla zingarese'" - as Mozart) 2009 Bright Star (writer: "Serenade in B flat, K361, Adagio" (1781), "The Sussex Waltz, K536 No.2 (Trio)" (1788) - as Mozart) 2009 Tetro (music: "Parto, parto, ma tu ben mio" - uncredited) / (writer: "Symphony No. 36, K.425: Andante" (1783) - uncredited) 2009 Orgasm Inc. (Documentary) (writer: "Piano Sonata #11 in A major, K 331, third mvmt (Rondo Alla Turca)" - as W. A. Mozart) 2009 The City of Your Final Destination (writer: "Bastien and Bastienne") 2009 Change of Plans (writer: "Concerto pour flute et harpe') 2009 The Naked Kitchen (writer: "Piano Sonata No.5 k.283 1st movement" - as Wolfgang Amadaus Mozart) 2009 The Queen of Hearts ("Piano Concerto No.23 In A Major, K 488 Adagio") 2009 Moon (writer: "Flute and Harp Concerto K299 2nd Mvt." - as Wolfgang A. Mozart) 2009 The Smell of Success (writer: "The Abduction from the Seraglio") 2009/I The Messenger (writer: "Piano Concerto No. 17 in G Major - Allegretto" (1784)) 2009 I Love You Phillip Morris (writer: "The Marriage of Figaro/Duettino-Sull'Aria") 2009 Amreeka (writer: "Die Zauberflöte (Magic Flute) K. 620 - Overture") 2009 Big River Man (Documentary) (writer: "Overture: The Magic Flute", "Alles fühlt der Liebe Freuden", "Introduzione: Notte e giorno faticar", "Rex tremendae Majestatis", "Vedrai carino") 2009 The Killing Room (writer: "String Quartet K.458 'The Hunt'" - as Mozart) 2009 Bride Wars (writer: "Flute Quartet in C") 2008 Seven Pounds (writer: "Fantasie in D Minor K.397") 2008 De l'autre côté du lit (writer: "Concerto in E-flat major for Horn K. 495, III. Rondo: Allegro Vivace") 2008/I Take (music: "Piano Sonata No.15 (K.545)", "Turkish March") 2008/I Milk (writer: "Eine Kleine Nachtmusik K525") 2008/I Loft (writer: "The Hunt" - String Quartet in B-flat Major, KV 458) 2008 Sex Drive (writer: "Symphony No. 27") 2008 Robinson Crusoe: The Great Blitzkrieg (Video) (writer: "Eine Kleine Nachtmusik - 1", "Eine Kleine Nachtmusik - 2", "Eine Kleine Nachtmusik - 3", "Eine Kleine Nachtmusik - 4", "March Alla Turca", "Symphony 40 - 1" - as Mozart) 2008 Privileged (TV Series) (1 episode) 2008 Little Britain USA (TV Series) (1 episode) - Episode #1.1 (2008) ... ("Sonata #2, Mvt 2") 2008 A Guerra dos Rocha (writer: "Ária da Rainha da Noite" - as Mozart) 2008 The Caller (writer: "The Magic Flute - Ach Ich Fuhls", "German Dance - Sechs Deutsche Tanze" - as Wolfgang A. Mozart) 2008 Kummeli Alivuokralainen (writer: "Turkkilainen marssi") 2008 Disgrace (writer: "2 Tempo di Minuetto" from Sonate for Piano and Violin in E minor K 304) 2008 $9.99 (writer: "Die Zauberflote, Ach Ich Fuhl's") 2008 The Duchess (writer: "Menuetto from String Quartet No. 12 in B Flat Major", "Rondeau - Allegro from String Quartet K80", "Un Moto Di Gioia") 2008 Show of Hands (writer: "Lacrimosa dies illa", "Agnus Dei") 2008 College (writer: "Queen of the Night" - as W.A. Mozart) 2008 Hellboy II: The Golden Army ("Clarinet Concerto in A Major, K.622, 2nd movement", uncredited) 2008 My Stars ("Les noces de Figaro - Duo Che soave zeffiretto") 2008 Wunderkammer (Short) (writer: "'Der Hölle Rache kocht in meinem Herzen' from 'Die Zauberflöte', K. 620") 2008 Get Smart (writer: "Symphony No. 40 in G Minor - I. Molto allegro" - uncredited) 2008 Cellule identité (TV Series) (1 episode) - Félix (2008) ... (as W.A. Mozart, "La flûte enchantée" (extract)) 2008 Me Two ("Piano Concerto n°21") 2008 Faith Matters (Short) (writer: "AVE VERUM CORPUS" - as W. Amadeus Mozart) 2008 The Happening (writer: "Piano Concerto No. 21 In C K467 ('Elvira Madigan': 2.Andante)" (1785)) - Het marionettentheater (2008) ... (writer: "Sonata No. 16 in C Major") - Bassie ontmoet Mozart (2008) ... (writer: "Sonata No. 16 in C Major") 2008 Acné (writer: "Sonata KV-283 en Sol Mayor") 2008 Chemical Wedding (writer: "Violin Concerto" - as Mozart) 2008 Curious George (TV Series) (writer - 1 episode) - Curious George Beats the Band/Hats and a Hole (2008) ... (writer: "The Magic Flute Overture") 2008 Flashbacks of a Fool (writer: "Mozart: 1 Regina Coeli, Laetare "Regina Coeli in B flat, K.127") 2008 April Fool's Day (Video) (writer: "Quartet for Strings No. 19 'Dissonance' in C Major KV465 Andante Cantabile" - as Mozart) 2008 John Adams (TV Mini-Series) (writer - 1 episode) - Don't Tread on Me (2008) ... (writer: "Violin Concerto No. 3") 2008 College Road Trip (as Mozart, "Piano Concerto #21, in C") 2008 Dom Manuel II, O Rei Traído (TV Movie documentary) (as Wolfgang A. Mozart, "Requiem", "Pachabel") 2008 Countdown (TV Series) (writer - 1 episode) - Granja Brigante, 18:23 horas (2008) ... (writer: "Concierto No. 9 Mib Mayor KV 271") 2008 Die Dinge zwischen uns (writer: "String Quartet No. 19 in C Major, Andante cantabile") 2008 Yo amo a Juan Querendón (TV Series) (writer - 1 episode) - Gran final (2008) ... (writer: "Ave Verum Corpus", "Requiem in D minor") 2008 Falco - Verdammt, wir leben noch! (as W.A. Mozart, "Soave sia il vento") 2008 The Eye (writer: "Violin Concerto No. 3 in G Major (Adagio), K. 216") 2008 Summerhood (music: "Le Nozze de Figaro (Marriage of Figaro: Overture)") 2008 27 Dresses (writer: "Clarinet Concerto 2nd Movement") 2008 A Charman Event (Short) ("Voi Che Sapete", "String Quartet in C Major Op. 157") 2008 Kenneth Branagh Films 'The Magic Flute' (Video documentary) (music: "The Magic Flute" (excerpts)) 2007 Cranford (TV Series) (writer - 1 episode) - August 1842 (2007) ... (writer: "Eine kleine Nachtmusik, K 525: I. Allegro") 2007 The Water Horse (writer: "String Quartet in G Major, K.387, First Movement") 2007 Thieves (writer: "Le nozze di Figaro", "Die Entführung aus dem Serail", "Don Giovanni") 2007 Damages (TV Series) (writer - 1 episode) - Because I Know Patty (2007) ... (writer: "Piano Concerto No. 20 in D Minor, K. 466: II Romance") 2007 Abendempfindung (TV Movie) ("Abendempfindung") 2007 Funny Games (writer: "QUINTETT FOR CLARINETT - as W.A. Mozart) The IT Crowd (TV Series) (1 episode, 2007) (music - 1 episode, 2007) - The Dinner Party (2007) ... (: (uncredited0 - (music: "Serenade No. 12 in C Minor", uncredited) - Return of the Golden Child (2007) ... (music: "Requiem Aeternam" - uncredited) 2007 Before the Rains (writer: "Ach, Ich Suhl's Es Ist" (Die Zauberflöte Ach, ich fühl's, es ist verschwunden)) 2007 Then She Found Me (writer: "Piano Sonata No.11 in A Major K.331: I. Theme & Variations", "A Little Serenade No. 13 in G Major, KV 525 ''Eine kleine Nachtmusik'': II. Romanze Andante" - uncredited) 2007 State of Mind (TV Series) (music - 1 episode) - Helpy Helperpants (2007) ... (music: "Piano Concerto #24 in C Minor") 2007 Flash Gordon (TV Series) (music - 1 episode) - Pilot (2007) ... (music: "Verdrai, carino" - as Mozart) 2007 Hot Rod (writer: "Serenade No.13 in G Major Eine Kleine Nachtmusik KV 525: Minuetto: Allegretto", "Serenade No.13 in G Major Eine Kleine Nachtmusik KV 525: Minuetto: Rondo Allegro" - as W.A. Mozart) 2007 Mad Men (TV Series) (writer - 1 episode) - Marriage of Figaro (2007) ... (writer: "Le nozze di Figaro: Canzona: Voi, che sapete", "Le nozze di Figaro: Overture", "Le nozze di Figaro: Cinque...dieci...venti" - as W.A. Mozart, uncredited) - Wolfgang Amadeus Mozart: Symphony Nr. 41 'Jupiter' in C major (2007) ... (writer: "Symphony No. 41 'Jupiter' in C major KV 551") 2007 Diamond Road (TV Movie documentary) (writer: "Linz Symphony No. 36 Major", "Symphony No. 25 in G Major") 2007 Brutal Massacre: A Comedy ("Piano Concerto No. 21 in C major K. 467, 2nd movement") 2007 It Takes Two (TV Series) (writer - 1 episode) - Episode #2.9 (2007) ... (writer: "La Ci Darem La Mano") 2007 Ningen-isu (music: "1st movement" - uncredited) 2007 1408 (writer: "Eine Kleine Nachtmusik") 2007 Conversations with My Gardener (writer: "Concerto pour clarinette") 2007 The Pink Conspiracy (writer: "Symphony 40 in G Minor" - as W.A. Mozart) 2007 Remember the Daze (writer: "Sonata for Piano No. 11: Rondo Alla Turca Allegretto" - as Mozart) 2007 What If God Were the Sun? (TV Movie) (writer: "Sequentia: Lacrimosa" from Requiem in D Minor, K. 626 - uncredited) 2007 Sheherazade: An Oriental Night with the Berliner Philharmoniker (Video) (writer: "Overture (from Die Entführung aus dem Serail)") 2007 Sonata (Short) (writer: "Fortuna" - as Amadeus Mozart) 2007 The Supersizers Eat... (TV Series) (1 episode) - Edwardian (2007) ... ("Voi che sapete", uncredited) 2006-2007 The Sopranos (TV Series) (writer - 2 episodes) - Soprano Home Movies (2007) ... (writer: "Mitridate, re di Ponto" - uncredited) - Members Only (2006) ... (writer: "Abduction from the Saraglio" - uncredited) 2007 Persuasion (TV Movie) ("Symphony 25 in G Minor", uncredited) 2006-2007 Degrassi: The Next Generation (TV Series) (writer - 2 episodes) - Free Fallin': Part 1 (2007) ... (writer: "Concerto For Flute And Orchestra In D Major - Allegro Aperto" - as W.A. Mozart) - Can't Hardly Wait (2006) ... (writer: "Concerto for Flute and Orchestra in D Major" - as W.A. Mozart) 2007 Sinner (writer: "Lacrimosa") 2007 Northanger Abbey (TV Movie) (music: "Die Zauberfloete, K. 620, No. 14: Act II, Aria: Der Holle Rache") 2007 Mr. Bean's Holiday (writer: "Sonata in A Major-Turkish Rondo") 2007 I Think I Love My Wife (writer: "Marriage of Figaro") 2007 Becoming Jane (writer: "Deh vieni, non tardar") 2007 Blood Car (writer: "Symphony no 25 1st Movement", "Alla Turca", "Requiem Agnus Dei") 2007 Captivity (writer: "March of the Priests") 2007 Inspector Lewis (TV Series) (writer - 1 episode) - Old School Ties (2007) ... (writer: "Voi Che Sapete" from "Le Nozze Di Figaro" - as W A Mozart) 2007 Could This Be Love? (writer: "Concerto for Clarinette K.622 - Rondo", "Symphony K.112", "Quintet in Ci Major K.515 - Allegro") 2007 The Guy Next Door (TV Movie) (writer: "Sonate n°11 - Rondo alla Turca" - as W.A. Mozart) 2007 The Witnesses (music: "L'air de Barberine des Noces de Figaro (Cavatine: L'ho perduta, me meschina)") 2007 Skins (TV Series) (writer - 1 episode) - Jal (2007) ... (writer: "Clarinet Concerto In A Rondo (Allegro)", "Clarinet Concerto In A Rondo (Adagio)" - uncredited) 2007 Waitress (writer: "OVERTURE, THE MARRIAGE OF FIGARO" - as Mozart) 2007 .hack//G.U. Returner (Video short) ("God Diva") - Mozart's The Magic Flute (2006) ... (writer: "Die Zauberflöte") 2006 Factory Girl ("Piano Concerto No. 21 in C Major ('Elvira Madigan'), K.467") 2006 Die Zauberflöte für Kinder (TV Movie) (writer: "Die Zauberflöte") 2006 Suddenly (writer: "Così fan tutte. Soave sia il vento") 2006 Dexter (TV Series) (writer - 1 episode) - Born Free (2006) ... (writer: "Rondo Alla Turca" - uncredited) 2006 Van Wilder 2: The Rise of Taj (writer: "String Quintet No. 3 in C Major, K. 515", "String Quintet No. 1 in B Flat Major, K. 174") 2006 This Hollow Sacrament (Video) (writer: "Requiem") 2006/II Stille (Short) (writer: "Ach, ich fuehl's, es ist verschwunden") 2006 Let's Go to Prison (writer: "Adagio Movement, Quartet for Flute, Violin, Viola & Cello No. 1 in D Major, K. 285") 2006 Mozart 22 (TV Series) (music - 1 episode) 2006 Zombies Anonymous (writer: "Requiem") 2006 Des fleurs pour Algernon (TV Movie) (music: "Adagio KV 540 en Si mineur" - as W. A. Mozart) 2006 Easy Skanking (writer: "Mozart Piano Concert no. 21") 2006 Weeds (TV Series) (writer - 1 episode) - Mrs. Botwin's Neighborhood (2006) ... (writer: "Yodeling The Mozart") 2006 All the King's Men (music: "Porgi, Amor", "Una donna a quindici anni") 2006 The Magic Flute ("The Magic Flute") / (music: "Closing Credits Music: Overture to 'The Magic Flute'") 2006/I Venus (writer: "Clarinet Quintet - Allegro" - as W A Mozart) 2006 Black Book (writer: "Divertimento in D Major") 2006 Last Train to Freo (writer: "Symphony No 40 1st Movement") 2006 Superman Returns (writer: "Piano Concerto No. 21 in C Major") 2006 Sister Mary Catherine's Happy Fun-Time Abortion Adventure (Short) (music: "Symphony No.40 in G minor, K.550 - 1. Molto allegro") 2006 Lost (TV Series) (writer - 1 episode) - Live Together, Die Alone (2006) ... (writer: "Voi Che Sapete - Aria from Mozart's Le Nozze Di Figaro") 2006 Change of Address (writer: "Concerto N°1 pour flûte en ut mineur") 2006 Spring (Documentary short) (writer: "Voi, che sapete") 2006 Kotsch (writer: "Reich mir die Hand mein Leben") 2006 The Gigolos (writer: "Mi tradi quell' alma ingratia") 2006 Independent Lens (TV Series documentary) (writer - 1 episode) - A League of Ordinary Gentlemen (2006) ... (writer: "Horn Concerto No.4-Rondo") 2006 Welcome to Verona (writer: "Piano Concerto No. 9 KV 271 in E flat major Jeune homme: Andantino") 2006 .hack//Roots (TV Series) (1 episode) 2006 Air Guitar Nation (Documentary) (writer: "Cosi fan Tutte") 2006 Kidulthood (writer: "Clarinet Quartet in A") 2006/I Even Money (writer: "String Quartet in D Major, K.575 (2nd movement)") 2006 The Prince & Me II: The Royal Wedding (Video) (writer: "Queen of the Night") 2006 Candy (writer: "Ave Vernum Corpus (KV 618) " - as W.A.Mozart) 2006 Vitus (writer: "Rondo a-Moll KV 511", "Requiem in d-Moll, K, 626 (Sequentia-Lacrimosa)") 2006 Art School Confidential (music: "3rd Movement 'Alla Turca' from Piano Sonata No.11 A Major, K.331" - uncredited) 2006 Avenue Montaigne (writer: "Variations on 'Ah vous dirai-je, Maman' (K. 265 / K. 300e)) 2006 The Sasquatch Gang (writer: "The Abduction From The Seraglio: Final Chorus") 2005 FC Venus (writer: "Eine kleine Nachtmusik", "Konsertto pianolle ja orkesterille nr.20") 2005 Under the Greenwood Tree (TV Movie) (writer: "La ci darem la mano") 2005 Concert extraordinar de Craciun: Tarja Turunen (TV Movie) (writer: "Agnus Dei") 2005 Lovisa och Carl Michael (TV Movie) (writer: "Kvintett, violin (2), viola (2), violoncell, K. 406, c-moll", "Idomeneo", "Sonat, piano, K. 331, A-dur") - Vom Krieg zum Staat in 14 Tagen (2005) ... (writer: "Giunse alfin il momento" - uncredited) 2005 Grand Theft Auto: Liberty City Stories (Video Game) (writer: "Cosi Fan Tutte: E amore un ladroncello", "Marriage of Figarro: Overture") 2005 The West Wing (TV Series) (writer - 1 episode) - Mr. Frost (2005) ... (writer: "Serenade No. 10 for winds in B flat major (III. Adagio)") 2005 24/7: The Passion of Life (writer: "Confutatis (Sequenz), Requiem in D minor KV 626", "Domine Jesu Christe" (Offortium), "Laudate Dominum, Vespreae solennes de confessore K. 339", "Sanctus, Requiem in D minor KV 626", "Ave, Verum Corpus", "Lacrimosa (Sequenz), Requiem in D minor KV 626", "Lux aeterna (Communio), Requiem in D minor KV 626") 2005 Prime (writer: "DEH VIENI, NON TARDAR" from Le Nozze di Figaro) 2005 Stranded in Canton (Documentary) (writer: "Quartet in F Major, K. 168, Menuetto") 2005 Revolver (writer: "Lacrimosa") 2005 Eve and the Fire Horse (writer: "Ave Verum Corpus") 2005 Proof (as Mozart, "String Quartet No.4 in C, K.157 (cde84431)" (1772-3)) 2005 The Great Raid (writer: "The Marriage Of Figaro"/"Duettino - Sull'aria") 2005 The Skeleton Key (writer: "Porgi Amor Qualche Ristoro" - as W.A. Mozart) 2005 Harvey Birdman, Attorney at Law (TV Series) (music - 1 episode) - Booty Noir (2005) ... (music: "Eine Kleine Nachtmusik - Movement 2" - uncredited) Six Feet Under (TV Series) (3 episodes, 2001 - 2004) (writer - 6 episodes, 2002 - 2005) 2005 Dance Dance Revolution: Mario Mix (Video Game) (writer: "Underground Mozart", "Pipe Pop") 2005 Wedding Crashers (writer: "Horn Concerto No. 4 in E Flat Minor" (1786), "Overture to 'The Marriage of Figaro'" (1786)) 2005 The Island (writer: "Ave Verum Corpus") 2005 Killer7 (Video Game) (writer: "Symphony No. 41 in C, K.551 'Jupiter'" - as W.A. Mozart) 2005 The Civilization of Maxwell Bright (writer: "Clarinet Concerto, Rondo Allegro") 2005 Pictures of Finland: Wonderland Suomi (Video documentary) (writer: "Alla Turca", "Symphony No. 40 in G Minor (1st Mov.)") 2005 Batman Begins (writer: "Divertimento in D Major, K.136 (2nd movement)") 2005 Pat Gets a Cat (Short) ("Sonata in A Minor, K. 310, mvt. 1") 2005 Midnight Ransom (Short) (writer: "Masonic Funeral Music, K. 477", "Requiem: Dies Irae") 2005 Monster-in-Law (writer: "String Quartet No. 21 in D Major, K. 575, 'Prussian No. 1', Allegretto") 2005 H6: Diario de un asesino (writer: "Requiem: Agnus Dei", "Requiem: Sanctus", "Requiem: Benedictus", "Requiem: Aeternam (Introitus)" - as Mozart) 2005 House of Wax (music: "Dove sono i bei momenti" - uncredited) 2005 Jack-Jack Attack (Video short) (arranger: "Dies Irae - Requiem (KV 626)") / (writer: "Piano Sonata No. 11 in A major, K 331, third movement") 2005 The Beat That My Heart Skipped (as Mozart, "Sonate en do mineur") 2005 Unleashed ("Sonata No. 11, in A Major, KV 331") 2005 Der Wadenmesser (Documentary) (lyrics: "Ma trés chére Cousine!", "Mozarts Briefe") / (music: "Eine kleine Nachtmusik", "Linzer Sinfonie", "Le Nozze di Figaro", "Requiem", "Romance aus den Divertimenti", "Das Butterbrot", "Die Entführung aus dem Serail - Ouvertüre", "Die Zauberflöte - Duett Papageno/Papagena", "Die Zauberflöte - Potpourri", "Eine kleine Surfmusik") 2005 Because of Winn-Dixie ("String Quartet #17" ("Hunt")) 2005 The Upside of Anger (writer: "Serenade in B Flat", "Piano Sonata in C Minor (II, Adagio)") 2005 Racing Stripes (music: "Overture, from 'Le nozze di Figaro (The Marriage of Figaro)' K.492", "Exsultate, jubillate, K.165" - as Mozart) 2005 Hilary Hahn: A Portrait (TV Movie documentary) (music: "Sonata for Violin and Piano in G major, K 301 (293a)") 2004 Gran Turismo 4 (Video Game) (writer: "Rondo in D major KV485") 2004/I Closer (writer: "Oh, Dei, come veloce se ne va quella barca!", "Soave sia il vento") 2004 Scrubs (TV Series) (writer - 1 episode) - My Female Trouble (2004) ... (writer: "Eine Kleine Nachtmusik" - uncredited) 2004 Wake of Death (writer: "Bei Männern, welche Liebe fühlen" - uncredited) 2004 Laura's Star ("The Magic Flute") 2004 My Nikifor ("Concerto for fluit, harp and orchester in C mayor") 2004 Kinsey (writer: "String Quartet in G Major, K.80 Allegro" (1773-5)) 2004 P.S. (writer: "Piano Trio in B-flat major, K.502") 2004/I The Sea Inside (music: "Così fan tutte - Soave sia il vento") 2004 My Summer of Love (writer: "Mauereische Trauermusik in C Minor") 2004 Evil Eyes (writer: "Symphony #25 in G Minor") 2004 Quiet Kill (writer: "Excerpt from Symphony #1" - as Mozart) 2004 White Chicks (writer: "Piano Quartet in E-flat Major, K. 493") 2004 A Home at the End of the World (writer: "Soave Sia Il Vento" - as Mozart) 2004 Smallville (TV Series) (writer - 1 episode) - Covenant (2004) ... (writer: "Introitus" from Mozart: Requiem in D Minor, K.626) 2004 Hotel (writer: "Flötenkonzert Nr. 1 G-Dur KV 313", "Konzert für Flöte, Harfe und Orchester in C-Dur KV 299") 2004 Look at Me (as W.A.Mozart, Mozart, "Tantum Ergo K142/APP 186D", "Soave sia il vento", "répetition de Così fan tutte", "Tantum Ergo, KV 142 (186D)", "Così fan tutte, 1er acte: Terzzetino - Soave sia il vento (Fiordiligi - Dorabella - Don Alfonso)", "Abendempfindung, Lied", "Il re pastore, 2ème acte: L'amerò, sarò costante") 2004 Brave New Girl (TV Movie) (music: "Der Hölle Roche" - uncredited) 2004 The Whole Ten Yards (writer: "The Marriage of Figaro") 2004 Johnson Family Vacation (writer: "Eine Kleine Nachtmusik: 1st Movement - Allegro") - Forbidden Love (2004) ... ("Così fan tutte") 2004 Nursie (writer: "Sonata No. 11 in A Major K. 331") 2004 Welcome to Mooseport (writer: "Eine Kleine Nachtmusik") 2004 Ae Fond Kiss... (writer: "Ah, Vous Dirai-Je, Maman K265" - as W.A.Mozart) 2004 Muistojeni Karjala (TV Series documentary) (writer: "Kevät saapui ja verhos jo laaksot ja haat" - as W. A. Mozart) 2003 Pride and Prejudice (writer: "Eine kleine Nachtmusik" - uncredited) 2003 Der Zauberlehrling (Short) (as W.A. Mozart, "KONZERT F. VIOLINE UND ORCHESTER NR. 1, KV 207, ADAGIO/KREMER") 2003 Joan of Arcadia (TV Series) (writer - 1 episode) - St. Joan (2003) ... (writer: "Clarinet Concerto No. 1" - as Mozart) 2003 Mariana de la noche (TV Series) (writer - 1 episode) - Episode #1.7 (2003) ... (writer: "Réquiem" - as Mozart) 2003 Perils in Nude Modeling (Short) ("Concerto for Violin and Orchestra No. 1", "String Quintet in G Major") 2003 When Zachary Beaver Came to Town (writer: "Le Nozze Di Figaro") 2003 Eroica (TV Movie) (music: "Eine Kleine Nachtmusik" (excerpt)) 2003 Freedom Fighters (Video Game) ("Requiem in D Minor") 2003 Drakengard (Video Game) (writer: "Le Nozze Di Figaro") 2003 Shade (music: "Violin Sonata No.25 K.301, 2nd movement") 2003 Blackball (writer: "Eine Kleine Nachtmusik" - as Mozart) 2003 Matchstick Men (writer: "Che Soave Zeffiretto") 2003 Berlin Philharmonic Europakonzert: From Lisbon (TV Special) (music: "Piano Concerto No. 20 in D minor, K. 466") 2003 Keen Eddie (TV Series) (writer - 1 episode) - Black Like Me (2003) ... (writer: "Eine Kleine Nacht Musik") 2003 The Return ("Requiem in re minore K626", "VI Benedictus") 2003 Charlie's Angels: Full Throttle (writer: "Eine Kleine Nacht Musik") 2003 The Man Who Copied ("Jupiter Symphony in C major, KV 551 (2nd movement, Andante Cantabile)") 2003 The Barbarian Invasions (music: "Sonate R. 381", "String Quartet in Major" - as Mozart) 2003 The Best of Youth (writer: "Piano sonata in A minor K 310") 2003 The Triplets of Belleville (writer: "Mass in C minor, K427: Kyrie" (ca. 1782)) 2003 Bread and Circus (Video) (writer: "Turkish March from Piano Sonata No.11" - as Mozart) 2003 Lost Love (writer: "Adagio" dal Concerto per pianoforte n.23 in Si bem magg. - as W.A. Mozart) 2003 Strayed (writer: "Zum ziele fuehrt dich diese Bahn" from Die Zauberfloete) 2003 Daddy Day Care (writer: "Eine Kleine Nachtmusik") 2003 X-Men 2 (writer: "Dies Irae from Mozart's Requiem in D Minor, K.626", "Eine Kleine Nachtmusik, Romanze", "Mozart's Sonata K545") 2003 Ginger and Cinnamon (writer: "Giovinette Che Fate All Amore") 2003 Piglet's Big Movie (writer: "Eine kleine Nachtmusik" - uncredited) 2003 Hope Springs (writer: "The Hunt" - as W. A. Mozart) 2003 The Propeller Guy (Short) (writer: "Lacrimosa") 2003 The Shield (TV Series) (writer - 1 episode) - Homewrecker (2003) ... (writer: "Madamina! (Don Giovanni)" - uncredited) 2003 Par amour (TV Movie) (writer: "Concerto Pour Clarinette K622") 2003 Bookies (writer: "The Magic Flute" (Der Holle Rachen)) 2003 Broken Saints (Video) (writer: "Requiem - Lacrimosa Movement" - as Mozart) 2003 W cieniu Don Giovanniego (TV Movie documentary) ("Don Giovanni") 2002 The Barber (writer: "Symphony Number 40 - First Movement") 2002 Daniel Deronda (TV Mini-Series) (3 episodes) - Episode #1.3 (2002) ... ("Porgi amor" (from "The Marriage of Figaro")) - Episode #1.2 (2002) ... ("Porgi amor" (from "The Marriage of Figaro")) - Episode #1.1 (2002) ... ("Porgi amor" (from "The Marriage of Figaro")) 2002 Beat the Devil (Short) (writer: "Dies Irae-Requiem" - as Mozart) 2002 The Code (writer: "Madamina, il catalogo e' questo") 2002 Majoria absoluta (TV Movie) (writer: "Les noces de Fígaro") 2002 The Final Curtain (writer: "Piano Concerto no. 21 in C Major" (K467)) 2002 The Making of 'Amadeus' (Video documentary) ("THE MAGIC FLUTE - OVERTURE", uncredited) 2002 Easter (writer: "Requiem in D minor") 2002 Sparkhouse (TV Mini-Series) (writer - 1 episode) - Episode #1.2 (2002) ... (writer: "Domine Jesu Christe" - uncredited) 2002 A Model Employee (writer: "Adagio" from the "Sonata in D major") 2002 xXx (writer: "Finch'han dal vino", "Bati, bati, o bel Masetto" - as W.A. Mozart) 2002 Dalkeith (writer: "Voi che sapete che cosa e amor") 2002 Black and White (writer: "Variations in E Flat, K.353") 2002 Spun (as Amadeus Mozart, "Piano Concerto No 23") 2002 A Nero Wolfe Mystery (TV Series) (writer - 1 episode) - Poison à la Carte (2002) ... (writer: "Turkish March (Alla Turca)," from "Piano Sonata No. 11") 2002/I Sweet Sixteen (as Mozart, "The Arrival of the Night Queen") 2002 Balzac and the Little Chinese Seamstress (writer: "Divertissement" K334, "Concerto pour violon N° 3" KV 216) 2002 Forbidden Grass (Documentary) (writer: "Flute Concert in G Major", "Rondò alla turca") 2002 Interstate 60: Episodes of the Road (writer: "Eine Kliene Nachtmusik") 2002 Slap Shot 2: Breaking the Ice (Video) (writer: "Horn Concerto 1 in D Major" - as Wolfgang A. Mozart) 2002 Ali G Indahouse (as Mozart, "STRING QUARTET IN G MAJOR") 2002 Freetown (TV Movie) (writer: "Concert for Clarinet and Orchestra in A Major, K.622") 2002 P.S. Your Cat Is Dead! (writer: "Quintet in B-Flat (K-174)") 2002 Roswell (TV Series) (writer - 1 episode) - Panacea (2002) ... (writer: "Piano Concerto Number 21") 2002 The Lost World (TV Series) (writer - 1 episode) - Phantoms (2002) ... (writer: "Piano Concerto No. 21") 2001 Two Women (Short) (writer: "Piano Concerto No. 12, Second Movement") 2001 A Beautiful Mind (writer: "Piano Sonata No. 11 in A Major, K. 331" - uncredited) 2000-2001 Gilmore Girls (TV Series) (writer - 2 episodes) 2001 Off Key (writer: "Scena XVII") 2001 Mark Twain (TV Movie documentary) (writer: "Eine Kleine Nachtmusik") 2001 La flûte enchantée de Mozart (TV Movie) (writer: "Die Zauberflöte" - as Mozart) 2001 Wasabi ("Concerto pour clarinette et orchestre en la majeur KV 622") 2001 Santa Maradona (writer: "EINE KLEINE NACHTMUSIK K525 - ALLEGRO") 2001 Grand Theft Auto 3 (Video Game) (writer: "Non più andrai farfallone amoroso", "Finch'han del vino") 2001 Sidetracked (TV Mini-Series) ("VIOLINKONSERT NR 3") 2001 The Last Castle (writer: "Sonata in B Flat Major", "Symphony No. 40 in G Minor, K 550") 2001 Vidocq ("Symphony No. 29 KV 201") 2001 Novocaine (writer: "Concerto No. 3 in G for Violin and Orchestra, K.216", "Concerto No. 1 in B Flat Major for Violin and Orchestra, K.207") 2001 The Triumph of Love (as W.A.Mozart, "Overture from the Opera DON GIOVANNI") 2001 Me Without You (as Mozart, "Symphony No. 25 in G Minor, K185" (1773)) 2001 The Man Who Wasn't There (writer: "The Marriage of Figaro") 2001 Goodbye Charlie Bright (writer: "String Quartet in E Flat Major") 2001 One Night at McCool's (writer: "Mass In C Minor, K 427, 'Great Mass'" (1783)) 2001 Someone Like You... (writer: "Quintet in D, K 593: Finale: Allegro") 2001 Heartbreakers (writer: "Eine kleine Nachtmusik") 2001 Bartleby (writer: "Phantasie #3 In D Minor" - as Mozart) 2001 Darkness in the Light (music: "2ND MOVEMENTO" (from PIANO CONCERTO NO.21 C MAJORm K.467)) 2001 Disco Pigs (writer: "Le Nozze de Figaro") 2001 Tango Cabaret (writer: "Klavierkonzert No. 22 A-Dur") 2001 Forgive Me Father ("Laudate Dominum") Aleph, lectures contades (TV Series documentary) (writer - 1 episode, 2001) (music - 1 episode, 2000) 2000 Primetime Murder (writer: "Symphony K201") 2000 Miss Congeniality (writer: "The Queen of the Night") 2000 Kisses for Everyone (writer: "Rondo alla turca") 2000 Tadpole (writer: "Melody in F" - as W.A. Mozart) 2000 Staffan Snellin suojelusenkeli (TV Movie) (writer: "Requiem", "Zaide; aria") 2000 The Scarlet Pimpernel (TV Series) (writer - 1 episode) - Ennui (2000) ... (writer: "The Marriage of Figaro" - uncredited) 2000 Chain of Fools (writer: "Don Giovanni" - as Mozart) 2000 The Contender (writer: "Minuet From Don Giovanni" - as W.A. Mozart) 2000 A Rumor of Angels ("Symphony No. 39 in E Flat Major, K. 543", "Ave Verum Corpus, K. 618", "Sonata for Two Pianos in D Major, K. 448") 2000 The Way of the Gun (writer: "Piano Concerto No. 23A K.488") 2000 The Goddess of 1967 (writer: "Piano Concerto in C Minor KV 452") 2000 All the Wrong Places (writer: "Dies Bildnis is Bezaubernd Schön..." - as W.A. Mözart) 2000 The House of Mirth (writer: "Cosi Fan Tutte: Overture", "La Mia Dorabella", "Soave Sia Il Vento" - as W.A. Mozart) 2000 Loser (writer: "Sonata in C Major, K.545 (Andante)") 2000 Mozart in Turkey (Documentary) (music: "Die Enführung aus dem Serail, Singspiel in three acts") 2000 The Captive (music: "Extrait de 'COSI FAN TUTTE" - as W.A Mozart) 2000 Faithless ("The Magic Flute") 2000 With a Friend Like Harry... (writer: "Sonate No. 5 for Piano, KV 283") 2000 House! (writer: "Overture" to "Marriage of Figaro") 2000 I Dreamed of Africa (writer: "Voi che sapete") 2000 Skärgårdsdoktorn (TV Series) (writer - 1 episode) - Se till mig som liten är (2000) ... (writer: "Sonata C Minor, adagio") 2000 A Message from Akira Kurosawa: For Beautiful Movies (Video documentary) (writer: "Piano Concerto No.20 in D minor (K. 466) - II. Romanze", "Violin Sonata No. 32 in B-flat major (K. 454) - I. Largo - Allegro", "Violin Sonata No. 32 in B-flat major (K. 454) - II. Andante", "Violin Sonata No. 18 in G Major (K. 301) - II. Allegro" - uncredited) 2000 VeggieTales: King George and the Ducky (Video short) (writer: "Piano Sonata in C, K 545 1 2; 1st movement; Eschenbach" - uncredited) - Une journée d'Andrei Arsenevitch (2000) ... (as Mozart, "Concerto no 23 (K488)") 2000 The Taste of Others (music: "Piano Concerto, No. 21, K. 467" - as W.A. Mozart) - The Hunchback of Nowhere/The Gods Must Be Goosey (2000) ... (writer: "Symphony No. 40 in G minor, KV. 550" ) - Night of the Weremole/Mother's Day (1999) ... (writer: "Eine kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525" ) 2000 The Tao of Steve (writer: "La Ci Darmen Mano", "Non Mir Dir, Bell Idol") 2000 SpongeBob SquarePants (TV Series) (music - 1 episode) - Sleepy Time/Suds (2000) ... (music: "Piano Concerto No. 21 - Elvira Madigan" - uncredited) 2000 Casse-Noisette Circus (Video) ("Preghiera") 1999 Cecilia & Bryn at Glyndebourne (TV Special documentary) (writer: "Le nozze di Figaro: Overture", "Le nozze di Figaro: Cinque... dieci...") 1999 Drawing Blood (writer: "overture from 'the marriage of figaro'", "piano concerto #21 in c major", "piano concerto # 12 in a major" - as Mozart) 1999 Happy End ("Piano Sonata A Minor K.310, 1st Mov. Allegro Maestoso") 1999 Love and Action in Chicago (writer: "Trio in G Major, No 1, K. 496", "Trio in B Major, No. 2, K. 502") 1999 Simpatico (writer: "Divertimento No 1 Allegro" (1772)) 1999 Janice Beard (writer: "Concerto No 21 for Piano and Orchestra") 1999 Snow Falling on Cedars (writer: "Laudate Dominum" - as W. A. Mozart) 1999 Me Myself I (writer: "Violin Concerto No 5 K.219 in A Major, Rondeau (tempo di Menuetto)" (1775)) 1999 Runaway Bride ("March", "Overture") 1999 Eyes Wide Shut (writer: "Requiem K626, Rex Tremendae" (1791) - as W.A. Mozart) 1999 Virtual Sexuality (writer: "Piano Concerto No 21") 1999 Rogue Trader (writer: "Dies Bildnis ist bezauberd schön") 1999 The General's Daughter (writer: "In diesen heil'gen Hallen") 1999 Moloch ("1st Movement from EINE KLEINE NACHATMUSIK") 1999 The Loss of Sexual Innocence (writer: "Piano Sonata in C") 1999 Histeria! (TV Series) (music - 2 episodes) - Music (1999) ... (music: "Facile From The C-Major Sonata", "Eine Kleine Nachtmusik - Movement 1", "Eine Kleine Nachtmusik - Movement 4" - uncredited) - Histeria Around the World: Part 1 (1999) ... (music: "Alla Turca" - uncredited) 1999 The Girl on the Bridge (writer: "Land der Berge, Land am Strome - Austrian National Anthem") 1999 Earthly Possessions (TV Movie) (writer: "Requiem, K. 626") 1999 Wing Commander (writer: "Trio from 'Cosi Fan Tutte'") 1999 Freak City (TV Movie) (as Wolfgang A. Mozart, "Porgi Amor") / (writer: "Marriage Of Figaro" - as Wolfgang A. Mozart) 1999 Judy Berlin (writer: "Serenade No. 10 in B-flat") 1999 Sat yip wong dai (writer: "The Marriage of Figaro") 1998 Bartoli in Italy (TV Special) (writer: "Oiseaux, si tous les ans") 1998 Conquest (music: "Non più andrai") 1998 Star Trek: Insurrection (as Wolfgang A. Mozart, "String Quartet in B-Flat. Opus 10. No. 3. 'The Hunt'") 1998 In All Innocence (writer: Extracts from "The Magic Flute") 1993-1998 Animaniacs (TV Series) (music - 6 episodes) - Death Is Now My Neighbour (1997) ... (writer: "Non so più" - as W.A. Mozart) - Masonic Mysteries (1990) ... (writer: "The Magic Flute" - uncredited) - Driven to Distraction (1990) ... (writer: "Horn Concerto No. 4 in E flat, K. 495, 3rd movement" - uncredited) 1998 The Barber of Siberia (writer: "Piano Concerto no. 23", "Le nozze di Figaro") 1998 SLC Punk! (writer: "Requiem") 1998 Besieged (writer: "Fantasy in D Minor" K397) 1998 A Soldier's Daughter Never Cries (writer: "Voi che sapete" - as W.A. Mozart) 1998 Elizabeth (writer: "Requiem Aeternam") 1998 You Laugh (writer: "Le Nozze di Figaro" (K. 492)) 1998 Speak Like a Child (writer: "Concerto Number 27 - I Allegro", "Don Giovanni") 1998 La vida en el aire (TV Series) (writer - 1 episode) - Episode #1.7 (1998) ... (writer: "Concierto para clarinete en A Mayor K 622") 1998 There's Something About Mary (writer: "Eine Kleine Nachtmusik: Rondo Allegro") 1998 Cousin Bette (writer: "Concerto for Flute and Harp", K279) 1998 The Truman Show ("Piano Sonata No. 11 in A Major (K. 331) (300), Third Movement: Alla Turca", "Horn Concerto No. 1 in D Major (K412), First Movement: Allegro") 1998 Sitcom (music: "Adagio pour cordes en C. Mineur K. 546" - as W. A. Mozart) 1998 Happiness (writer: "Soave sia il vento from Cosi Fan Tutte", "Requiem") 1998 Sour Grapes (writer: "Horn Concerto in E Flat, K495", "String Quartet in G, K516") 1998 Modern Vampires (TV Movie) ("Concerto for Flute and Harp, 3rd Movement") 1998 The Big Lebowski (writer: "Requiem in D Minor" - as W.A. Mozart) 1998 Sphere (writer: "HORN CONCERTO NO. 3 IN E FLAT MAJOR, K.447") 1998 Buffy the Vampire Slayer (TV Series) (writer - 1 episode) - Bad Eggs (1998) ... (writer: "Eine kleine Nachtmusik", "Die Zauberflöte (Overture to The Magic Flute)") 1998 Hardly a Butterfly (TV Movie) (writer: "Turkish Rondo") 1998 Harmoniques (TV Series documentary) (writer - 1 episode) - Mozart: A Quest for Freedom (1998) ... (writer: "Divertimento en re majeur K.136", "Menuet pour clavier K1") 1998 Origin of the Species (writer: "Piano Sonata In C Major" - as W.A. Mozart) 1997 Mr. Magoo (writer: "The Marriage of Figaro", "Mozart Quintet in B Flat Major") 1997 The Ripper (TV Movie) (music: "STRING QUARTET IN C MAJOR 'DISSONANZEN', K.465 -- 1st Movement") - Leggo My Ego/Big in Japan (1997) ... (writer: "Eine Kleine Nachtmusik" - uncredited) 1997 Critical Care (writer: "Quintet in G Minor, K516") 1997 Hysteria (as 'Endlich Nacht Sich Die Stunde', "Endlich naht sich die Stunde (from 'The Marriage of Figaro')") 1997 The Peacemaker (music: "AVE VERUM CORPUS, K. 618") 1997 The Real Blonde (writer: "Divertimento for Strings, in D Major") 1997 The Westing Game (TV Movie) (writer: "Eine Kleine Nachtmusik") 1997 Heaven's Burning (writer: "Soave sia il vento" from Così fan Tutte, K.588 - as WA Mozart) 1997 Marcello Mastroianni: I Remember (Documentary) (writer: "Catalogo") 1997 G.I. Jane (writer: "Eine Kleine Nachtmusik K525", "Adagio and Fugue in C Minor K456 (Allegro)") 1997 Win Ben Stein's Money (TV Series) (music: "Eine Kleine Nachtmusik - Movement 1" - uncredited) 1997 Face/Off ("Ach, ich fühl's") 1997 The Offering (writer: "Requiem" / "Lacrymosa") 1997 Gone Fishin' (writer: "Concerto For Piano And Orchestra, No 21 In C: Andante, 2nd Movement" - as Mozart) 1997 Changing Habits (writer: "Mozart String Quartet") 1997 The Lost World: Jurassic Park (writer: "Piano Sonata in A Minor, K.310" - as Mozart) 1997 Funny Games (music: "Quintet for Clarinet, 2 Violins, Viola, Violoncello") 1997 The Well (writer: "Sonata In A Major (Rondo Alla Turca - K331)", "Piano Sonata In D Major KV. 576") 1997 The Mercenary Soldier (writer: "Menuetti (Menuetto)") 1997 Propellerblume (music: "Così fan tutte") 1997/I Hercules (Video) (music: "Symphony No.40 - 1st movement" - uncredited) 1997 Nightwatch (writer: "String Quartet in B-Flat Major") 1997 Lewis & Clark & George (writer: "Piano Concerto #20 In D Minor" - as Wolfgang Amadus Mozart) 1997 Jerzy Semkow (TV Movie documentary) ("Jupiter-Symphonie") 1997 Minotaur (writer: "Piano Concerto No. 23 in A, K. 488") 1996 Squish Story (Documentary) (writer: "Piano Concerto No. 21") 1996 The Best Job in the World ("Symphony nº 24 in si bemol majeur K. 182") 1996 Un amor clar-obscur (TV Movie) (writer: "Sonata en Si bemol major K.570") - Sweet & Sour Victory (1996) ... (writer: "Eine Kleine Nachtmusik" - uncredited) 1996 The Evening Star (writer: "Piano Concerto in E Flat, K 482", "Requiem, Laudate Dominum K 626" - as W. A. Mozart) 1992-1996 Forsthaus Falkenau (TV Series) (writer - 2 episodes) - Räuber im Revier (1996) ... (writer: "Eine kleine Nachtmusik, K.525: I: Allegro") - Zurück nach Falkenau (1992) ... (writer: "Così fan tutte") 1996 Emma (TV Movie) (writer: "Wiegen Lied" - uncredited) 1996 Wish Upon a Star (TV Movie) (writer: "Concerto for Piano and Orchestra No.21 in C" - as Mozart) 1996 Poussières d'amour - Abfallprodukte der Liebe (Documentary) (as W. Amadeus Mozart, "La Clemenza di Tito") 1996 Romeo + Juliet (writer: "Symphony No. 25") 1996 The Associate (writer: "Divertimento No. 15 In B-Flat Major K.287-Minuetto", "Concerto No.25 In C-Major-Andante") - Report from the Grave (1996) ... (writer: "Sequentia: Lacrimosa" - uncredited) 1996 Where Truth Lies (writer: "Divertimento No. 1 in D/Andante", "The Great Mass in C Minor, KV 427) 1996 Mission: Impossible ("Divertimento in E-Flat Major for String Trio (K.563)") 1996 Friends (TV Series) (writer - 1 episode) - The One with Barry and Mindy's Wedding (1996) ... (writer: "Eine Kleine Nachtmusik" - uncredited) 1996 The Pillow Book (writer: "Sinfonia Concertante in A Fur Violine, Viola, Violoncello und Orchester") 1996 The Great White Hype ("Razitativ und Arie") 1996 The Pallbearer (writer: "Serenade For Winds") 1996 Thieves (writer: "O ew'ge Nacht, wann wirst du schwinden?") 1996 Long Vacation (TV Series) (writer: "Piano Sonata K331") 1996 Primal Fear (as W.A. Mozart, "Lacrimosa") 1996 Stealing Beauty (writer: "CLARINET CONCERTO In A K.622", "Trio, piano and strings, no. 5, C major, K. 548", "HORN CONCERTO No.1 In D K.V.412", "QUARTET No.20 In D MAJOR K.499" - as W.A. Mozart) 1996 Up Close & Personal (writer: "Eine Kleine Nactmusik") 1996 Due South (TV Series) (music - 1 episode) - We Are the Eggmen (1996) ... (music: "All Praise Be To Thee") 1996 Seinfeld (TV Series) (music - 1 episode) - The Doll (1996) ... (music: "Marriage of Figaro Overture" - uncredited) - A Room with a Bellevue (1996) ... (music: "Eine Kleine Nachtmusik (Movement 2)" - uncredited) - I, Duckman (1994) ... (music: "Eine Kleine Nachtmusik (Movement 2)" - uncredited) 1996 Mr. Wrong (writer: "THE MARRIAGE OF FIGARO") 1996/I Overkill (writer: "Eine Klein Nachtmusik") 1996 Eye for an Eye ("Concerto For Clarinet And Orchestra In A Major") 1995 Patrice Chéreau, Pascal Greggory, une autre solitude (TV Movie documentary) (music: "Don Giovanni (excerpt)") 1995 Venus Rising (Video) (writer: "Sinfonia Concertante, in E Flat Major, for Violin & Viola, K.364") 1995 Vater wider Willen (TV Series) (Konzertausschnitte:) 1995 The Apprentices (writer: "Ach, ich fuehl's") 1995 Twelve Monkeys (writer: "Piano Concerto No. 21 In C Major, K.467" - uncredited) 1995 Pride and Prejudice (TV Mini-Series) (writer - 3 episodes) - Episode #1.5 (1995) ... (writer: "Voi che sapete che cosa é amor" - uncredited) - Episode #1.3 (1995) ... (writer: "Piano Sonata No. 11 in A Major, K 33 1: I. Andante grazioso" - uncredited) - Episode #1.2 (1995) ... (writer: "March (from The Marriage of Figaro)", "Piano Sonata No. 11 in A Major, K 331: III. Rondo - Alla Turca" - uncredited) 1995 Truman (TV Movie) (as W.A. Mozart, "Voi che sapete") 1995 Operation Dumbo Drop (writer: "QUEEN OF THE NIGHT ARIA") 1995 Adultery: A User's Guide (writer: "Agnus Dei") 1995 Mad Love (writer: "Ah Fuggi Il Traditor") 1995 The Confessional (writer: "Concerto #24 in C minor") 1995 Wild Side (writer: "Deh vieni, non tarder") 1995 Unser Lehrer Doktor Specht (TV Series) (writer - 1 episode) - Familienehre (1995) ... (writer: Unknown Title) 1995 Diabelska edukacja (Short) ("La Ci Darem La Mano") 1994 I.Q. (writer: "Eine kleine Nachtmusik" - uncredited) 1994 Interview with the Vampire: The Vampire Chronicles (writer: "Non più andrai (from Le Nozze di Figaro)" - uncredited) 1994 Silent Fall (writer: "Piano Concerto No. 21 In C Major, K467 'Elvira Madigan'") 1994 Aftermath (Short) (writer: "Lacrimosa") 1994 Don Juan DeMarco (as Wolfgang A. Mozart, "La Ci Darem La Mano") 1994 El detective y la muerte (music: "Non più andrai") 1994 Baseball (TV Mini-Series documentary) (writer - 1 episode) - Home (1994) ... (writer: "Symphony #25", "Le Nozze di Figaro") 1994 Mon amie Max (writer: "Sonate en Sol majeur" K.283, "Concerto no 23" K.488) 1994 David Copperfield: 15 Years of Magic (TV Special documentary) (writer: "Requiem", "Eine kleine Nachtmusik (Allegro)", "Marriage of Figaro") 1994 White Angel (music: "Excerpts From DON GIOVANNI") 1994 Guarding Tess (writer: "Madamina Il Catologo e Questro", "Overture", "Ich Gehe, Doch Rate Ich Dir") 1994 Where on Earth Is Carmen Sandiego? (TV Series) (writer: "Where on Earth Is Carmen Sandiego? - Main Theme" - uncredited) 1994 Ace Ventura: Pet Detective (writer: "Eine kleine nachtmusik (K525) - Allegro") 1993 Ghost in the Machine (writer: "Concerto in C Major for Flute and Harp") 1993 Grumpy Old Men (writer: "Haydn Quartet #14 in G Major, K. 38") 1993 Sunes sommar (writer: "Kanzonette ur "Don Giovanni") 1993 Philadelphia (writer: "Laudate Dominum", "Agnus Dei", "Non temer amato bene", "Dulcissimum Convivium") 1993 Bonkers (TV Series) (music - 1 episode) - Tune Pig (1993) ... (music: "Don Giovanni Overture- Finale" - uncredited) 1993 Armistead Maupin's Tales of the City (TV Mini-Series) (writer - 1 episode) - Episode #1.1 (1993) ... (writer: "Prelude: Marriage of Figaro", "Dove Son I Bei Momenti") 1993 The Joy Luck Club (writer: "Flute and Harp Concerto in C, K.299 (Andantino)" (1778)) 1993 Wilder Napalm (writer: "Mozart: String Quartet No. 3") - Warrior of the Lost World (1993) ... (writer: "Eine kleine Nachtmusik" (as "Address Song") - uncredited) 1993 Hocus Pocus (writer: "Divertimento #17 In D, K. 334: III. Menuetto & Trio") 1993 The Heartbreak Kid (writer: "Requiem: Introitus", "Requiem: Lacrimosa") 1993 Last Action Hero (writer: "Overture, The Marriage of Figaro") 1993 Highlander (TV Series) (writer - 1 episode) - Avenging Angel (1993) ... (writer: "Piano Concerto No.21 in C") 1993 Mr. Nanny (writer: "EINE KLEINE NACHTMUSIK" (ROMANCE ANDANTE)) 1993 The Adventures of Huck Finn (writer: "String Quartet No.17 'Jagd' in B-Flat major, K.458") 1993 Amos & Andrew (writer: "Concerto #2 for Horn and Orchestra") 1993 Motzki (TV Series) (music - 1 episode) - Die Beerdigung (1993) ... (music: "Requiem" - uncredited) 1993 Wittgenstein (writer: "Rondo in A Minor, K.511") 1993 The Lie (writer: "Sonate pour piano en fa majeur KV232") 1993 Groundhog Day (writer: "Piano Sonata in C, K545, 1st movement") 1993 Boxing Helena (writer: "MOZART'S PIANO CONCERTO #25") 1993 L'an de mes II (Short) (writer: "Requiem in D minor K. 626") 1993 Opera Imaginaire (TV Movie) (writer: "Music from The Magic Flute", "Music from The Marriage of Figaro") 1993 Touch Me (Short) ("Violin Concerto No.3 in G major, K.216") 1992 Mama wa shôgaku yonensei (TV Series) (writer - 51 episodes) - Sayonara Mirai-chan (1992) ... (writer: "Kono Ai wo Mirai e" (This Love is for the Future)) - Taimu surippu no asa (1992) ... (writer: "Kono Ai wo Mirai e" (This Love is for the Future)) - Watashi ga mama desu! (1992) ... (writer: "Kono Ai wo Mirai e" (This Love is for the Future)) - Tokudane wa Mirai-chan! (1992) ... (writer: "Kono Ai wo Mirai e" (This Love is for the Future)) - Obasan no daihenshin! (1992) ... (writer: "Kono Ai wo Mirai e" (This Love is for the Future)) - The Metropolitan Opera Silver Anniversary Gala (1991) ... (music: "Die Zauberflöte: Papageno Aria", "Don Giovanni: Madamina") 1991 Paradise ("QUEEN OF THE NIGHT") 1991 Samantha (writer: "Concerto For Flute and Harp - 2nd Movement") 1991 Edward II (writer: "Divertimento in F major, K138 - Andante") 1991 Little Man Tate (music: "Mozart's String Quartet No 21, D Major, KV575", "Mozart's Piana Quartet In E Flat Major, KV493" - as Mozart) 1991 Mystery Date (writer: "String Quartet in B Major Opus 10, No. 4 KV458 'Hunting Quartet'" - as W.A. Mozart) 1991 In the Shadow of the Stars (Documentary) ("Excerpt: Don Giovanni") 1991 Regarding Henry ("PIANO CONCERTO No. 21 IN C MAJOR") 1991 Jealousy (music: "Don Giovanni (extracts)") 1991 La vie des morts (writer: "Aria "Non so più cosa son") 1991 La note bleue (as Mozart, "Don Giovanni", "Les Noces de Figaro") 1991 Rodney Dangerfield's The Really Big Show (TV Movie) (music: "Eine Kleine Nachtmusik" - uncredited) 1990 The Grasscutter (TV Movie) (writer: Extract from "29th Symphony") 1990 Green Card (writer: "Clarinet Concerto In A Major: Adagio", "Flute Concerto No. 1 in G Major: Rendo and Adagio", "Flute and Harp Concerto in C Major: Andantino") 1990 The Bonfire of the Vanities (writer: "Don Giovanni", "Serenade in G (Eine kleine Nachtmusik)") 1990 Weekend with Kate (writer: "Piano Concerto No 15 in B-FlaT K450") 1990 Only One Survived (TV Movie) (music: "Non ho colpa e mi condanni") 1990 Sibling Rivalry ("Quartet for Piano and Strings in G Minor K.478") 1989-1990 Screen One (TV Series) (music - 2 episodes) - Survival of the Fittest (1990) ... (music: "Quintet in A Major" - uncredited) - Home Run (1989) ... (music: "Don Giovanni" - uncredited) 1990 Pacific Heights (music: "MOZART: PIANO CONCERTO #19 IN F, K.459") 1990 Reversal of Fortune (writer: "SONATA IN A MAJOR") 1990 Return Home (writer: "Divertimento in D Major, K136" - as W. A. Mozart) - Flicka and Friends: From Rossini to Show Boat (1990) ... (music: "Vedrai, carino", "Non più andrai", "Dies Bildnis ist bezaubernd schön") 1990 MacGyver (TV Series) (writer - 1 episode) - The Lost Amadeus (1990) ... (writer: "Violin Concerto No. 5 in A major, K.219, 1st Movement", "Eine kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525, 2nd Movement" - uncredited) 1990 La Femme Nikita (music: "LA PETITE MUSIQUE DE NUIT" - as MOZART) 1990 Courage Mountain (writer: "Eine Kleine Nachtmusik" - uncredited) 1990 Idomeneo (as W.A.Mozart, "Idomeneo") 1990 May Fools (music: "Le nozze di Figaro (Voi che sapete)" - as Mozart) 1990 A Matter of Degrees (writer: "Requiem in D Minor" - as W.A. Mozart) 1989 Harlem Nights (writer: "Allegro from Quartet in C Major K 157") 1989 Valmont ("Divertimento for Winds in B, K240") 1989 Gross Anatomy (writer: "Overture from Marriage of Figaro", "Flute Quartet, K298 Minuet") 1989 Tailspin: Behind the Korean Airliner Tragedy (TV Movie) (writer: "REQUIEM") 1989 Blu elettrico (TV Movie) (writer: "Dors mon enfant") 1989 When Harry Met Sally... (writer: "Mozart String Quintet E Flat Major") 1989 Batman (writer: "Serenade no. 13 in G, K. 525 ('Eine Kleine Nachtmusik'), second movement") 1989 Silence Like Glass (music: "Eine kleine Nachtmusik" - uncredited) 1989 Dream Baby (TV Movie) (music: "Cosi fan tutte" - uncredited) 1989 Strapless (music: "Divertimento in D major" [K.136] - uncredited) 1989 Getting It Right (writer: "Piano Concerto No. 14 in Flat Major K. 499", "Piano Concerto No. 24 in C Minor K. 491") 1989 Torrents of Spring (writer: "Don Giovanni") 1989 Ranma ½ (TV Series) (writer: "No Way! Part 2") 1989 Major League (writer: "Mozart: Eine Kleine Nachtmusik") 1989 Skin Deep (writer: "Eine kleine Nachtmusik") 1989 The Magic of David Copperfield XI: The Explosive Encounter (TV Special) (writer: "Eine kleine Nachtmusik (Allegro)", "Eine Kleine Nachtmusik (Menuetto)", "Marriage of Figaro") 1989 Kinjite: Forbidden Subjects (writer: "Mozart's Piano Concerto No. 25 Slow Movement") 1988 Karajan in Salzburg (TV Special) (music: "Don Giovanni: Overture", "Don Giovanni: Finch'han del vio", "Don Giovanni: La ci darem la mano", "Don Giovanni: Ah, vedrai carino", "Don Giovanni: Final: Act 2") 1988 War and Remembrance (TV Mini-Series) (music - 1 episode) - Part 7 (1988) ... (music: "The Marriage of Figaro (Overture)" - uncredited) 1988 Oskuld och sopor (Documentary short) (writer: "Mässa, K. 317, C-dur") 1988 Screenplay (TV Series) (music - 1 episode) - Starlings (1988) ... (music: "Piano Concerto No.21: Allegro Vivace Assai" [KV 467] - uncredited) 1988 Madame Sousatzka (writer: "Overture from The Marriage of Figaro") 1988 Miles from Home (writer: "Overture to the Impresario") 1988 Drowning by Numbers (music: "2nd Movement of Mozart's Sinfonia Concertante for Violin, Viola and Orchestra K354" - as Mozart) 1988 High Hopes (writer: "Cosi fan tutte" - uncredited) 1988 Envoyez les violons (writer: "Quatuor en re majeur") 1988 A Very British Coup (TV Mini-Series) (writer: "Great Mass in C Minor" - as Mozart) 1988 My Dear Subject (writer: "Die Zauberflöte") 1988 The Music Teacher (writer: "Alcandro, lo confesso ... Non sò d'onde viene, K294") 1988 Sakura-tai Chiru (Documentary) (writer: "Kyrie", "2nd movement", "Rondo A minor, K. 511" - uncredited) 1988 The Woman He Loved (TV Movie) (music: "Piano Sonata in D" - uncredited) 1988 Historias del otro lado (TV Series) (writer - 1 episode) - Mnemos (1988) ... (writer: "Laudate Dominum - Vesperae Solemnes de Conffesore", "Fanfarria de circo") 1988 Hard Head (Video Game) (writer: "Symphony No. 40") 1975-1987 Derrick (TV Series) (writer - 2 episodes) - Mordfall Goos (1987) ... (writer: "Symphonie Nr. 17G-Dur 1. Satz Allegro") - Pfandhaus (1975) ... (writer: "Posthornserenate 1. Satz") 1987 A Hungarian Fairy Tale (music: "A varázsfuvola (Die Zauberflöte)") 1987 Horowitz Plays Mozart (Documentary) (music: "Piano Concerto No.23 in A Major") 1987 Hope and Glory (writer: "Serenade in G K.525 (Eine kleine Nachtmusik)") 1987 Wish You Were Here (music: "Cosi fan tutti" - uncredited) 1987 A Capitol Fourth (TV Movie) (writer: "Concerto in D") 1987 The Living Daylights (music: "Symphony no 40 in G minor, 1st Movement" - uncredited) 1987 The Believers (writer: "Flute Concerto In G") 1987 Babette's Feast (writer: "Champagne aria from Don Giovanni", "Duet Là ci darem la mano from Don Giovanni" - uncredited) 1987 Barfly ("25th Piano Concerto in C. K603", "Exsultate, Jubilate, K166") 1987 Jeux d'artifices (music: "Voi che sapete" - as Mozart) 1987 Maschenka (music: "Don Giovanni" - uncredited) 1987 L'escot (writer: "La flauta màgica", "Don Giovanni") 1986 Attention bandits! (writer: "Concerto pour piano et orchestre no 20, "Concerto pour piano et orchestre no 21, "La Flûte enchantée" (Ouverture)) 1986 Bach et Bottine (as W.A. Mozart, "Concerto for flute and harp") 1986 First Among Equals (TV Mini-Series) (1 episode) - Episode #1.2 (1986) ... ("Eine kleine Nachtmusik (Serenade No. 13 for strings in G major)", uncredited) 1986 Ghostbusters (TV Series) (writer - 1 episode) - He Went Brataway (1986) ... (writer: "Sonata in C Major" - uncredited) 1986 Hovering Over the Water (music: "Cosi Fan Tutte" (excerpt) - as Mozart) 1986 Big Trouble (writer: "Eine kleine Nachatmusik") 1986 Letters to an Unknown Lover (TV Movie) (music: "Sonata K 282" - uncredited) 1986 Horowitz in Moscow (TV Movie documentary) (as Mozart, "Sonata in C Major K330") 1986 Screen Two (TV Series) (music - 1 episode) - Hard Travelling (1986) ... (music: "Sinfonia Concertante (K 364)" (uncredited), "Requiem Mass in D minor (K 626): Rex tremendae") 1986 Crossroads (writer: "TURKISH MARCH") 1986 Parting Glances (writer: "Die Zauberflöte", "Don Giovanni") 1982-1986 Knight Rider (TV Series) (writer - 2 episodes) - Deadly Knightshade (1986) ... (writer: "Eine kleine Nachtmusik, K 525: I. Allegro") - No Big Thing (1982) ... (writer: "Eine Kleine Nachtmusik") 1986 Der Leihopa (TV Series) (writer - 1 episode) - Ein sehr ehrendes Angebot (1986) ... (writer: "Ach, ich fühl's, es ist entschwunden") 1985 A Room with a View (writer: "Piano Sonata No. 8 in A minor -- K.310, 1st movement" - uncredited) 1985 An Impudent Girl (music: "Le 11ème Concerto de Mozart" - as Mozart) 1985 Out of Africa (writer: "Concerto for clarinet and orchestra in A (K.622)" (1791), "Sonata in A major (K.331) 'Rondo alla Turca'" (1778), "Sinfonia Concertante in E flat major for Violin & Viola (K. 364)" (1779), "Three Divertimenti (K.136, K.137, K.138)" (1772)) 1985 Harem (writer: "The Abduction from the Seraglio" - as Mozart) 1985 Vladimir Horowitz: The Last Romantic (TV Movie documentary) (music: "Sonate in C-Dur. KV 330" - as Mozart) 1985 Death Wish 3 (music: "Eine kleine Nachtmusik" - uncredited) 1985 After Hours (writer: "Symphony, no. 45, D major, K.95, mvt. 1: Allegro") 1985 The Bride (writer: "Eine Kleine Nachtsmusik") 1985 Weird Science ("THE MAGIC FLUTE - OVERTURE", uncredited) 1985 Mein lieber Schatz (music: "Don Giovanni") 1985 Escalier C (music: "Petit Musique de Nuit" - as Mozart) 1985 Insignificance (writer: "Jupitar Variations") 1985 Masterpiece Theatre: Bleak House (TV Mini-Series) (1 episode) - Episode #1.3 (1985) ... ("Rondo Alla Turca", uncredited) 1985 Mapp & Lucia (TV Series) (writer - 1 episode) - The Village Fete (1985) ... (writer: "Eine Kleine Nachtmusik" - uncredited) 1985 Porky's Revenge (writer: "Symphony No. 40 In G Minor, K550 - Molto Allegro) 1985 Martin's Day (music: "Eine kleine Nachtmusik" - uncredited) 1985 Extratour (TV Series) (writer - 1 episode) - Episode #1.1 (1985) ... (writer: "Queen of the Night/Satisfaction") 1985 Sherrill Milnes: An All Star Gala (TV Special) (music: "Cosi fan tutte: Un'aura amorosa") 1984 Kaos (writer: "Arietta 'L'ho perduta'") 1984 All of Me (writer: "Jesu, Word of God Incarnate") 1984 Amadeus (music: "Le Nozze di Figaro (The Marriage of Figaro), K492, Act IV, Ah Tutti Contenti" (1786) (uncredited), "Don Giovanni, K527, A Cenar Teco, Da Qual Tremore Insolito..." (1787) (uncredited), "Die Entführung aus dem Serail (Abduction from the Seraglio), K384, Marten Aller Arten" (1782) (uncredited), "Die Zauberflöte (The Magic Flute), K620, Aria No. 14, Der Holle Rache Kocht" (1791) (uncredited), "Concerto for Piano in E Flat Major, K482, 3rd Movement, Allegro" (1782-86) (uncredited), "Concerto for Piano in D Minor, K466" (1782-86) (uncredited), "Symphony No. 25 in G Minor, K183: 1st Movement" (1773) (uncredited), "Lacrimosa, Requiem Mass in D, K626" (uncredited), "Harpsichord Piece in F Major, K33B" (uncredited), "Adagio and Rondo for Glass Harmonica, Flute, Oboe, Viola and Cello, K617" (1791)) / (writer: "Confutatis, Requiem Mass in D, K 626", "Serenade K361 Gran Partita for 13 Wind Instruments: Adagio", "Le Nozze di Figaro (The Marriage of Figaro), K.492: Act 1 - Non Più Andrai (Overture)", "A Little Night Music Serenade in G for Strings 'Eine Kleine Nachtmusik', K.525, 1st Movement", "Die Entführung aus dem Serail (Abduction from the Seraglio), K384: Turkish Finale", "Mass in C Minor, K. 427: Kyrie", "Concerto for Flute and Harp, K. 299 2nd Movement", "Allegro Moderato from Symphony No. 29 in A Major, K. 201", "Concerto No. 10 for Two Pianos and Orchestra in E Flat Minor (K. 365) 3rd Movement", "Allegro Maestoso from Sinfonia Concertante for Violin, Viola And Orchestra in E-flat Major, K364", "Piano Concerto No. 15 in B-Flat, K450: III. Allegro", "Ich Möchte Wohl Der Kaiser Sein (K539)", "Six German Dances, K509: No. 1 in D Major", "Die Zauberflöte (The Magic Flute) Act 2 - Pa-Pa-Pa-Pa-Pa-Pa-Papagena!", "Die Zauberflöte (The Magic Flute) Act 2 - Ein Mädchen Oder Weibchen", "Rex Tremendae Majestatis, Requiem, K626", "Don Giovanni, K527: Overture", "Die Entführung aus dem Serail (Abduction from the Seraglio), K384 Act I, Singt dem Grossen Bassa Lieder", "Die Entführung aus dem Serail (Abduction from the Seraglio), K384 Act II: Duet: Vivat Bacchus! Bacchus Lebe!", "Le Nozze di Figaro (The Marriage of Figaro), K.492 /Act I: Duettino: Cinque...Dieci...Venti", "Le Nozze di Figaro (The Marriage of Figaro), K.492 /Act III: Finale: Amanti Costanti (Ecco la Marcia)", "Introitus, Requiem Mass in D, K 626", "Dies Irae, Requiem Mass in D, K 626", "Die Zauberflöte (The Magic Flute), K620/Act I: Overture", "Don Giovanni, K527: Act II, Commendatore Scene", "Don Giovanni, K527: Act I, La Ci Darem La Mano" - uncredited) 1984 Bachelor Party (music: "Allegro" - uncredited) 1984 La femme publique (writer: "Grande messe en Ut' Mineur KV 427" - as W.A. Mozart) 1984 The Clock (writer: "Piano Trio No. 1 - Divertimento à 3 in B-flat major for Piano, Violin and Violoncello, K. 254 (1776)") 1984 Scandalous (music: "Symphony No.27" - uncredited) 1984 Bernstein: Conductor, Soloist, Teacher (TV Movie) (music: "Piano Concerto No. 17", "Symphony No. 39") 1983 Jane Eyre (TV Mini-Series) (1 episode) - Guests (1983) ... ("Piano Sonata No. 11 in A major, K 331", uncredited) 1982-1983 Fame (TV Series) (writer - 2 episodes) 1983 The Winds of War (TV Mini-Series) (writer - 2 episodes) - Cataclysm (1983) ... (writer: "Eine Kleine Nachtmusik" - uncredited) - The Winds Rise (1983) ... (writer: "Eine Kleine Nachtmusik" (uncredited), "Serendade No. 13 in G Major, K. 525 Eine kleine Nachtmusik I. Allegro") 1983 Le battant (writer: "Concerto pour Piano et Orchestre K 453" (excerpt)) 1983 Silk Satin Sex (writer: "Piano Concerto # 21") 1982 Sophie's Choice (writer: "Eine Kleine Nachtmusik, K525" (1787)) 1982 Frances (music: "Piano Sonata in A major, K.331") 1982 Unhinged ("PIANO CONCERTO NO. 20 IN D MINOR, K. 466, mvt. 2") 1982 Doktor Faustus (writer: "Piano Sonata No.15 C major, K.545 (1st movement)") 1982 Summer Lovers (writer: "Mozart Violin Concerto No. 4 in D Major") 1982 Godard's Passion (writer: "Requiem") 1982 Creepshow (music: "Eine kleine Nachtmusik" - uncredited) 1982 Missing (music: "Eine kleine Nachtmusik" - uncredited) 1981 Hommage à Seville (TV Movie) (music: "Don Giovanni, Act 1: Fin ch'han dal vino") 1981 Oxalá (writer: "Música para Um Funeral Maçónico" (excerpt) - as Mozart) 1981 The Looney, Looney, Looney Bugs Bunny Movie (music: "Piano Sonata No. 16 in C major, K. 545 (Sonata semplice)" - uncredited) 1981 Choices (writer: "Eine kleine Nachtmusik") 1981 They All Laughed (writer: "PIANO CONCERTO #27 IN B FLAT" - as Mozart) 1981 The French Lieutenant's Woman (as Mozart, "Adagio from Sonata in D, K 576") 1981 Dynasty (TV Series) (writer - 1 episode) - The Bordello (1981) ... (writer: "Piano Sonata No. 16 in C major, K. 545") 1980 Blank Generation (writer: "Divertimento No 1 (K334)") 1980 Richard's Things (music: "Overture: Don Giovanni" - uncredited) 1980 The Hunter (writer: "Della sua pace" - as Mozart) 1980 My Bodyguard (music: "Serenade for Strings in G Major, K. 525 (Eine kleine Nachtmusik)" - uncredited) 1980 The Changeling (writer: "Rondo in A minor for Piano, K. 511" - as Mozart) 1980 Les bons débarras (writer: "Concerto, piano, no. 23, A major, K.488") 1980 The Last Married Couple in America (writer: "Clarinet Concerto in A+") 1980 American Gigolo (as Wolfgang A. Mozart, "Concerto in A Major (for Clarinet) K622") 1979 Bastien Bastienne (music: "Bastien et Bastienne" (excerpt)) 1979 Life of Brian (writer: "Requiem in D minor, K.626 - 3. Sequentia: Dies irae" - uncredited) 1979 Jaguar Lives! (music: "Piano Concerto No. 1" - uncredited) 1979 Alien (as W.A. Mozart, "Eine kleine Nachtmusik'") 1979 Manhattan (writer: "Symphony No.40 in G minor, K.550: First Movement (Molto allegro)" (1788) - uncredited) 1979 The Marriage of Maria Braun (writer: "Piano Concerto No. 23 (Adagio)") 1979 Bugs Bunny's Valentine (TV Short) (music: "Piano Sonata No. 16 in C major, K. 545 (Sonata semplice)" - uncredited) 1979 The Great Train Robbery (writer: "Sonata in D major K.448 for two pianos, 3rd movement") 1978 WKRP in Cincinnati (TV Series) (writer - 1 episode) - Pilot: Part 2 (1978) ... (writer: "String Quintet No. 2 in C minor") 1978 Fine Manners (music: "Les Noces de Figaro (Le nozze di Figaro)", "Ave vermu Corpus" - as Mozart) 1978 The Tree of Wooden Clogs (writer: "Piano Sonata No. 11 in A major, K. 331 (300i) - III. Turkish Rondo") 1978 The Flockton Flyer (TV Series) (writer - 1 episode) - A Question of Honour (1978) ... (writer: "Horn Concerto No. 4 in E Flat Minor" (3rd Movement)) 1977-1978 The Muppet Show (TV Series) (writer - 2 episodes) - Rudolf Nureyev (1978) ... (writer: "Don Giovanni: La Ci Darem La Mano") - Julie Andrews (1977) ... (writer: "Eine Kleine Nachtmusik") 1978 Get Out Your Handkerchiefs (writer: "Andante Du Concerto Pour Piano Et Orchestre De Mozart No. 21 K.467") 1977 Rudolf Serkin on Television: The 75th Birthday Concert (TV Movie) (music: "Rondo in A Minor") 1977 This Sweet Sickness (writer: "Sonate in D-Dur, K 545") 1977 The Stationmaster's Wife (TV Movie) ("3rd Movement of the Divertimento No.17 in D-major K.334") 1977 The Spy Who Loved Me (writer: "Piano Concerto No. 21 'Elvira Madigan' Andante" - uncredited) 1977 Annie Hall (writer: "Symphony No.41 in C Major K.551, Molto Allegro" (1788) - uncredited) 1977 Alice or the Last Escapade (as Mozart, "Le 24ème concerto en ut mineur") 1976 Nickelodeon (music: "Turkish March" - uncredited) 1976 Adventures of a Taxi Driver (music: "Horn Concerto", "Symphony No. 29" - uncredited) 1976 L'innocente (music: "Marcia turca" - as Mozart) 1976 The Unanswered Question: Six Talks at Harvard (TV Mini-Series) (music - 2 episodes) - Musical Syntax (1976) ... (music: "Symphony No. 40 in G minor" (excerpts)) - Musical Phonology (1976) ... (music: "Symphony No. 40 in G minor") 1975 Barry Lyndon (writer: "IDOMENEO (march)") 1975 Royal Flash (music: "Symphony No.40 in G Minor" - uncredited) 1975 Picnic at Hanging Rock (writer: "Eine Kleine Nachtmusik, 2nd Movement") 1975 Smile (writer: "Concerto #2 for Flute in D Major") 1975 Love and Death (writer: "The Magic Flute Overture, K620" (1791) - uncredited) 1974-1975 L'île aux enfants (TV Series) (music - 2 episodes) - Casimir cherche une danse (1975) ... (music: "Serenade N°13 "Eine kleine nachtmusik" in G Major, K525: Menuetto") - La musique qui parle (1974) ... (music: "Variations for Piano on 'Ah, Vous Dirai-Je, Maman', K.265") 1974/II Puzzle (Short) (writer: "Symphony nr. 40") 1974 Conversation Piece (music: "Vorrei spiegarVi, oh Dio!", "Sinfonia Concertante K 364") 1974 The Night Porter (writer: "The Magic Flute") 1973 Blackenstein (writer: "Divertimento No. 17, K. 334, v. Menuetto" - uncredited) 1973 I doyde denyat (music: "Concerto For Piano And Orchestra KV 503, C-dur, No.25") 1973 Frankenstein: The True Story (TV Movie) (music: "Eine kleine Nachtmusik", "The Marriage of Figaro") 1973 Moonbase 3 (TV Mini-Series) (writer - 1 episode) - Outsiders (1973) ... (writer: "Piano Concerto No. 17 in G major, K.453 'Andante'" - uncredited) 1973 No Way Out (as W. Amadeus Mozart, "Serenata in Sol maggiore, K 525 (Eine kleine Nachtmusik)") 1973 Schlock (music: "Piano Concerto No. 21 in C major") - Étude in Black (1972) ... (writer: "Eine kleine Nachtmusik" - uncredited) 1972 Colditz (TV Series) (writer - 1 episode) - Missing, Presumed Dead (1972) ... (writer: "String Quartet No.6 in B flat (K.159) 3. Rondo. Allegro grazioso.") 1972 Elle cause plus, elle flingue (writer: "Marche turque") 1972 Doomwatch (TV Series) (writer - 2 episodes) - Deadly Dangerous Tomorrow (1972) ... (writer: "The Marriage of Figaro, K 492", "Now Your Days Of Philandering Are Over (Non Più Andrai)" - uncredited) - Waiting for a Knighthood (1972) ... (writer: "Symphony No. 38 in D major, K. 504" - uncredited) 1972 Boxcar Bertha (writer: "Piano Sonata no. 11 in A, K. 331, Mov. 3" - uncredited) 1972 The Ruling Class (music: "Requiem Mass In D Minor" - uncredited) 1972 The Godfather (music: "Non so più" (1786) - uncredited) 1971 I, Monster ("Eine Kleine Nachtsmusik") 1971 Sunday Bloody Sunday (music: "The Trio from Mozart's "Così Fan Tutte" - as Mozart) 1971 Sense and Sensibility (TV Series) ("Symphony No. 20 in D K. 133 - II. Andante") 1971 Requiem for Humanity (Documentary short) (writer: "Requiem - Kyrie Eleyson") 1970 Love Story (as W. A. Mozart, "Sonata In F Major") 1970 Five Easy Pieces (writer: "Concerto in E-Flat Major K. 271", "Fantasy in D Minor, K. 397") 1969 Monty Python's Flying Circus (TV Series) (writer - 1 episode) - Whither Canada? (1969) ... (writer: "L'Oiseau-lyre: Gigue in G", "Pression No. 3") 1969 Army of Shadows (music: "Symphony No. 41 (Jupiter)" - uncredited) 1969 Joy of Learning (writer: "Piano Sonata No. 8 in A minor, K. 310 (1. Allegro maestoso)" - as Mozart) 1969 Civilisation (TV Mini-Series documentary) (writer - 1 episode) 1969 Les Français écrivent aux Shadoks (TV Series documentary short) (music - 1 episode) - La musique adoucit les moeurs (1969) ... (music: "Serenade No 13 in G Major, K. 525, 'Eine Kleine Nachtmusik' I Allegro" - uncredited) 1968 La morte d'Isotta (Short) (music: "Requiem") 1968 Bamse (writer: "Kvintett, klarinett, violin (2), viola, violoncell, K. 581, A-dur") 1968 Teorema (writer: "Requiem" KV 626) 1968 The Heart Is a Lonely Hunter ("Symphony #47 in C Major, 'Jupiter,' K 551", uncredited) 1968 Capriccio all'italiana (writer: "Addagio" from String Quartet K.516 (excerpt)(segment "Che cosa sono le nuvole?")) 1968 Amsterdam Affair (music: "Symphony no. 31 in D major (Paris Symphony)" - uncredited) 1967/I Elvira Madigan (music: "Piano Concerto No. 21 in C major, K. 467 (second movement: Andante)" - as Mozart) 1967 Stimulantia (music: "Ah, Vous dirai-je, Maman" (segment "Daniel"), "Fingerövning för piano" (segment "Daniel") - uncredited) 1967 Misunderstood (writer: "Piano concerto #23 in A") 1966 Adam Adamant Lives! (TV Series) (writer - 1 episode) - Sing a Song of Murder (1966) ... (writer: "Symphony No. 39 in E Flat Major, K. 543" (uncredited), "Piano Concerto No. 26: 'Coronation' in D major, K. 537") 1966 Menuhin at Fifty (TV Movie) (writer: " Concerto in F for Three Pianos and Orchestra, No. 7, K. 242") 1966 Masculin Féminin (writer: "Concerto pour clarinette et orchestre en La majeur, K. 622, 1. Allegro & 2. Adagio" - uncredited) 1966 The Psychopath (music: "Divertimento" (uncredited), "Quintet") 1965 McHale's Navy (TV Series) (music - 1 episode) - The McHale Opera Company (1965) ... (music: "Là ci darem la mano" - as W.A. Mozart) 1965 The Ipcress File (music: "Eine kleine Nachtmusik" - uncredited) 1965 Le Bonheur (writer: "Adagio and Fugue in C minor - KV 546", "Clarinet Quintet in A - KV 581") 1964 Make Room for Daddy (TV Series) (music - 1 episode) - Pupa from Italy (1964) ... (music: "Or sai chi l'onore Rapire a me volse" - uncredited) 1963 The Cardinal (as Mozart, "Jubilate Alleluia") 1962 The Bell Telephone Hour (TV Series) (music - 1 episode) - Portals of Music (1962) ... (music: "La ci darem la mano" - uncredited) 1962 ...All That Mighty Heart... (Documentary short) (music: "Eine kleine Nachtmusik", "The Marriage of Figaro" - uncredited) 1961 Viridiana (writer: "Requiem") 1961 Bachelor Father (TV Series) (writer - 1 episode) - Peter's China Doll (1961) ... (writer: "Divertimento in F major" - uncredited) 1961 Lola (music: "Concerto pour flûte en ré majeur" - as Mozart) 1960 Akibiyori (writer: "1st Movement") 1960 The Tennessee Ernie Ford Show (TV Series) (music - 1 episode) - Lily Pons (1960) ... (music: "Ah! Vous dirai-je, Maman" - uncredited) 1960 Blitz on Britain (Documentary) (music: "Piano Concerto in A Minor" - uncredited) 1959 Tweet Dreams (Short) (music: "Piano Sonata No. 15 in C major, K. 545 (Sonata semplice)" - uncredited) 1959 Leda (writer: "Serenade in B-flat Major") 1959 The Miracle (music: "Ave verum corpus" - uncredited) 1959 Les Cousins (music: "40e Symphonie en Sol Majeur (Koechel 550) 1er movement" - as W.A. Mozart) 1959 For the First Time (music: "Laughing Song Trio" - uncredited) 1958 Vertigo (writer: "Symphony No. 34 in C K. 338, 2nd Movement, Andante di Molto (piu tosto allegretto)" - uncredited) 1958 Davy (as (Mozart, "VOI CHE SAPETE") 1957 Fire Down Below (music: "Eine kleine Nachtmusik" - uncredited) 1956 Anastasia (writer: "Eine kleine Nachtmusik") 1956 Last Pair Out (music: "Non più andrai" - uncredited) 1956 A Man Escaped (writer: "Great Mass in C Minor, No.16 (K.427) - Kyrie", "Great Mass in C Minor, No.16 (K.427) - Agnus Dei") 1956 Serenade (music: "Il Mio Tesoro" - uncredited) 1956 On Such a Night (Short) (music: "Le nozze di Figaro" - as W.A. Mozart) 1956 The Benny Goodman Story (writer: "Clarinet Concerto") 1955 Smiles of a Summer Night (music: "DU SKALL EJ FRUKTAN BAERA / LA CI DAREM LA MANO") 1955 This Island Earth (music: "Eine kleine Nachtmusik: 2nd Movement" - uncredited) 1955 Sanoma kaikkien kuultavaksi (Documentary short) (writer: "Concerto in Major") 1954 Wild Wife (Short) (music: "Piano Sonata No. 16 in C major, K. 545 (Sonata semplice)" - uncredited) 1953 Glasberget (writer: "The Marriage of Figaro") 1953 So This Is Love (music: "Voi, che sapete" - uncredited) 1953 Melba (writer: "Voi che sapete") 1953 Hare Trimmed (Short) (music: "Piano Sonata No. 16 in C major, K. 545 (Sonata semplice)" - uncredited) 1953 Trois hommes et un piano (Short) (music: "Marche Turque" - uncredited) 1952 The Black Castle (music: "Eine kleine Nachtmusik [K.525]" - uncredited) 1952 Trent's Last Case (music: "Piano Concerto in C Minor" - as Mozart) 1952 Säg det med blommor (music: "Là ci darem la mano" - uncredited) 1951 La canción de La Malibrán (writer: "Le nozze di Fígaro" (extracts), "Die Zauberflöte" (extracts), "Don Giovanni" (extracts)) 1951 Strictly Dishonorable (music: "Se a caso madama" - uncredited) 1950 Blonde Dynamite (writer: "Overture to The Marriage of Figaro (K.492)" - uncredited) 1949 The Marriage of Figaro (writer: "Le nozze di Figaro") 1949 Thirst (music: "Non più andrai" - uncredited) 1949 Madness of the Heart (music: "Ave Verum Corpus [K 618]" - uncredited) 1949 Kind Hearts and Coronets (as Mozart, "Il mio tesoro intanto" The Aria is) 1948 Toscanini: The Television Concerts, Vol. 4 - Music of Mozart, Dvorak and Wagner (TV Special documentary) (music: "Symphony No. 40 in G Minor") 1948 Apartment for Peggy (music: "Clarinet Quintet in A Major: Third Movement" - uncredited) 1948 Letter from an Unknown Woman (writer: "The Magic Flute') 1948 Three Daring Daughters (writer: "PIANO SONATO NO.11, IN A, K331" - uncredited) 1947 Rehearsal: The Telephone Hour (Short) (music: "La ci darem la mano") 1947 Don Giovanni (TV Movie) (music: "Don Giovanni") 1947 It Happened in Brooklyn (music: "La ci darem la mano" - uncredited) 1947 Carnegie Hall (music: "Fin ch'han dal vino" - uncredited) 1946 I've Always Loved You (music: "Overture", "Sonata in C Major") 1946 Betty Co-Ed (writer: "Kleine Nacht Musik") 1946 The Magic Bow (music: "Ave Verum Corpus [K 618]", "Minuet" - uncredited) 1945 The Picture of Dorian Gray ("La Ci Darem La Mano" (excerpt), uncredited) 1945 Kungliga patrasket (music: "ENTFÜHRUNG AUS DEM SERAIL") 1944 Prince Gustaf (music: "Ah! Vous dirai-je, Maman") 1944 New Order at Sjogarda (music: "Ah! Vous dirai-je, Maman") 1944 Sweet and Low-Down (writer: "Clarinet Quintet in A Major, K.581" (1789) - uncredited) 1944 Arsenic and Old Lace (music: "Piano Sonata No. 11 in A Major, K.331, 3rd Movement, 'Alla Turca'" (1783?) - uncredited) 1944 Bugs Bunny Nips the Nips (Short) (music: "The Magic Flute" - uncredited) 1944 The Sullivans (music: "Eine Kleine Nachtmusik (1st Movement, Allegro)" - uncredited) 1943 Tender Comrade (writer: "Symphony No.40 in G minor, K.550" (1788) - uncredited) 1943 The Man in Grey (music: "Symphony No. 41 (Jupiter)' - uncredited) 1942 Seven Sweethearts (writer: "Mozart's Cradle Song" - uncredited) 1942 The Navy Comes Through (writer: "Symphony No.40 in G Minor, K.550" (1788)) 1942 The Young Mr. Pitt (music: "Piano Sonata No. 4", "Symphony No. 41 (Jupiter)" - uncredited) 1942 Fièvres ("Piece of classical music") 1941 The Big Store (music: "Piano Sonata No. 15 in C major, K. 545 (Sonata semplice)" (1788) - uncredited) 1940 Her First Romance (writer: "Don Giovanni" - uncredited) 1940 Saloon Bar (music: "The Magic Flute" - uncredited) 1939 Come on George! (music: "Selections" - uncredited) 1939 The Under-Pup (music: "Shepherd's Lullaby" - uncredited) 1939 They Shall Have Music (writer: "Eine Kleine Nachtmusik (A Little Night Music), K.525" (1787) - uncredited) 1939 The Rules of the Game (music: "Dreizehn deutsche Tänze, K. 605, No. 1" (1791) - uncredited) 1939 Wuthering Heights (music: "Piano Sonata in A major, K.331: Rondo alla Turca" (1778) - uncredited) 1939 Trouble Brewing (music: "Così fan tutte" - uncredited) 1938 The Girl Downstairs (writer: "The Marriage of Figaro") 1938 The Amazing Dr. Clitterhouse (music: "Eine kleine Nachtmusik, 1st movement" (1787) - uncredited) 1938 Love and Curses (Short) (music: "Piano Sonata No. 16 in C major, K. 545 (Sonata semplice)" - uncredited) 1938 Romance in the Dark (music: "Là ci darem la mano") 1938 La Marseillaise (music: "Musique ancienne" - uncredited) 1937 One Hundred Men and a Girl (music: "Alleluja: from the motet 'Exultate, jubilate' (K.165)" (1773) - as Mozart) 1937 Confession (music: "Sonata in A, K.331" (1783?) - uncredited) 1937 Parnell (writer: "Là ci darem la mano" from "Don Giovanni" (1787) - uncredited) 1936 The Barber of Seville (writer: "Le nozze di Figaro") 1936 To Spring (Short) (writer: "Non più andrai") 1935 Papageno (Short) (music: "Ein Vogelhändler bin ich ja", "Ein Mädchen oder Weibechen wüncscht Papageno sich") 1935 Muratti privat (Short) (music: "Alla Turca" from Sonata, A major, K. 331) 1934 The Camels Are Coming (music: "Turkish March" - uncredited) 1934 Madame Du Barry (writer: "Symphony No. 41 in C Major, K.551 ('Jupiter'), first movement" (excerpts)) 1932 Study No. 11 (Short) (writer: "Eine Kleine Nachtmusik") 1931 The Great Lover (music: "Là ci darem la mano" (1787) - uncredited) 1931 Ariane (music: "Don Giovanni" - uncredited) 1930 L'Age d'Or (writer: "Ave Verum Corpus K.618") 1930 The Blue Angel (music: "Ein Mädchen oder Weibchen wünscht Papageno sich!" - uncredited) 2005 Idomeneo, re di Creta (Video) (music by) 2005 Così fan tutte (TV Movie) (music: Opéra bouffe en 2 actes de) 2004 L'Enlèvement au Sérail (TV Movie) (music by) 2004 Le nozze di Figaro (TV Movie) (music by: Opéra en quatre actes de/Oper in vier Akten von) 2003 La clemenza di Tito (TV Movie) (music by) 2003 The Magic Flute (TV Movie) (music by: "Die Zauberflöte") 2003 Tryllefløjten (TV Movie) (music by) 2003 Die Entführung aus dem Serail (TV Movie) (music by) 2003 Don Giovanni (TV Movie) (music by) 2002 Die Entführung aus dem Serail (TV Movie) (music by) 2002 Don Giovanni (TV Movie) (music by) 2000/II Così fan tutte (TV Movie) (music by) 2000 Don Giovanni (TV Movie) (music by) 2000/II La flûte enchantée (TV Movie) (music by: "Die Zauberflöte") 2000/I La flûte enchantée (TV Movie) (music by: "Die Zauberflöte") 2000 Ombra felice (TV Movie) (music by) 2000/I Così fan tutte (TV Movie) (music by) 2000/I Die Zauberflöte (TV Movie) (music by) 1999 Die Entführung aus dem Serail (TV Movie) (music by) 1999 Don Giovanni (TV Movie) (music by) 1999 The Marriage of Figaro (TV Movie) (composer: Opera buffa in 4 acts) - New York City Opera: The Magic Flute (1987) ... (music by) / (music by: "Die Zauberflöte") 1991/II Die Zauberflöte (TV Movie) (music by) 1991 Mozart - Symphony No. 36 'Linz'/Brahms - Symphony No. 2 (TV Special) (music by: "Symphony No. 36 'Linz'") 1991 Requiem Mass (TV Special documentary) (music by) 1990 Die Entführung aus dem Serail (TV Movie) (music by) 1990 Don Giovanni (TV Movie) (music by) 1989 Così fan tutte (TV Movie) (music by) 1989 Die Zauberflöte (TV Movie) (music by) 1989 La finta giardiniera (TV Movie) (music by) 1989 Eine kleine Zauberflöte (TV Movie) (music: from "Die Zauberflöte") 1989/I Coming Out (music: from "Die Zauberflöte")	i don't know
Who was the father of Ophelia?	Hamlet: Ophelia \| Character Analysis \| CliffsNotes Character Analysis Bookmark this page Manage My Reading List Ophelia is a difficult role to play because her character, like Gertrude 's, is murky. Part of the difficulty is that Shakespeare wrote his female roles for men, and there were always limitations on them that restricted and defined the characterizations devised. In the case of an ingenue like Ophelia, a very young and lovely woman, Shakespeare would have been writing for a boy. The extent to which a boy could grasp subtle nuances might have prevented the playwright from fleshing out the character more fully. We do know that Ophelia is torn between two contradictory poles. Her father and brother believe that Hamlet would use her, that he would take her virginity and throw it away because she could never be his wife. Her heart has convinced her that Hamlet loved her, though he swears he never did. To her father and brother, Ophelia is the eternal virgin, the vessel of morality whose purpose is to be a dutiful wife and steadfast mother. To Hamlet, she is a sexual object, a corrupt and deceitful lover. With no mother to guide her, she has no way of deciphering the contradictory expectations. Just like Hamlet, the medieval precept that the father's word is unquestionable governs Ophelia. But her Renaissance sense of romantic love also rules her. How can she be obedient to her father and true to her love? When she lies to Hamlet and tells him that Polonius is home when he is concealed in the room eavesdropping, Ophelia proves she cannot live in both worlds. She has chosen one, and her choice seals her fate. The dilemma also forces her into madness. She has no way to reconcile the contradictory selves her men demand that she be and still retain an equilibrium. Ophelia's desperation literally drives her crazy, and she has no means with which to heal herself.	Polonius
Who was the father of Desdemona?	Hamlet Summary - eNotes.com Hamlet Summary William Shakespeare Hamlet Summary Hamlet dramatizes Prince Hamlet's gradual descent into madness. Early in the play, the Ghost appears to Hamlet and informs him that Hamlet's father, the King of Denmark, was murdered by Hamlet's uncle, Claudius. Hamlet isn't sure that he believes the Ghost and sets about uncovering the truth. Hamlet makes himself appear crazy to deflect suspicion. He later rejects his sweetheart Ophelia and convinces players to enact the scene of the murder in front of Claudius, who reacts suspiciously. Hamlet’s attempt to kill Claudius results in the death of Ophelia’s father Polonius. Claudius sends Hamlet to England, expecting him to be killed upon arrival, but Hamlet cleverly escapes and stumbles upon Ophelia’s funeral. Claudius arranges a duel between Hamlet and Ophelia’s angry brother Laertes. Gertrude drinks from a poisoned goblet that was intended for Hamlet, and Laertes and Hamlet each deal poisoned blows to the other. In the end, Hamlet kills Claudius, avenging his father. Download Study Guide Start Free Trial Start your free trial with eNotes to access more than 30,000 study guides. Get help with any book. link Link Prince Hamlet of Denmark is urged by his father’s Ghost to avenge his murder at the hands of the dead king’s brother, now King Claudius; to make matters worse, Claudius has married the widow, Hamlet’s mother, Queen Gertrude. Denmark is under threat of invasion from young Fortinbras, who seeks to regain lands lost to Hamlet’s father by Fortinbras’s father. Claudius sends word to the King of Norway (Fortinbras’s uncle) to curb Fortinbras’s aggression. In the meantime, Hamlet feigns madness with his family and friends, including his beloved, Ophelia, sister to Laertes and daughter to Polonius. Both Polonius and Laertes warn Ophelia against Hamlet’s amorous advances. Polonius believes Hamlet’s “madness” to be love sickness. Laertes is given permission to return to his studies in Paris. Claudius directs Gertrude to try to learn the cause of Hamlet’s odd behavior; they suspect it is the old king’s death and their own recent marriage. Meantime, Claudius and Polonius eavesdrop on Ophelia and Hamlet, who spurns her and appears mad. The King reveals to Polonius his plan to send Hamlet to England with Rosencrantz and Guildenstern. Hamlet seizes the opportunity presented by a traveling troupe of players to expose the King’s guilt with a “play within a play.” Soon after, Hamlet delays killing Claudius because the King is at prayer, and Hamlet does not wish to send him to heaven instead of hell. When Gertrude meets with Hamlet as Claudius has directed, Polonius hides behind the arras in Gertrude’s room to eavesdrop on the conversation. Hamlet, suspecting the interloper is Claudius, stabs and kills Polonius. When Polonius’s body is discovered, Claudius summons Hamlet and tells him he must sail to England for his own safety; Rosencrantz and Guildenstern accompany Hamlet, carrying letters to the English, threatening war unless they kill Hamlet. Hamlet eventually escapes, returns to Denmark, and is met by Horatio. Ophelia has gone insane after Hamlet’s departure and her father’s death. Laertes returns and vows to avenge Polonius’s death. Claudius contrives a fencing match between Hamlet and Laertes, during which Hamlet is to be injured with a poisoned sword tip and poisoned with a drink, thus assuring his death. When news arrives that Ophelia has drowned herself, Laertes is grief stricken. Hamlet and Horatio happen upon the burial site and funeral cortege; Hamlet tries to fight Laertes but is restrained. Hamlet tells Horatio that he rewrote the papers carried by Rosencrantz and Guildenstern, and that the letters now call for their own deaths. Osric invites Hamlet to the duel with Laertes; Claudius has supposedly bet on Hamlet to win. Gertrude mistakenly drinks from the cup poisoned by Claudius for Hamlet, and dies; Laertes wounds Hamlet with the poisoned sword, and then Hamlet wounds Laertes when they accidentally exchange swords. When Laertes reveals the conspiracy, Hamlet wounds the King and forces the poisoned drink upon him. Laertes and Hamlet reconcile, and Laertes dies; Hamlet prevents Horatio from drinking the poison so that he can live to tell the truth. Hamlet names as his successor young Fortinbras, who arrives and orders Hamlet buried with all dignity. Estimated Reading Time Given a text with abundant and helpful footnotes, an average student should expect to spend at least an hour per act on the first read through; subsequent readings should take less time, as the language becomes more familiar. Certainly a five-hour stretch is not advised; probably a few scenes at a time, or perhaps an entire act, would be a comfortable portion for an average reader. Since there are five acts with a total of twenty scenes, the student could expect to spend at least five hours in perhaps six to eight sessions. Related Content (hide) link Link There is little debate that Shakespeare is the greatest Renaissance tragedian, and that King Lear (pr. c. 1605-1606, pb. 1608) and Hamlet, Prince of Denmark are the best examples of his work in that genre. Since its first production at the beginning of the seventeenth century, Hamlet has been the subject of intense critical inquiry, and the figure of Hamlet has been among the most intensely studied of any of Shakespeare’s creations. Intellectual, self-reflective, alienated, and seemingly paralyzed by doubts about both himself and the circumstance in which he is called upon to act as an agent of revenge, Hamlet has come to be considered the quintessential modern hero. For the subject of his drama, Shakespeare turned to a story already popular in English theaters; at least two earlier productions of the sad tale of the Danish prince had appeared in London playhouses. In many ways, Hamlet is typical of a subgenre immensely popular in Shakespeare’s time: the revenge play. Most of these were bloody spectacles in which almost every character dies in the final act. The body-strewn stage in act 5 of Hamlet continues this tradition, as does the central action of the drama: the need for the young Hamlet to avenge the death of his father, the king, whose ghost informs Hamlet early in the play that he (the king) had been poisoned by Hamlet’s Uncle Claudius so Claudius could become king and marry Hamlet’s mother, the queen Gertrude. The central dramatic interest in the play is the character of its hero. Hamlet sees himself as the “scourge and minister” of some higher order, returned from school in Germany to set right the disorder in his realm caused by his uncle’s murderous action. Unfortunately, the sensitive prince is not callous enough to ignore the doubts he has about the exact cause of his father’s death. He has been told by his father’s ghost that Claudius committed murder; other hints to that effect abound. The prince feels he must delay his revenge, however, until he is certain Claudius is guilty. Compounding Hamlet’s problem is the fact that his mother, whom he loves dearly, has married his uncle soon after the old king has died. It is not at all clear to Hamlet whether his mother has had a hand in the murder, whether she is simply unaware of Claudius’s treachery, or whether she believes Claudius is innocent. Much is made of the mother-son relationship; Hamlet spends considerable time trying to convince his mother that she has made a mistake in marrying Claudius. Only when she finally comes to accept his view that the new king is somehow guilty does Hamlet decide to act. His decision is precipitated by several other actions as well, most notably the efforts of his supposed friends Rosencrantz and Guildenstern to have him killed. Many critics have observed that Hamlet is really too sensitive to effect the revenge that he intends. He is by nature melancholic, possessing a fatalistic disposition that borders on the suicidal. His most famous soliloquy focuses on the virtue of ending his life. “To be, or not to be,” he begins his musings; that is, indeed, a central question for him, since he sees little benefit in continuing to live in a world where injustice reigns. Nevertheless, he decides to act to avenge his father’s murder—once he is certain he knows who has been involved in the plot to kill him. Viewing the world as a place where things are seldom as they seem, he spends a good portion of his time trying to sort appearance from reality. He invents various devices to help illuminate the truth, such as his elaborate arrangement for a dumb show that will re-create the murder of his father in the presence of Claudius to try to make the king reveal his guilt. Hamlet is not satisfied simply to take vengeance on his uncle clandestinely; he wants Claudius to admit his guilt. For centuries, scholars have debated Hamlet’s inability to act even when he has the opportunity to do so. Early in the play, his inactivity can be attributed to his lack of assurance that Claudius is guilty. Were he to kill the new king without justification, he would be seen as no better than a murderer himself, and no good would come of his action. Nevertheless, when he does appear to have sufficient evidence of Claudius’s role in his father’s murder, the prince still seems paralyzed. In a crucial scene after Claudius has seen the dumb show and left the room visibly upset, Hamlet finds his uncle praying in the castle’s chapel. It is a perfect chance to slay the king, but Hamlet refrains because he says he does not want to send his uncle’s soul to heaven. Such casuistry has been reason for several critics to claim that Shakespeare is simply drawing out the drama until the final catastrophe. By the final act, Hamlet has become totally fatalistic. Having killed Polonius accidentally, he has already bloodied his hands; he accepts the challenge of Polonius’s son, Laertes, with resignation, knowing that he will probably be killed himself. In the final scene, all of the principals meet their end—and almost all by some mischance of fate. Despite the resounding encomium pronounced over the body of the slain prince, the bleak ending offers little encouragement for an audience who has witnessed this great tragedy. Surprisingly, however, the ending seems justified, in that order has been restored to the Danish kingdom, although won at a terrible price. Such is the lesson of most great tragedies, and Hamlet ranks with the very best examples of the genre.	i don't know
South Carolina is bordered by North Carolina and which other state?	Boundaries, State \| NCpedia Boundaries, State See also: Carolinas, Separation of ; History of the Dividing Line ; Tennessee, Formation of ; Walton War . North Carolina borders the Atlantic Ocean to the east, Virginia to the north, Tennessee to the west, and Georgia and South Carolina to the south. The state claims jurisdiction of the waters of the Atlantic to a distance of "one marine league eastward of the extreme low-tide mark." The boundaries shared by North Carolina and neighboring states were the cause of controversy and violence during the eighteenth and nineteenth centuries, and minor disagreements were still being addressed during the twentieth century. Northern Boundary The Albemarle Sound settlements were separated from Virginia when Charles II granted the new province of Carolina to the Lords Proprietors . The provinces were divided at the 36th parallel by the Carolina charter of 1663; the Carolina charter of 1665 moved the line northward to 36°30', adding a 30-mile-wide strip to Carolina. By 1680 Virginia authorities were becoming irritated by residents along the boundary region who refused to pay their Virginia quitrents . The Virginians preferred to ignore the provisions of the 1665 Carolina charter and considered that the boundary should be at the 36th parallel, as outlined in 1663, which would place the most heavily populated districts of Carolina in Virginia. Attempts at surveying a boundary were frustrated by various private interests and objections from Virginia, which feared that a boundary survey would extinguish their claims to the land around the Albemarle settlements. Virginia even ordered a secret survey in 1705 to see how much land would be lost by an accurate survey. When North Carolina became a royal colony as the Lords Proprietors sold their rights to the province, the Crown insisted on a boundary survey. In 1728 commissioners and surveyors from both provinces began work on settling the location of the boundary. The line was begun at Currituck Inlet on 5 Mar. 1728, and 73 miles were surveyed when work halted six weeks later. Work was resumed in the fall. After an additional 50 miles were surveyed, the North Carolina commissioners left for home, declaring that it was a waste of time to survey so far inland and so far from any settlers. The Virginia party continued surveying for another 72 miles, getting as far as present-day Stokes County . The Virginian point of view of the 1728 survey was set forth by William Byrd II in his famous History of the Dividing Line betwixt Virginia and North Carolina (published in 1841). Byrd noted the plight of planters whose lands were divided by the line, "which made the Owners accountable to both Governments." He also wrote that many settlers in the area preferred to belong to North Carolina, where the grasp of the government was weak and taxes for the province and the church were lower. Further surveys in 1749 and 1779 traced the remainder of the boundary. The surveys simply continued the line surveyed in Byrd's time, with little controversy. Southern Boundary The series of boundary disputes with South Carolina was long and bitter. The Proprietary province of Carolina was considered two separate colonies by the late 1600s, but no official boundary was specified for many years. Nothing was done to settle the location of the boundary until North Carolina and South Carolina became royal colonies. An agreement reached in 1730 called for the boundary to start 30 miles south of the mouth of the Cape Fear River and run northwest parallel to the river. Governor George Burrington of North Carolina later refused to allow funding for the survey, claiming that it would be a wasteful expense and that the Pee Dee River was a better dividing line. Had Burrington allowed that survey, North Carolina would have lost nearly all of the country west of the Cape Fear River and much of the present area of the state. In 1735, after Gabriel Johnston took office as governor of North Carolina, commissioners from both colonies agreed on a new plan for the boundary. The line was to run diagonally northwest from a cedar stake driven into the Atlantic shore to the 35th parallel, then straight west to the South Seas (Pacific Ocean), making only such detours as needed to place Catawba or Cherokee lands in South Carolina. Surveys in 1735 and 1737 brought the diagonal line beyond the settled regions to a remote meadow that was thought to lie on the 35th parallel, and work on the boundary was halted until 1764. As the lands west of the end of the 1737 line were settled, conflict between the Carolinas grew. By the 1750s, both provinces had issued grants to some of the same properties. Government authority in the disputed areas broke down as officials of one colony were arrested or driven away by authorities or residents of the other as they tried to perform their duties. Governor Arthur Dobbs later bitterly denounced South Carolina sheriffs and tax collectors in the disputed area as an "invasive force." In 1764 another survey began at the same meadow where the line had ended in 1737 and ran the boundary to the Salisbury-Charlotte road, about 62 miles to the west and at the edge of lands held by the Catawba Indians. The entire 1764 survey was made in error. The terminus of the 1737 survey, which later surveyors used as their starting point, was about 11 miles too far south of the 35th parallel. North Carolina ended up with a wide strip of extra land containing more than 600 square miles. Work began on the boundary again in 1772. Surveyors, under instructions from the Board of Trade , continued the 1764 line by following the Salisbury road for about eight miles north, then cutting diagonally around the Catawba lands to the forks of the Catawba River (leaving that peculiar "notch" in the state's southern line), then running straight west as far as the Cherokee line of 1767. West of the Catawba lands, the line was run at 35°09', in effect giving South Carolina land north of the 35th parallel to make up for the territory lost by the earlier surveying error. After years of disagreements, both states finally accepted the 1764 and 1772 survey lines, reasoning that what each state lost in one survey was made up for by the other. A survey in 1815 completed the far western part of the boundary, ending at Ellicott's Rock on the Chattooga River, the meeting place of the boundaries of North Carolina, South Carolina, and Georgia. A boundary dispute between North Carolina and Georgia reached such extremes that North Carolina militia companies clashed with Georgians before the differences were resolved. Georgia had ceded its western lands to the United States and in turn received a 12-mile-wide strip of land ceded by South Carolina south of the 35th parallel. A surveying error led Georgia to start granting land in a region, named Walton County, that was legally in North Carolina north of the 35th parallel. Virtual anarchy resulted as citizens and officials of both states clashed, with neither side gaining complete control; outlaws took advantage of the lack of law enforcement, and law-abiding citizens fled the region during the so-called Walton War . It took several years before the two states could agree on the location of the boundary. The present boundary between North Carolina and Georgia was surveyed in 1819 and 1821. The 1819 survey line is slightly north of the 35th parallel and the 1821 line is slightly south of it, but both states accepted these slight variations rather than continue the quarrel. Western Boundary North Carolina ceded its western lands that became the state of Tennessee to the federal government in 1789. The act of cession decreed that the boundary between the two states would begin at Stone Mountain, on the Virginia line, and follow the highest ridges of various mountain ranges until reaching the Georgia boundary. A survey in 1795 plotted the boundary for 151 miles but halted when the surveyors reached some Cherokee lands. The southern section of the boundary was not surveyed until 1819. The location of much of the boundary was of little importance until settlers began moving to the area after the Cherokees were forced off of the land in that region in 1836. By that time, many of the old survey marks had been lost. There were places along the boundary where Smoky Mountain, the high ridge of which had been used to determine the location of the boundary, split into two or more ridges. Both North Carolina and Tennessee issued land grants for some of the same property in the valleys between these ridges, causing lawsuits. The Federal District Court in 1900 and 1902, and the U.S. Supreme Court in 1914, upheld North Carolina's claims in the disputed areas. Update from N.C. Government & Heritage Library staff: In 1993, the states of North Carolina and South Carolina joined in an effort to revisit the historic surveys and resurvey their common 334 mile border using modern GPS and GIS technologies, along with historic surveys, records, and maps. Boundary issues between York County, S.C. and Gaston County, N.C. had arisen in the 1990s, prompting the two states to find a method for resolving issues related to the historic surveys without litigation. In April 1993 the NC Geodetic Survey and the SC Geodetic Survey signed a Memorandum of Agreement to co-operatively establish the boundary. Work began in 1995 with teams of surveyors. The resurvey of the entire border concluded on May 3, 2013 when the Joint Boundary Commission adopted the final 91-mile segment of the survey. As a result of the resurvey, some addresses have changed, including a change in the governing state. Legislation will be enacted by both states to resolve issues related to address and state changes for property owners affected by the resurvey. -- Kelly Agan, N.C. Government & Heritage Library References: Darin E. Fields, William Byrd's Histories of the Dividing Line betwixt Virginia and North Carolina Run in the Year of Our Lord 1728: A Genetic Text (1992). Alexander S. Salley Jr., Boundary Line between North Carolina and South Carolina (1929). Marvin L. Skaggs, North Carolina Boundary Disputes Involving Her Southern Line (1933). Samuel Cole Williams, "The North Carolina-Tennessee Boundary Line Survey," Tennessee Historical Magazine 6 (July 1920). Additional Resources: Thompson, Gary; NC Geodetic Survey. How did North Carolina Get Its Shape: A History of the boundaries surveyed. http://ncgs.state.nc.us/Documents/NC_SC_Boundary_Western_NC.pdf (accessed November 23, 2015). Collins, Jeffrey/Associated Press. "NC, SC state line isn't where folks thought it was: 93 properties suddenly find themselves in another state." MSNBC.com. 3/23/2012. http://www.msnbc.msn.com/id/46832892/ns/us_news-life/t/nc-sc-state-line-isnt-where-folks-thought-it-was/ (November 1, 2012). Carbone, Nick. "Border Shift Between North and South Carolina Switches States for Some." Time magazine. March 24, 2012 http://newsfeed.time.com/2012/03/24/border-shift-between-north-and-south-carolina-switches-states-for-some/ (November 1, 2012). WBTV. "Dispute over North Carolina/South Carolina border." Jan 04, 2011. WISTV.com http://www.wistv.com/Global/story.asp?S=13784677 (November 1, 2012). Beam, Adam. "New SC-NC border will affect some residents." The State [S.C.]. Feb. 12, 2012. http://www.thestate.com/2012/02/12/2149525/new-sc-nc-border-will-impact-some.html (November 1, 2012). Blythe, John. "Tar Heels or Sandlappers: The NC-SC Dividing Line Settled Soon." North Carolina Miscellany (blog). February 13, 2012. http://www.lib.unc.edu/blogs/ncm/index.php/2012/02/13/tar-heels-or-sandlappers-the-nc-sc-dividing-line-settled-soon/ (November 1, 2012). "North Carolina-South Carolina." North Carolina Highway Historical Marker Program. http://www.ncmarkers.com/Markers.aspx?sp=search&k=Markers&sv=L-38 (November 1, 2012). Collins, Jeffrey; Associated Press. "NC and SC join to resurvey their odd state line." BlueRidgeNow.com, January 1, 2011. http://www.blueridgenow.com/article/20110101/NEWS/110109997?p=3&tc=pg (accessed November 23, 2015). Kelly, Stephen R. "How the Carolinas Fixed Their Blurred Lines." New York Times, August 23, 2014. http://www.nytimes.com/2014/08/24/opinion/sunday/how-the-carolinas-fixed... (accessed November 23, 2015). State of Sourth Carolina. State of South Carolin aBoundary Commission Report for FY2012-13. http://www.scstatehouse.gov/reports/B&CB/SC_NCBoundaryReportFY13-14Provi... (accessed November 23, 2015). North and South Carolina Boundary Survey, #2944-z, Southern Historical Collection, The Wilson Library, University of North Carolina at Chapel Hill. http://www2.lib.unc.edu/mss/inv/n/North_and_South_Carolina_Boundary_Surv... (accessed November 23, 2015). North Carolina Department of Secretary of State. North Carolina-South Carolina Joint Boundary Commission. https://www.secretary.state.nc.us/boardnotices/Board.aspx?PitemId=806478... (accessed November 23, 2015). Temple, Robert D. "Troublesome Boundaries: Royal Proclamations, Indian Treaties, Lawsuits, Political Deals, and Other Errors Defining Our Strange State Lines." Carologue. South Carolina Historical Society: Summer 2011. http://www.southcarolinahistoricalsociety.org/wp-content/uploads/2013/03... (accessed November 23, 2015). Image Credits: "Pine Tree Section, Accession #: H.1928.21.1 ." 1570-1928. North Carolina Museum of History. "North Carolina's Disputed Southern Boundary." Skaggs, Marvin L. North Carolina Boundary Disputes Involving Her Southern Line. 1933. http://www.lib.unc.edu/blogs/ncm/index.php/2012/02/13/tar-heels-or-sandlappers-the-nc-sc-dividing-line-settled-soon/ (November 1, 2012). Subjects:	Georgia
Fougasse, associated with Provence, is what type of food?	South Carolina Geography from NETSTATE The Land Three geographic land areas define South Carolina; the Atlantic Coastal Plain, the Piedmont, and the Blue Ridge region. South Carolinians simplify this somewhat by referring to the eastern Atlantic Coastal Plain as the South Carolina Low Country and the Piedmont and the Blue Ridge region as Up Country. Two thirds of South Carolina is covered by the Atlantic Coastal Plain, from the Atlantic Ocean extending to the west. The land rises gradually from the southeast to the northwest. An area of the Atlantic Coastal Plain, defined as extending from the coast about 70 miles inland, is referred to as the Outer Coastal Plain. This area is quite flat. Many rivers can be found in the Outer Coastal Plain with swamps near the coast that extend inland along the rivers. An area called the Inner Coastal Plain consists of rolling hills. This is where South Carolina's most fertile soils are found. In the central Atlantic Coastal Plain is an area of forested land called the Pine Barrens. On the western edge of the Atlantic Coastal Plain, running from the southwest to the northeast, is a line of sand hills. These sand hills may have once marked the eastern coast of South Carolina suggesting that the entire Atlantic Coastal Plain may have once been under water. To the northwest of the Atlantic Coastal Plain is the Piedmont. The Piedmont is marked by higher elevations, from 400 to 1,200 feet above sea level and reaching 1,400 above sea level on its western edge. The landscape consists of rolling hills; gentler in the east and more hilly to the west and northwest. The border between the Piedmont region and the Atlantic Coastal Plain is called the Fall Line to mark the line where the upland rivers "fall" to the lower Atlantic Coastal Plain. The Blue Ridge covers the northwestern corner of South Carolina. Part of the larger Blue Ridge that extends from southern Pennsylvania south to Georgia, the South Carolina Blue Ridge Mountains are lower and less rugged than the mountains in North Carolina. The forest covered Blue Ridge Mountains of South Carolina rarely exceed 3,000 feet above sea level. The highest point in South Carolina, Sassafras Mountain , reaches 3,554 feet into the sky. Climate (All temperatures Fahrenheit) Highest Temperature The highest temperature recorded in South Carolina is 111°, Fahrenheit. This record high was recorded on June 28, 1954 at Camden. Lowest Temperature The lowest temperature in South Carolina, -19°, was recorded on January 21, 1985 at Caesar's Head. Average Temperature Monthly average temperatures range from a high of 91.9 degrees to a low of 31.2 degrees. Climate Average yearly precipitation for South Carolina, from 1971 to 2000, is shown on this chart from Oregon State University. Sources: The World Almanac of the U.S.A. by Allan Carpenter and Carl Provorse, Copyright © 1998 Charles F. Kovacik and George C. Rogers, Jr., "South Carolina," World Book Online Americas Edition, http://www.worldbookonline.com/wbol/wbPage/na/ar/co/521100, August 15, 2001. The United States Geological Survey Website	i don't know
In song, what must a child do to get a ‘fishie in a little dishie’?	The Children's Encyclopedia - Ed. Arthur Mee - Volume 1- p000-120 by Stephen Digby - issuu Chi ldren's En( ~ yelop e dia vOJ.ur..m ONE Chief Contributors to The Children's ' Encyclopedia Uterary T . THORNE BAKER HAROLD BEGBIE ERNEST A. BR Y,ANT JOHN DERRY ARTHUR D. INNES MARGARET LILLIE CHARLES RAY C. W. SALEEBY J. A. SPENDER J. ARTHUR THOMSON R . F. TOWLER H . N. TYERMAN H . C. WHAITE PERCY M . YOUNG Art FREDERICK ANGER HILDA M . COLEY A. FORESTIER F. R. HINKINS J. R. MONS ELL GEORGE ~'. MORRELL WAL PAGET S. B. PEARSE T. H . ROBINSON W. B. ROBINSON CHARLES M. SHELDON E. F. SKINNER S. E. TRANTER S. J. TURNER Printed in Great Britain by The Amalgamated Press, Ltd., London ii THE CHILDREN'S ENCYCLOPEDIA ORIGINATED AND EDITED by ARTHUR MEE THE EDUCATIONAL BOOK COMPANY, LIMITED, TALLIS HOUSE, TALLIS STREET, LONDON, E.C.4 III SHAKESPEARE FANCIES A NE W RHyl\tlE IN HIS COTTAGE DAYS AT STRATFORD WE MAY BE SURE THAT SHAKESPEARE, FANCYING SOME NEW RHYME, WOULD CALL ANNE HATHAWAY T O USTEN AS HE PROUDLY READ IT OVER sq L;-C5 (" 0 CONTENTS OF THIS VOLUME CROUP I EARTH AND ITS NEIGHBOURS The Big Ball W e Live On .. How the Earth was Made . . Threc Ways the Earth Moves Insid e the Wonderful Ball. . How Fire and Water Made the World How Sun and Wind Made the Hills .. 9 137 265 393 517 641 GROUP II COUNTRI This Great W orId of Ours .. Our Homeland Seeing Our Homeland From the Sea Our Great and Little Hills England in the Long Ago The Conqueror Comes . . GROUP 12 GROUP 2 MEN AND WOMEN 19 141 271 399 521 647 The First Flying Men .. The Kings of Music The Famous Men of Venice Creators of Fantasy Cromwell and His Men The French Revolutionists GROUP 3 STORIES Sections begin on pages 27, 151, 283, 407, 529, 655 GROUP 4 ANIMAL LIFE Nature's Thousands of Children The Animals Most Like Men Bats and Their Friends Big Cats and Little Cats Tbe Wild Dogs The Friendly Dogs 37 159 291 417 537 663 HISTORY GROUP 5 45 167 297 425 543 671 Man Se ts Out on a Journey Mall Builds Himself a House Man Fcels.flis Way to Power Thc Wondering Egyptian .. Man Begins to Think of God ' A New Birth for Mankind FAMILIAR THINGS 49 Iron and Steel Rope 179 Cotton 171 .. 301 China Airways Bridges . . The Piano 429 547 675 WONDER Sections begin on pages 59, 183, 307, 439, 559, 679 GROUP 8 Tb ~ Ri "h Treasure That is Ours Th,_ '::ave Men and their Pic tures The Artists of the Old Empires . . A Great Light Shines .. The Wonder Men of Florence L<:onardo and Michael Angelo GROUP 9 Life that Fills the Earth The First Living Things Why Life Left the Sea .. Life Makes the Bndy .. The Tiniest Living Things .. Our Unseen Friends and Foes GROUP 10 How Life Goes Round and R ou nd A Plant's Struggle for Life . . Birth, Life, and Death of a Flower How Plants Work for their Living How Plants Move and Feel .. Plants and their Ancestors . . IV ART 65 191 315 443 565 687 OURSELVES 77 199 325 451 575 697 PLANT LIFE 81 203 329 457 579 701 4. I Sections begin on pages 91, 217, 345,469,597,721 GROUP 13 POETRY & NURSERY RHYME S Sections begin on pages 97, 225, 351, 475, 603, 729 G~OUP 14 POWER The Very Heart of Matter . . What is Electricity? . . The Ocean of Power We Live In The Electric 'Current . . The Story of the Dynamo The Storage Battery GROUP 15 105 233 359 481 609 735 LITERATURE The Realms of Gold Poetry More Precious than Gold Our First Storytellers The Greatest English Book The Book as Sweet as Music The Poet Who Followed Chaucer Movement Justice . . Courage .. 109 239 363 485 613 739 IDEAS GROUP 16 493 .. 617 . . 743 THE BIBLE GROUP 17 117 247 375 497 621 747 The Way Our Bible Came The Bible Story of Creation The Story of Cain and Abel The First Days of Evil Abraham, the Friend of God Isaac and His Sons THINGS TO MAKE 8. DO GROUP 18 GitOUP 7 Sections b egin on pages 121, 249, 377, 501, 625, 749 GROUP 19 SCHOOL LESSONS READING (continued) Adding Together 635 The Sums Get Harder . . 757 NUlII'BER Learning to R ead . . 129 Picture Books 258 Like A Flash 387 Making a Newspaper 509 Story Books and Word Books 633 Some New Words 758 WRITING Learning to Write 130 Keeping a Diary .. 259 Without Mother's Help 386 MalUng a Cinema .. 511 Films & Advertising 634 Copying the Nursery Rh ymes 759 UMBER Learning to Count The Names of Fio-ures Gam~s for Counting Remembering Figures 131 257 385 510 MUSIC The Sounds We Hear The Names of Sounds More About the N ames of Sounds Clefs and Staves Melodies for Voices Musical Dialects 134 262 390 513 636 760 ART Your First Picture .. Patterns & Pictures P atterns & Potatoes Colours and Mixing Paints.. Modelling in Clay . . Ways of Modelling .. 132 260 388 51 2 638 762 FRENCH Picture L essons, 136,264, 392,515,640,764 ARTHUR MEE From the /Jainlillg by his friend Frank O. Salisbury, C. V.O. To rate Pa.~, 1 TO BOYS & GffiLS EVERYWHERE you will find s m day, my young friends, that, though words pretend t ay what you mean, they do not say what you really mean at all lld I do not know of any words that can tell you all I want to ny to y u and all that this book means to me. Yet it is your b k . nd th story of it belongs to you. i mer of the world that a mother knows, was on \ lit 11(' 1 n ly girl. When Master Jack Frost woke up from }:lis s' 1 and ttl' ve t~e children in, our little lady would ride on her rocl il 路 hol' (. Fairyland, or ring the bell on the door of her shop and l' h'lI(I to sell . things to somebody who was not there, or put h r loll to b d long before it was time, or tell her bear the strangest ' . st ric th: t ver were heard. When the sun was high in the sky sh OIlld talk to the fairies in the trees, or beg Robin Redbreast t onu' wn and be friends. SOMEWIH.1Ul, litll- maid had friends in every flower and tree that grows, in v ry wind that blows; and as the days began and ended, ...... ," ...... went by, and months rolled on, and years began to come, lilli" mind grew great with wonder, and she would find that h II l"the world and its play, behind all that she couid see and hear I , J and know, was Something that she could not see and hear l t: I and kn,ow, Something she could not understand. \/M I so there came into .her mind the great wonder of the Earth. What does the world mean? And why am I here? Where all the people who have been and gone? Where does the rose me from? Who holds the stars up there? What is it that seems talk to me when the world is dark and still? So the questions w uld come, until the mother of our little maid was more puzzled than the little maid herself. And as the questions came, when the mother had thought and thought, and answered this and answered that until she could answer no more, she cried out for a book: h for a book that will answer all the questions !" And this is th ok she called for. NI is how our book began. Let us think we are sitting by the fire, little and big children everywhere (for children are we J), with storytellers and wise men to' talk to us. Such a big book 11)\1 l have a big name, but the name is the biggest word in the book, . . d you will learn to say it easily and will know when you grow up that it is the only name that will really do. , HAT fr is a Big Book for Little People, and it has come into the world to make your life happy and wise and good. That is what we are meant to be. That is what we wIll help each other to be. Your affectionate Friend, Arthur Mee 1 II A TO . A,L L , WHO LOVE CHILDREN , ALL OVER THE WORLD THE the beginning of its interest in natural things. / Children's Encyclopedia .is the first book that has ever trIed to t~ll the whole sum of human knowledge so that a child may understand. FOR the boy and girl at school these pages teem with precious things; for fathers and mothers, teachers and governesses, they may well become invaluable. It is a book for grown-ups and children. It is an encyclopedia of everything that comes into childhood, and by childhood it means all that period of life when the sensitive mind, the most marvellous instrument within th~ boundless universe, is being formed. could be more false to its purpose than tQ imagine that it seeks to cram the mind of a child with things that children need not know. It conceives the bringing up of a child as the supreme task in which we can engage, but it has no sympathy with those who would set a child down at a desk before it can run. It believes that a child is largely its own teacher, and that in . a right environment it will teach itself more than all the schools can teach it. NOTHING THE Children's Encyclopedia is what it claims to be. It is a children's book that children can understand. I t is written in the words the children know. The writers of this book have been simple by being natural; they ; have made a children's book without childishness, a book- that children may ~ read because it is simple, and that ; men may read because it is plain. .' IT cannot be urged against this book, therefore, that it has come to steal away the joy of childhood and' put a bitter grinding in its place. It has come to bring more joy to childhood, believing that true joy of life comes from sympathy and understanding. IF saving of time is lengthening of~: this book should be a priceless : ONE half of the population of the giftlife of years to the generation that is world is. made up of boys and coming. There can be no doubt which girls learning at school and little of two children a teacher would prefer children. playing at home. to take-one ' familiar with this book Is it beyond the resources of our language or one who is not. Nor can there be to convey to this vast multitude of men and doubt that this book in the hands of women of tomorrow such an understanding boys and girls will add immensely to of the world they live in as shall make their their understanding, lessening the diflives happier and save the waste." of ficulties of their school ljfe. precious years? HERE is a gift to the nation; a Children's Encything of measureless . value to . clopedia believe that it is not, and parents and teachers; a treasury for they have built up the simplest system children to which they may come of know ledge they can devise~ whenever they will, for whatever they .to ",:ander in this fi.eld, the will; an inspiration to childhood chIld wIll find whatever It wants. which will make these precious years For the youngest of all its nurse will a time of wise and happy building-up. find her lullaby. The child in the I t is a story that will never fail for nursery will find its nursery ~hymes children who will never tire; and and the best stories that have ever it is the best of all stories, told in the been told. The child who can be simplest of all words, to the greatest Arthur Mee left out of doors to play will .find here of all ends. THE creators of the LEFT 2 PLAN & PURPOSE OF THIS BOOK book is arranged so that a child can understand it. Its purl> is to give boys and ' ~ i -Is a conception of the w rld they live in and their place in it. It is not an Alphabet of 'acts. Admirable as that is for a busy man, i is useless torture for a child. Nothing can be III re forbidding to a ung mind than a C' .11ection of subjects . rranged in the order in which the accident the alphabet brings m. The alphabet is li)f those who know; t It Children's Encyclop dia is for those who cI not know. . his book presents a il p ie scheme of urlil" al knowledge which 'O( ns up a vision of -th world as one great , It Ie . It seeks to stir th mind and to awake I nse of wonder. Its "ttrpose is to fascinate all educate. t seeks to tell the t ry of everything a child can understand in Ih p, ainest way in \ 1 i h i t can be told. It b lieves that a child I) becomes interested ill, v rything about it, il ~ries to explain, in a logical (qu nce of things, whatever the I hit 's mind may begin to think fire, touches a switch, and hears a voice on any continent. I t comes up from the days when a man could send a message to another only as fast as a messenger could ride to these days when he can send a voice round the Earth in a tick of the clock. So vast a range of interest has this book, and it seeks to deal with it in simple ways. There are thousands of things shown in colour. There are birds a i1d insects, plants 'and trees, . seaweeds and shells, reptiles and fishes, all in colour; there are berries~ grasses and ferns, minerals and tapestries and trains. ; there is the colour of old Empires, the colour ofN ature, the colour from the world's great galleries. It may be claimed that in its pictures and in its colour this book has not been surpassed in our time. And the range of its thousands of pictures is as wide as it can .be. It has a unique Picture Geology of our island home, a specially compiled list of all the rivers in England, a coloured atlas of the world, a remarkable array of picture maps, and photographs of the peoples of the world, their homes, their industries, and their commerce. The book has been arranged in nineteen main groups, seventeen groups of knowledge and two of practical teaching. Every group ' is numbered and runs through the book till it is completed; all we have to do is to THIS . I n. I) its millions of words and its III ) 11;; nds of pictures it brings the mil l f a child up from the beginning f If l} world into the midst of the ,hi illing age we live in. It comes up IIIITI the days when a man lived in a the days when he sits by his l 3 THE PLAN AND PURPOSE OF THIS BOOK turn to the group we want and read the chapters from the beginning to the end. They move forward simultaneously, so that in fact this is a book of about a thousand chapters summing up human knowledge. Here are the Nineteen Groups of the book and their contents. THE 19 GROUPS OF THIS BOOK & WHAT THEY ARE ABOUT 1. Earth and Its Neighbours. The story of the Universe and all its wondrous worlds. Astronomy. Geology. Geography. Chemistry. Physics. 2. Men and Women. The life-stories of immortal men and women and their achievements. 3. Stories. The great stories of the world that will be told for ever. Golden Deeds. Fairy Tales. Legends. Fables. Chivalry. Stories of all Peoples. Old Tales of Greece and Rome. 4. Animal Life: Nature's wonderful family of living things in Earth and air and sea. Mammals. Birds. Reptiles. Fishes. Insects. 5. History. The march of Man from the Age of Barbarism to the United Nations. 6. Familiar Thing~. The things we see about us. Our Great, Industries. How things are made. Where they come from. 7. Wonder. Plain answers to the questions of the children of the world on all subjects. 8. Art. The beautiful things in the treasurehouses of the world. Pictures. Statues. Carvings. Buildings. Colour. 9. Ourselves. The wonderful house we live in and our place in the world. Body, Mind, and Soul. Citizenship. Economics. Government. . Law. The United Nations Organisation. WE need mention only a few writers of this book to suggest the type of mind that has been enlisted in what we believe to be the greatest cause in the world, the educating of our children. Among them are Sir Arthur Thomson, the famous professor of Natural History for so long at Aberdeen; J. A. Spender, the famous editor who had an unsurpassed knowledge of the world's affairs; T. Thorne-Baker, with his remarkable record as a scientific investigator and ' inventor; H arold Begbie, one of the most enfertaining writers of his generation; Dr. C. W. Saleeby, the popular author and lecturer; Dr. Ronald Campb<;ll Macfie, scientist; Ernest Bryant, the writer on Natural History ; 10. Plant Life. The marvelIous story of the plants that cover the Earth. Botany and its wonders. Flowers. Trees. How things grow. 11. Countries. The peoples of alI nations and their homelands. 12. Picture Atlas. Maps of all nations. Illustrated maps of historic and natural events. 13. Poetry. One thousand poems of all times and all countries, with verses and rhymes. 14. Power. Where power comes from; what it does; how it works. Electricity. Wireless. ' Motor-cars. Aeroplanes. Railways. Ships. Steam. Coal. Gas. Oil. Water. Machines. 15. Literature. The imperishable thoughts of men enshrined in the books of the world. 16. Ideas. Great words that stir the hearts and minds of all mankind. 17. The Bible. The story of the world's most beautiful book, and the Life of Jesus. 18. Things to Make and Do. Crafts. Games. Needlework. Cookery. Tricks. Pu zlles and Problems. Scient1fic Experiments. 19. School Lessons. Simple learning made easy for very little people. Reading. Writing. Arithmetic. Art. Music. French. Charles Ray; and others whose expert knowledge has kept the informa tion in these pages in step with the times. Through all the things that are written here breathes a spirit which no dark days can conquer. This book is written from heginning to end in the faith that all is well. It believes in God and man and' in our race. It believes in loving our country as the noblest country that has ever been, and in loving mankind no less. It believes that character is the greatest thing in the world, and that by teaching our children to do right, to love truth, and to cherish fine things, we can save mankind from all its troubles and build up the Kingdom of Heaven. L I GIVE to you the beauty of the Earth in the golden hour of dawn, with the vision of the Sun as it climbs above the hills, with the glow of fire across the meadow and the sparkle on the river that runs past. The sight of the new stirring of the life of the world, the sound of all moving things that praise their Maker, the feeling that uplifts the heart as the light breaks on another day, are yours. you the eager hope ot spring, with the right to see the slow disrobing of the winter earth and the slow unveiling of her secret treasury. I give to you the untold glory of a summer's day, with t he touch of God in every lane and the fire of the Sun in every rose. I give to you the eternal promise of a utumn, with the faith of all growing things in the life that will come again. I give to you the peace of the Earth on a winter's d ay, with the robe of stainless white not m ade with hands. I give to you the full glory of the changing year, and perfect trust in the ways of God that have never failed upon the Ea r th . I to you the qUIet of the hilltop, the vIsion of the smiling world that opens out below, the green fields tha t stretch far away until they touch the sky. I give you the pa th that brings you to the valley, with the trees that rise like silent sentinels to gua rd the peace of the woodla nd walks where you may be alone. I give you the thrill of heig hts where a man ca n think no mean thing, a nd the calm of the hidden places where little children seek and find the key of the Kingdom of Hea ven. GIVE 6 THE leaping joy of spring, the glittering dance of summer, the rustling of the leaves in autumn, the stillness and strengthening of winter, I give to you. I give to you the ceaseless wonder of th~ day and night. a nd the seasons as they pass. I GIVE you the song that has been in the world since the birds began to sing, the joyous hymn of the lark and the plaintive music of the nightingale ; the beauty that has been on Earth since flowers began to peep; the silver lamps that have hung- in the sky since the stars beg-an to shine. I GIVE you understandmg 01 the voices 01 dumb t.hings- the neigh of the horse that a rider loves, the bark of the d og that has been m a n 's friend throughout the years, and the purring of the cat on the hearth . I give you the music of the d ay to stir your soul , a nd the stillness of the night in which you hear. if you listen , the voice of God. I GIVE yo u the gentle breeze (hal kIsses the tace of a child, and the wind that tosses the ship at sea : I give yo u tenderness and strength. I give yo u the charity that comforts the sufferer a nd the pity that softens (he life of the poor. I give you the wisdom of health and the power to build up in you r body a holy temple for yo ur soul. [ give you the power to think and know a nd und erstand , the power to love books and all beautiful things. I give you the power to win the love of little children and the power to hold yo ur head high among men I GIVE yo u the waters of the Earth, with the right to listen to the whisper of the stream as it rises 7 in the hills, to the chatter of the river as it gathers and widens, and to the shout of the cataract as it spl ashes through the rocks. I give you the beauty of the moving sea when it kisses the Sun, and the vision of the liquid peaks that rise and fall. I give you the slowly creeping waves that have never been still since the seas were made, and the rocks they have ground into gold en sands I GIVE you the ocean~ in calm and storm, with the wa ters that danc.e in the air, the showers and the winds, the snow that clothes the world anew in a night, the rain that taps on the window, and the rainbow that spri!lgs out of the Sun. I buttercup, to lose yourself among tUt heather and in the field of the cloth of gold. GIVE you the Past, with its heritage of good and ill. I give you the Present, with the opportunity that knows no bound. [ give you the Future, with the years that never end and know no sorrow. GIVE to you the long, long thoughts oj youth and the memories of the years; the hope of the dawning life, the dream 01 the days to be, and the looking-back. 1 give you the yearning and the craving that make life sweet. I give you the time of waiting and the time of fulfilment. I give you the spirit that good fortune does not mar nor ill fortune break. I ~ ._-r ] GIVE you the calm you, tree for that looks out ever, with the right to take whom upon the world and will not be disyou will, the full comforted. I give enjoyment of the you the heart that atural Gallery of d oes not quail; the everlasting pictures, and the right to see courage that does not flinch; the faith the unveiling of a ll that will not fail in sunsets, the covering the Valley of the of the heath with red I give you the time of waiting Shadow. I give you and gold, the floating and the time of fu lfilment the power to believe past 01 the clonds that ride like mountain peaks across the in the everlasting spirit of the world sky. I give you access to all the bushes GIVE you the love of true things, the love laden with berries, to the daffodils and the of pure things, and the companion路 violet beds, to the place where ferns and ship of sweet liberty. I give you the scorn mosses hide, and to the tulips when they of all ignoble things, the hate of all things hang their heads at night. evil, and the strength to march breastforward against them until they are GIVE to you the power to remember destroyed . and th~ power to forget, and I ~ve you G IVE I I I you the promise that they shall be destroyed, that the face of the Earth shall be fair , that the mind of man shall be free, that all that come from God shall yet return to Him, that little children yet shall see the D awn that no man knows. the strength to forgive . I give you the love of the quiet places where the burden of the petty things will fall away. I give you the right to wander by the brook that babbles o'er the pebbles, to rise earh in the morning and see the dew on every 8 GIVE GROUP I CHAPTER 1 EARTH AND ITS NEIGHBOURS The Story of the Boundless Universe and All Its Wondrous Worlds What This Story Tells US HOW still the Earth seems on a moonlight night! Yet the Earth has never been still for a moment of time. We do not know hew long it has been spinning, but for millions and millions of years it has been flying like a ball through space. It began as a cloud of fiery gas; it cooled and shrank; and at last it became hard and round like an orange. And, as we now know, the Earth is like a speck in a boundless universe, qne of the smallest of a thousand million worlds, all moving on and on in perfect order through space that seems to have no end. What are they like? Are they alive? Are little children playing there? Perhaps not; we do not know. But they have their place in God's great scheme of things, and here we will read all we can know of them until the day when our eyes shaH see and our minds shall understand the marveHous purposes of God. THE THE BIG BALL WE LIVE ON off "that light, which travels big ball we live on, with its mountains, and 186,282 miles in a second, ::- rivers, and seas, and deserts, takes hundreds of years to "3 and forests, and plants, and reach us. An express train ~ animals, is only a speck in would take hundreds of 01.. the vast infinity of space. millions of years to cover the "') .::; I t is surrounded by millions Even farther off distance. .... than that there are stars, for ~ of suns and planets burning ::0 and spinning, and by millions every time a bigger telescope . is made new stars come ~ of suns and planets born EARTH COOLING DOWN :::; untold ages before the Earth into view. The big Hooker :0 telescope on Mount Wilson revealed ~ came into being, which have now burnt out and ceased to spin. In comparison thousands of stars out beyond the stars with its own Sun, the Earth is a tiny thing, that were previously known. and if it were a little nearer that shining ~ So little, then, is our big ball, when we star it would be drawn into one of its fiery look at it amid the suns and nebulae in the whirlpools and devoured like a daisy in immensity of space. But we must not, therefore, think less of our Earth. a prairie fire. We who rush round the sun in such a And there are many suns in space millions of times as large as ours. Besides wonderful chariot, with the stars millions suns and planets, too, there are tremendous of miles away shining into our eyes, must clouds of glowing substance known as recognise that ' the Earth's place amid nebulae, so huge that the Earth in the the suns is a place of wonder and a place middle of one of them would be like a pea of honour. We are proud when we go in the Pacific Ocean. In space itself the sixty miles an hour in a motor car along a Earth is quite lost. Think of the width, road; but what an adventure it is to go flying a thousand miles a minute round the and breadth, and height of space ! sun, companioned by Jupiter and Venus The Sun se~ a long way off, but its light takes only a few minutes to flash and Mars-to go flashing with the Sun across to us, whereas astronomers who have along pathless space towards some unbeen measuring the distances of stars have known goal. Life can never be a stupid calculated that so~e of them are so far and dull and sordid thing if we educate 路 ASTRONOMY . GEOLOGY . GEOGRAPHY . -CHEMISTRY . PHYSICS . LIFE 9 'l' HE CLOCK . OF THE Here our scientific artist, Mr. G. F . tMorrell, gives us a .' Clock o[ the World's Life. Bj ~heir s~udy of , . the radio-actIve ele- i ments in the Earth's crust and . the time they take to lose their ( a.d i 0 - activity and chiinge into stable e I erne n t s, scientists Clilculate that the E~rth's . crust may have been formed as long ago as 3,000,000,000 years. It is estimated, more- , over, that life has existed on our planet for at least 500,000,000 years. We can the more ' readily understand the period occupied by . the chief forms of living creatures. in the i r development, until at last Man appeared, by showing them as though on a clock face on which the hour hand has taken 500,000,000 years 路to make one revolution. On the outer edge of this clock of the world's life are shown in t.heir proper order the namesofthesuccessive geological periods. The sections do not, of course, show the relative l ength~ of 路 these periods. In the first perIod came little worms in the sea, the first shellfish and the jolly little tri l obite~ . Between 2 and 3 ,ea-scorpions like big lobsters developed; . and between 3 and 4 . the first fishes with : backbones. It was i ,he first appearance , of the. Backbone. t I From 4 to 6 the . armoured fishes grew : strong and f 0 u gh t the giant lobsters. It '. w~ the first . great ,,'I" victory for the Back- .>. bone which was to ,.- ::' . coriquer all things. From 6 to 8 giant rrees flourished , and ., ' ... . THE EVOLUTION OF LIFE ON THE EARTH DURING 500,000,000 ' to OF LTFE DOWN THE LONG ROAD OF TIME YEARS-FROM THE CAMBRIAN PERIOD TO THE ARRIVAL OF MAN 11 our coalfields were , really fields of vegel (ation. So luxurious : "1 'o"j was their growth that 1 they seem to have attracted life ashore. It was the age of the Amphibians; feet ! and legs appeared. From 8 to 9 was the (ime of the sea liza rds. From 9 to 10 the reptiles developed; , Brontosaur and Stegoi saurroamed the forest; fiyingdragonsappeared, followed by birds. From 10 to II was (he Cretaceous Period, when the chalk ~ beds were laid down in the sea. The reptiles grew grotesque and terrifying, and the first birds developed, with big claws and teeth, like their reptile ancestors. Then, also, mammals developed, little , creatures like " opossums, and it is strange to think that they were one day to dethrone the mighty Dinosaurs. From 1 1 co 12 is (he Tertiary Period, at the end of which we live. During this time mammals have grown mightily, and ) the Dinosaurs have disappeared. Early in this period came the Dinotherium and the four-tusked Mastodon ; and the sixhorned Tin u c era s fo ugh t the Sabretoothed Tiger. Perhaps half-way through this period came the little lemur-like creatures which developed into monkeys and later into apes; and afterwards, late in the last half-hour of the clock, Man himself appeared. It may have been a million years ago; we do not know. His written history-written in stone and on the rocks, or on papyrus leaves-is 10,000 years old, like a scratch of a pin in the last hour of the .clock. EARTH AND ITS NEIGHBOURS our imagination to realise through what elements, including iron and other metals. a wonderful universe we are rushing. In the cloudy stage astronomers call the Think, too, of the marvellous making of sun a giant sun, and in the more conour little world. It is interesting to densed stage they call it a dwarf sun ; and watch a sculptor making a figure out of finally the dwarf sun cools down entirely marble, or to watch a painter putting and becomes a dead, dark sun. trees and hills and faces on canvas; but That is a very brief sketch of how suns on our journey through space we can are made. But sometimes, while suns are watch a much more wonderful artistcontracting, their surface breaks up and we can watch the Creator's work of making . the fragments become planets revolving suns and planets and find out how this round them. Something of that sort hapworld came into being. pened to our Sun; and the fragments grew into the planets, and one of the THE CLOUD THAT IS BEGINNING TO BE A SUN LIKE OURS planets is our Earth. What we call empty space is not empty ; It is surely wonderful to think that the it is full of an invisible wonderful some- Earth was made out of the invisible ether thing we call ether, and it is this ether o(space, and that at one time all its rocks which conveys light to us, and tells us and seas and animals and plants were of the house across the street, of the suns nothing but hydrogen and helium gas! millions of miles away, of the friend It is surely wonderful to think that a across the room. Now at places in space Great Power. could bring so much out of something miraculous seems to be going so little! And one of the most wonderful on in the ether. things in the making of the Earth was We see a glowing cloud, millions of the final steps that made Life possible. miles in diameter, which has blossomed in OUT OF THE FLAME AND FIRE CAME THE the invisible ether. It certainly was not VERY TmNGS LIFE WANTED always there, and if it were not always At first this big ball of ours was simply a there some Power must have made it. God globe of flaming gases and molten metals. made it. He is beginning to make it into As it coole.d it formed a solid metallic a sun. When astronomers examine such crust, and as the metal cooled and solidia cloud with telescopes and spectroscopes fied and condensed, it squeezed out slag they discover that it is composed chiefly as cooling iron in an iron foundry does. of the two gases, hydrogen and helium. This slag formed the early crust of the That does not seem very wonderful, Earth. And the amazing thing was that perhaps, but chemists believe that all the the crust contained iron and lime and elements in the world are built up of sulphur and sodium and potassium-}ust atoms of these two light gases. In the those elements which were necessary to life. More amazing still, when the cooling cloud, hydrogen and helium are being prepared to make all the other elements crust cracked, and when giant volcanoes that go to make suns and planets. At this spouted all over the world, out of the stage the cloud is very thin, thinner even bowels of the Earth came steam which than the air we breathe ; but as the gases condensed into water and carbon dioxide form, and as new elements are constructed, gas, and so the Earth got rivers and seas the cloud contracts, or shrinks, and grows and an atmosphere. After millions and denser and hotter. The chemical pro- millions of years of flame and fire, of cesses going on, and the shrinking of the seething and boiling and bubbling, there cloud, both produce great heat, and so the carne out of this fragment of the Sun exactly the right things to make life. The cloud becomes a blazing sun like ours. water, lifted and tossed by the air, broke THE WONDERFUL THOUGHT THAT SO MUCH CAME FROM SO LITTLE down the crust into soil and mud- into But at a certain point the heat leaks the clay of life. All that is amazing and wonderful, but away faster than it is formed, and the sun cools, and as it cools down heavier all would have been in vain if the Sun elements are formed-the gases become had not been shining across space nearly a hundred million miles away. When the partly fluid and partly solid. \tVe can see in space plenty of suns which Sun broke up into bits, and the bits went have reached this stage, and the spectro- flying as fiery planets round it, it might , scope shows that they contain numerous have seemed an unfortunate accident; 12 i FROM SUCH A CLOUD OF FIRE CAME EARTH x., .:.; ..J II :::J THE NEBULA Of ANDROMEDA AS SEEN THROUGH THE BIG TELESCOPE AT THE YERKES OBSERVATORY IN CHICAGO 13 ,. ",,'~' , but if the Sun had not flung forth the pl~nets. there would probably be no living ~hl.ngs III the Solar System today. As it IS often best for children to , le~ve their parents- and live their own separate lives, so- it was best for the Earth to be parted from the Sun and go-its ' own way. . But the Earth still revolved round the , Sun, and the rays of sunlight still reached the Earth, and it w'as these , rays' of sunlight • that made living thi~gs, even , as today they make food for us all. How living , things were manufactured from the ,materials ready in the Earth's crust and in.its atmosphere nobody knows, but it probably came about in this way. I. The Earth is not flat but On the Earth was the wonderful fluid ' 4· If the Earth were flat round like an orange. ' We W . ater, with many substances dissolved I'n should see the the mast wholefirst shipand" ,at " once, not _ know this by the way a ship comes into sigh t at sea. It, and the wonderful gas carbon dioxide the rest bit by bit. ': which we can see bubbling in a sodawater syphon any day. On the gas dissolved in the water the Sun shone down, and it has been proved that when the Sun shines on such a solution some of the rays form the poison called formaldehyde, ,and other rays manufacture starch out of the poison; and starch is perhaps the most important substance in the world in relation to life. It contains -some of the en.ergy of the sunlight which made it, and thIS energy comes forth when oxygen , is join~d to it. When we burn starch, for instance, we get the Sun's energy out of it in the form of light and heat.· We know, too, that all the energy of living But we do not see it that ' 2. At first we see only smoke. depends on starch food. The Sun makes 5. wa~ . . We see the ship rising Then we see the top of the mast, ~s ~f the ship were starch out of water and carbon dioxide as If It were sail ing up the '~ other side of a ball. , ehmbmg up a hill. in green plants; animals eat the starch, and all life depends on the energy of the Sun contained in that compound; all the tissues of living bodies, are built ,out of it by the processes of digestion. ' . Now many people believe that Life Itself originated in some such way-first the poison that in itself is destructive to life; then starch; then from this starch the energetic substance of life called protoplasm! That mayor may not be so ; but it is certain that today all living things depend on the energy of the Sun, and that without sunlight life could not be. In many ways this arrangement of a Sun to put energy into the gas and water of the Earth would seem to ' be the ~on 3. Then the bows appear, trivance of a foreseeing Mind, and it is 6. ~t last the ship is over ' the CIrcle, sai ling clear on the and we see the vessel rising rea 11 y a much more comp1icate d arrangetop of the ball. higher and higher. ment than it looks; for the Sun's rays HOW WE KNOW THE would not only make starch' but' would THE SHIP UP THE COMING HILL EARTH IS ROUND 14 THE SUN AND HIS FAR-AWAY WORLD S JI .. . " WI' 'Il lllltl III the centre of our part of the Universe. Around him travel for ever a family of worlds 1.,11 planets. The Earth goes round the Sun once in a year, but Pluto takes 248 years to go II,, ~ picture is a diagram of the Solar System ; relative sizes and distances a re not in proportion. I 15 EARTH AND ITS NEIGHBOURS slay aHliving things were it not that the atmosphere holds back most of the rays. Exactly the right rays are let through ' to , make starch without destroying life. In some such way Life began and the conditions on the planet were such that it multiplied and developed till now Earth, air, and sea swarm with 'myriads of living creatures. Not only in stal'ch do we enjoy the energy of the Sun that was stored up in the starch of green plants for hundreds of thousands of years. Who could have imagined that all the decaying vegetation in ancient swamps and jungles would one day drive the machinery of unborn men? Yet life as it is today would be quite, impossible if oilr wonderful little planet had not hoarded this energy for us. With two arms and hands a man can do a good deal, but the writer is sitting at a mahog- , any table brought from a tropical fore~t, writing with a steel pen by elect.cic light. He could not have the table, nor the pen, nor the light, except for the energy of coal. A civilised man requires and possesses for his needs not only the energy of two arms but the energy of twenty, and eighteen of these are 'the black arms of coal. EVERYTHING ON EARTH MADE AND PREPARED FOR MAN Everything in this wonderful planet of ours seems to have been made for us,,and, in wise, far-seeing ways, prepared for us. Thibk of glass, and what it means to us! Think what the microscope and telescope have revealed to us! Think what eyeglasses mean to so many! Yet silicon, the element essential for glass, was collected for us in sea-water by countless myriads of tiny sea organisms which made of it little glass shells, often' of delicate beauty. Wonderful changes have taken place in our world since it first became the home of living creatures. Its crust has been broken, and cracked and crumpled; its ocean beds h ave been puckered up into moun- 路 tain fanges; continents have sunk beneath the seas. Most of the chalk of England was formed in the bottom of the sea; and the granite of Scotland is the remnants of mighty volcanoes. Even the Himalayas rose from the ocean; the Dolomites were once coral reefs; and many parts of the Earth's surface have been alternately land and ocean fioor. Earth has had its tropical periods, too, when great forestsandjungles grewin the Polar regions, 16 and it has had its Ice Ages, when almost all Europe was under glaci'ers. It has had its Age of Insects, its Age of Reptiles, its Age of Mammals, its Age of Man. Yet 路e vermore the Earth has gone spin.ning round the Sun, and evermore Life has blossomed more richly. At first its most wonderful blossom achievement, Man, hardly knew where he was, and it was many ages till he discovered that the Earth was a round ball spinning on its axis and revolving round the Sun. At first he naturally thought the Earth was fiat, and that the Sun went round it; but bold men who sailed about the world proved it to be round, and other' clever men discovered the revolution of the planets. C, THE SPINNING OF THE EARTH AND WHAT IT GIVES US The spinning of the Earth on its axis is a very strange thing; but the Sun als9 spins, and all the other planets spin, and it is probable that it has meanings we do not understand. But some of its uses to us we do understand; it gives us alternatives of day and night which help us to divide our lives bNween activity and rest. It produces the tides. and it is the cause of some _of the great regular winds which regulate and modifv the climate of the Earth. The Ea;th does not spin quite upri~t, but is inclined a little on its axis, and this slanting of the Earth as it revofves round the Sun is the cause of the seasons in the North and South Hemispheres. At one point in the Earth's revolution the North Pole is leaning towards the Sun and the South Pole away from it ; and at another point in its revolution the South Pole is leaning towards the Sun and the North Pole. away from it; so we have summer and winter alternatelv in each of the two halves of the globe. During its revolution round the Sun the Earth turns on its axis almost ' exactly 365 times, and so the year ' has almost exactly 365 days. THE BIT OF THE EARTH THAT BROKE OFF 'LONG AGO . When we are talking of the wonders of the world we must not forget the Moon which revolves round it once every twentyseven days. As the Earth is a bit of the Sun, so the Moon is a bit of the Earth. It was torn off by the tug of the Sun from the molten Earth ages and ages ago. Even as the Moon nowadays ra ises tides in the sea, so the Sun in those ancient days raised tides in the half-molten metal as it whirled, . ,. ~ :0 â€˘â€˘1 U This is what we should see if we could stand out in the Universe and watch the great procession of the worlds flat make up what we call the Solar. System. In the centre is the Sun, 93 million miles away. Ne .lrest to him is Mercury, then Venus, then our Moon below the Earth. Above the Earth is Mars; above Mars is Jupiter, a ml l en world not yet cooled down; then comes Saturn with his marvellous rings; beyond Saturn are Uranus and Neptune; and at the top in the middle is Pluto. 17 EARTH AND ITS NEIGHBOURS and so a bit of the half-molten metal was partly whirled and partly tugged away, and- went rushing round the Earth, at first quite near it. Like the Earth, it had great volcanoes spouting fire, and it must have been a splendid spectacle as it rushed round the Earth dragging great molten tides after it. But it could not hold the gases and . the water vapours within it as the Earth did; it was too small to have sufficient gravitational force, and so, even though it had probably the same elements Venus and Mars, with the silver Moon shining on its oceans? There are bigger ( 'suns and planets than ours, but is there any with such a wonderful heritage of life? And the Earth is the .home of mankind, full of beautiful and wonderful things. We are all rushing on, no man knows where, , through the ocean of infinite space. We are spinning round at thousands ofmiles an hour, we are revolving round the Sun at eighteen miles a second, but so smooth is the motion that we feel neither the whirl THE PIECE OF THE EARTH THAT BROKE OFF-THE MOON THROUGH A BIG TELESCOPE as the Earth in its crust, it never managed to produce plants or animals. In time this fragment of the Earth got farther and farther from the Earth, and in time it cooled down, and now it is like an enormous piece of dry slag covered with huge extinct volcanoes, and it keeps alwa ys the same side to the Earth. Could there be a more marvellous world than this planet of ours, spinning on its axis and racing round the Sun between nor the rush. On and on we go, and when the Earth has revolved some seventy times round the Sun, you, I, and each one of us, must go perhaps on a still longer and more wonderful journey. But while we are in the world let us try to explore its wonders and understand it, seeing in all things the wisdom and love of Cod who made us out of a cloud of gas; and let us realise that, vast as is the universe, even so vast is the soul that has been given to us to comprehend it. 18. GROUP 2 MEN AND WOMEN CHAPTER I The Story of Immortal Folk Whose Work Will Never Die What This Story Tells Us NoNE of us can ever pay the debt we owe to those who lived ' before us- to the men who made life easier and happier and healthier for us all. Have you ever thought, when looking through the window, that once there was not a pane of glass in the world? Then a man dug things out of the earth, mixed them, and made Glass. Who was he? We do not know. Nor do we know the man who found fire, or the man who found iron. Here, however, we shall read of some of those immortal men and women whose work is known and will never be forgot-those who wrote books and painted pictures, who found power and made ships and railways and aeroplanes, who gave us light, who conquered plague ;lod found out the laws of health, who gave us liberty and law and knowledge. Let us never forget the debt to them that we can never pay. MEN THE FmST . FLYING MEN路 . have always been jealous of the birds. As :..~ far as legend carries us back J we trace man's yearning to fly. _ Think what it would have -:. meant to men to fly in the , days when they had neither trains nor ships nor roads; when the seas were still unplumbed and mountain THE LANGLEY barriers rG\.ised their heads forbidding man to cross them ; when a trip from London to York by coach was so alarming that Lefore starting men made their wills and took leave of their families as solemnly as if they were going forth to war. King David 路 sighed for the .wings of a dove. The Greeks represented one of their legendary heroes with wings of wax, which melted when he approached too near the sun. . Roger Bacon, whose genius towered like a beacon-light over a dark sea of ignorance, had a flash of inspiration when he suggesfed that the upward way of man must be in a vessel made lighter than air by the use, in a thin metal cylinder, of either heated air or something which seems to have been a sort of gas. But he might as well have whispered his ideas to the Moon, so far ahead of his age was he.. T,hen there were those who, through ages ' of experiment, cracked their skulls or maimed. .. themselves by trying to match the way of a bird in the air, with the aid of flip-flap paddles or sail-like wings worked by the arms and legs. Nothing came of all the old experiments of our ancestors, except to set an example to posterity of courage and fearless endeavour. They could FLYING MEDAL raise glorious cathedrals, but they could not think out the mechanism of flying. When the first flight was made, . it took place at what seemed to be the predestined hour. Henry Cavendish discovered hydrogen in 1766 ; the first balloon was sent up in public in I783-but not with hydrogen, which had to wait a little longer to be harnessed. It was a puff of smoke that Sl:lggested the balloon. Two brothers, Joseph Michael and Jacques Etienne Montgolfier, sons of a paper-maker near Lyons, watching the smoke rising from a fire, speculated as to whether, being lighter tha n air, smoke would lift a weight. They tested the question by inflating a paper bag with smoke, and the bag floated up to the ceiling. The brothers thought some special property in the smoke was responsible for the lifting power, but they could not do much because they were unable to get enough smoke into their EXPLORERS . INVENTORS . WRITERS . ARTISTS . SCIENTISTS 19 MEN AND WOMEN paper bags, until a neighbour's wife came in and suggested that they should tie a dish full of fire and smoke to the bag itself. The brothers did ~o, and the bag went up and remained longer than ever in the air. Within seven years of its discovery hydrogen was suggested by Dr. Black, the father of English chemistry, as a method of causing light bladders to float in the air, and in the very year in which the Montgolfiers began their smoke experiments a man named Cavallo had sent up soap-bubbles filled with hydrogen. But the Montgolfiers went on using smoke. They made larger paper bags and raised them with little braziers attached. the use of man before the balloon, yet it~ possibilities as a lifting force was illustrated by a puff of smoke in a paper-maker's house. Ballooning came from smoke; the aeroplane propeller came from the boomerang. For over a century balloons shared the sky with the birds, with the decided difference that, while birds fly wherever they will, balloons were always the sport of any wind that blew. They could . not be steered. When near the ground their course might be retarded, and , in some respects directed, by a long rope with an anchor attached ; but such a rope might drag a man up into the air, whisk a cow HOW THE FIRST MEN WERE LIFTED INTO 路 off its legs, pull a chimney off a roof, or THE AIR BY FIRE bring down part of a church steeple. The chief terror of the flying man is A TERRIBLE ADVENTURE OF TWO MEN fire, but the first man-carrying balloons UP . IN THE CI.OUDS' were raised by fire! Experiments having Balloonists did magnificent wor1, in been made with paper-lined linen balloons tapping the secrets of the upper air. They Of varying dimensions filled with smoke, revealed the fact that air lies in layers, Pil3.tre de Rozier. went up in a Montgolfier a'nd that over our heads in what seems balloon in November, 1783, accompanied an even atmosphere there may be winds , by the Marquis d'Arlandes. A , wicker one above another ; that while a balloon basket was fixed to the balloon, and a is sailing serenely in a blue sky from east little f)lrnace to supply smoke and heat to west with a low wind, it may meet a was attached to the basket. They rose terrific thunderstorm coming up on a from Paris armed with bundles of wood to higher wind from west to east. A . great feed their fire, and with wet sponges to body of knowledge these men accumuapply to any flames which might break lated for our flying-engine men; arid out in the fabric of the balloon. they risked their lives and often gave There have been few more adventurous them. voyages than that. The balloon lobbed Many magnificent feats of endunince up and down in the ,air, threatening to stand to their honour also. The achievedrop into the Seine. The only .remedy ment of a scientist named Glaisher and a was to fire up, and that endangered the daring and skilful balloonist named Coxballoon, which aCtually was alight in well has never been forgotten. Before we several places. But the journey across had ever heard of cylinders of oxygen for Paris was accomplished safely. the use of airmen at great heights these two splendid fellows, one day in 1862, rose , THE FRENCHMEN WHO WENT UP IN A THUNDERSTORM seven miles. They wanted to descend; This fantastic bit of gallantry was no but the rope connected with the valve was sooner achieved than the first balloon to fouled, and Coxwell had to climb into the be filled with hydrogen carried up two rigging to clear it. The temperature was other Frenchmen a height of 14,000 feet, , below zero, and as Coxwell touched metal weathering a thunderstorm and travelling his hands were frost-bitten, and his task thirty miles. Ascent followed ascent after proved long and difficult. Glaisher found this, and the public imagination was so paralysis stealing over him. Power went fired tha t plans were soon in progress for from his limbs; his sight failed ; he could building balloons to reach the moon ! barely breathe ; yet his mind remained H ydrogen now took the place of the intensely active till the last. Then he fell furn ace in the balloon. The light gas, of unconscious in the car of the balloon. Coxwell had at last secured the rope he 路 which 14 cubic feet lift one pound, was the only possible agent for continuous had gone up to disentangle, but when he experiments; without it ballooning would descended he found that his hands were soon have come to an end. It came to useless. There was the balloon mounting 20 STRUGGLING UPWARD THROUGH THE DA W路N u MEN WHO WORKED THROUGH THE GENERATIONS TO WIN THE POWER OF FLIGHT '21 MEN AND WOMEN up into the sky and two men near death realised. But he, too, inspired the Wright rising , with her, like the phantom crew of brothers, chiefly because he was a Scientist the Flying Dutchman. But the immense _who, in spite of the world's ridicule of the will-power of Coxwell saved the situation. idea, beli~ved that m,en co'u ld fly. Lang~ He gripped the rope betvyeen his teeth ley's plan was in opposition to the mighty and tugged and tugged at it with his last authority of Sir Isaac Newton. Many gleam of energy. The valve opened; the trials showed him that an engine will balloon began to descend; they dropped carry a larger weight at 20 miles an rapidly into ,a warmer layer of air. Gla:isher hour than at 10 miles an hour, and a still All larger weight at 40 m.p.h. than at 20. recovered, and they were saved. honour to the men of the balloons! They In plain language, the faster /you move worked and worried on for generations. from place to place in the air the better THE ENGLISHMAN WHO MISSED THE FAME will be your support from the body OF BEING THE FIRST MAN TO FLY atmosphere beneath the machine. The ,next step lay with the men of Numberless were the tests and exthe motor-engine. Between balloons and periments tried by Professor Langley aeroplanes came the men who risked their before at last, on May 6, 1896, he went lives by constructing planes and throwing out with his friend Dr. Graham Bell, the themselves off walls and buildings and telephone invehtor, and launched a model cliff-faces, and gliding to earth like the so- from the top of a bouse-boat moored on called flying animals. A man would begin the River Potomac. The first powerby launching himself off a bank three feet driven aeroplane weighed only 25 pounds. high and plane across his lawn, and would It had ' a wing-span of 13 feet, it was end by skimming down from a house-top. driven by ,a little steam-engine, and it I t is thrilling to look back and realise flew! It rose from the house-boat, glided how strangely an Englisht;nan missed the smoothly into the air, sailed above the fame of being the first man to fly. He trees until the steam failed and the ' was Percy Bilcher, who in the nineties of propeller ceased to路 work. Then it planed the last century was experimenting with down into the river, was recovered, gliders in a valley in Kent. He had nearly dried, and' set flying again. finished ma,king a little four-horsepower THE MOST DRAMATIC MOMENT IN THE engine to fit to his best glider in 1899 mSTORY OF HUMAN FLIGHT when he went to Lord Braye's park at It was the most dramatic moment in the ' Standford in Northamptonshire to give a history of flight, and the inventor was so 路 demonstration of gliding. He took with excited that he could not gaze upon the him his .second-best glider, the Hawk, and, scene, but withdrew into the woods. although the weather was bad, he would News oLthis great success was received not disappoint the crowd. When he was with mingled rapture and disbelief. To ,about 30 feet up, a rudder wire broke, the Langley it seemed that his task was Hawk crashed, and he was killed. An ended. He had solved a scientific problem, Ionic column marks the spot. and it was for the commercial world now THE AMERICAN SCIENTIST WHO INSPIRED to develop the idea if it cared to d'o so; THE WR'IGHTBROTHERS he wanted no financial gain. There the Had he lived he might well have beaten matter rested for some years, until the famous American brothers, Wilbur Langley was persuaded to try a manand Orville Wright. For Pilcher, with the carrying aeroplane. He made one in , Frenchman, Octave Chanute, and the 1903, which, with its engine, weighed German, Otto Lilienthal, gave much 125 pounds. He could think of no better inspiration to those brothers who ' were way of launching it than of starting from the roof of the same house-boat as before, destined to solve the problem. But the Before the Wrights' triumph, however, and so it was all arranged. a fellow-countryman of theirs came near machine dived straight into the river. It success. He was the American scientist, was recovered, and more attempts made Samud Pierpont Langley, the first of all to launch it, but each time it fell into the inventors to make a heavier-than-air water. Fickle public opinion turned machine fly independently-but his was against the hapless inventor, and poured only a model. His dream of making a ridicule upon him. machine that would carry a man was never ' Langley uttered no complaint, but he of WILBUR WRIGHT THINKS IT OUT .:; WILBUR WRIGHT AND HIS BROTHER ORVILLE THINK OUT A PROBLEM IN THEIR WORKSHOP 23 MEN AND WOMEN went hoine and said to a friend: "My plane to the puffing internal combus'tion life's work is a failure." engine. On D ec'e mber 17, 1903, one of Only nine days later the Wright brothers them flew for 59 seconds! ' made their first flight! One would think That was a red-letter day in the history that this would have turned the tables on of human progress. Two young men those who had derided. Langley as a crank. whose friends and neighbours thought But not a bit of it. Strange as it seems to us, them crazy, who tinkered with an . init was some years before the world as a vention at the back of their little bicycle whole believed that. the Wrights had flown. shop, were the first human beings to rise THE FIRST AEROPLANE AS A CUltioSITyfro m the ground in a heavier-than-air, IN THE SMITHSONIAN INSTITUTE power-driven machine. They had made ; Langley knew it .was true, for he was on it themselves, and had h;'ld to teach themthe best of terms with the Wrights. He selves to fly! The glory of Wilbur and died a disappointed man in 1906, leaving Orville Wright will shine down the his own machine lying as a curiosity in the centuries. Smithsonian Institution at Washington, Older people can remember ' when where he had been a professor. Wilbur Wright came over to Europe and So that it was an American who gave ' startled them all by flying in France. It us the first aeroplane; and .i t was an is strange now to remember the time when American who made the first flight. he was tapping away in a shed in the Wilbur Wright, born in Indiana, in 1867, middle of a field in France, preparing the and his brother Orville, born at Dayton machine which was to astonish all who in Ohio in 1871, are the actual accom- saw it. All day long the peasants gathered plishers of human flight. Their father about the mysterious wooden shed, and as >y.as a modest minister; their sister the days went by and nothing happened Katherine was a schoolteacher; the two the peasants began to jeer. lads were among Nature's nDbility. They THE GREAT DAY WHEN WILBUR WRIGHT were eager scholars at school; they set WAS UP AMONG THE BIRDS up in business as printers, .... _. au.ded And then one day -\,he great doors of bicycle-making and bicycle-mending to the wooden house swung open, and out their calling. l,t was in 1896, the year in came Wilbur ' '''right, in grey suit and cap, Which Langley'S model , flew, that they and out came a great ungainly thing which . took up the study of airciaft~ They read is very familiar now, but was something all they could read on the subject, made to laugh at then- a huge thing of wood many experiments in their little bicycle and canvas, full of wires, and bars and shop, . and found . many theories wrong, levers, running along on wheels; and the inaccurate, even dangerous. people laughed more than ever. This was THE ABIDING GlORY OF ORVIL"LE the thing they had waited weeks to -see, AND WILBUR WRIGHT and as, at last; the machine was run into ,They tried all sorts of gliding mech~n- the middle of the field, the peasants jeered ism, and Orville once did a glide against more than ever. an up-current of wind of just over one But Wilbur Wright cared nothing at all. minute. But they were working towards He sat down in his seat and got ready. . an engine-driven aeroplane, and with One! he shouted. their practical minds they saw that the The crowd jeered. engine most suited for the work was Ol1e Two! he shouted. of the internal combustion type, driven by The crowd jeered louder. petrol, and avoiding the worry and danger Three! he shouted, and the crowd of carrying furnace, coal, and water up ' jeered 路 no more, for Wilbur Wright was into the clouds. They went out into the flying among the birds. _ wil::ls of North Carolina, lived in a hut at . He came down from the skies, never, Kitty Hawk, and there carried out trials never to be j eered at again, for these with the tiny motor-engine they had built. ,people, belonging to the most emotional They were often 路hard pressed for money, race in the world, hailed this hero and but their father helped from his shallow kissed him. They had seen the first man fly. purse" and Katherine, their sister, gave Not many weeks after that the Founder every penny she could save from her of this Children's Encyclopedia left his school earnings. At last they harnessed their desk and went out to see Wilbur Wright J 24 THE FIRST FLYING MEN . fly at the/Dot of the Pyrenees, 3fld this is . little crowd below, his eyes fixed , ahead, what he wrote home that night: his hand grasping the levers that control "Out of this wooden shed-so rough the engine and keep him a hundred feet a place for the~beginning of the flight of . above us. man-came Wilbur Wright. "The flying machine IS alive! . No I "There was a 'sound of whirring wheels; longer is it a great ungainly thing. It , a man was oiling' the propellers; Wilbur moves like the wings of a bird, under the Wright was moving. most perfect govermnent of this simple, : THE KEEN LITILE MAN IN IDS wonderful man, flying above us and about BIG LEATHER JACKET us for half an hout, and coming down at " He dragged a clumsy stool across a our feet like-what shall I say to be true? floor of dust, stepped in among the wires, -like a feather on the breeze. Like that filled a 路 huge jug with petrol, and dimbed exactly. The end of it was amazing up with it on to ' the stool. He could beyond belief. This great thing, that had hardly reach with his great jug' he has grown ,beautiful ,before our eyes, came not had time, to make a pair of steps. But down from the skies and rested gently two jugfuls of petrol go into the pipes, and on the ground without a tremor or a jolt, down he comes. with less of that than if it had been a stick " He goes into his room, and comes out thrown up in the street, and allowed 'to in .his black leather jacket. He is going fall. It was a thrilling and splendid and to fly. He g-oes out of the shed into the historic thing." field, where is a . simple little rail with a WILBUR WRIGHT AND THE INSPIRER OF pulley arrangement, which he himself THE CIDLDREN'S ENCYCLOPEDIA puts in , order. For a quarter -of an hour That was the introduction of the aerohe moves about, while all the people who plane into Europe; and Wilbur Wright ~m are not going to fly wish he would go up; one of these historic flights carried up and then the lumbering thing comes out with him a portrait of the child who on wheels.. Slipping off its wheels, it inspired the Children's Encyclopedia. rests on the rail. The men stari the engine One of Wilbur's many visitors at that by tprning the propellers. A dozen people period was an Englishman, the Honourtake hold of a rope and pull up the weights able C. S. Rolls who, with Sir F. H. Royce, that are to give the aeroplane momentum had already given the world the famous to start. Wilbur Wright sits down on one motor car. Charles Rolls in 1910 was the of the two little slabs of wood with arms first man to fly across the Channel in both like a child's swing: Then-swish!~ directions in a single flight, the great swish I-he' goes along the rail into the French pioneer, J...ouis Bleriot, having middle of a field, and at the end of the flown one way in the previous year. Those were the years when the new rail the man-bird rises in the air. THE THRIT.. LING S[GHT OF THE MAN. BIRD art of human flight spread rapidly. O~R THE PYRENEES C. Grahame-White, in 1909, was the first '" Away he flies, on and on, and to see Englishman to be granted an aviator's him is the most thrilling thing. The certificate. Sir E. Verdon-Roe (described great lumbering thing becomes a thing of on another page) was the British pioneer grace and bea'uty. It curves this way and in aircraft construction; Henri Farman, that; it rises high and falls low; it goes the Frenchman, was in 1909 the first straight and spins round; it dips and airman to fly a circuit of 100 miles. bends like the wings of a bird; it flies to There was the Brazilian, Santosthe hills until it looks in the distance Dumont, the airship man who turned to ' like a motor-car dashing along the snow- making planes; our own Lord Brabazon, covered ridges of the Pyrenees. I t flies at who in 1909 made the first officially the rate of forty miles an hour over the observed flight in Britain; Sir Geoffrey tree-tops until it has gone from sight, and de Havilland who, in 19 IO built his own then, after ten minutes, the man-bird plane, and whose son was killed in 1946 comes back, racing a bird that flies beside while attacking the world speed record in . him, and comes straight over our heads. a jet-propelled plane. " Now we see the man-bird' clearly, see There were many others, but the leaders him sitting on his seat, his face set stern of them all were the two bicycle-shop boys, and straight, knowing nothing of the Wilbur and Orville Wright. 25 9Z OE a:l~d uo -13d-Wn'd.. '9NI9NIS '931 3NO NOdn ,(JOlS G ROUP 3 SECTION I STORIES The Great Stories of the World That Will Be Told for Ever What These Pages Tell US THERE is a kingdom that belongs to us' aU. Its gates are never closed. Yet no man has seen half the wonderful things this kingdom holds-its enchanted islands, its silvery streams, its magic caves, its mysterious rooms; its giants and fairies and dragons and gnomes; ' its marvellous ways down in the sea, under the earth,. up in the clouds; its wondrous colour, its heavenly music, its secrets of happiness that all who will can find. This kingdom is yours and mine; it is the Kingdom of the Storybook. Here we walk its streets together and hear the stories children have been told since human life began. We shall read the stories they told in Babylon and Greece and Rome; .the fables and legends and chivalry and golden deeds and fairy tales that have come down to us in books. We shall see the i maginatiori of the world working through all ages, among all peoples. will KING MIDAS is a story which ip olden times the reeds would tell the winds that rush across the surface of the Earth. HERE One day, when Gordius, the plough. ~ man of Phrygia, came up to the city in a ' .~ cart, drawn by white bulls, a crowd ! thronged to him shouting: "The king is ..J dead ! You are to reign over us, for the oJ Oracle has 路said, Put on the throne the first . . man e,ntering the town in a cart drawn by white !.- hulls. " ... The grateful Gordius betook himself to the temple, where he fastened the cart to the altar with such clever knots that no ends could be seen, and the Oracle declared that whoso should untie this knot should conquer Asia. It was not till long after that Alexander, conquering the world, cut the Gordian knot with his' sword. But Midas, the son of Gordius, did not care about conquering Asia; he loved a quiet life and never thought of wars. Yet his quiet country life was soon to be shaken. . One day some shepherds of Phrygia carried to the palace a man they had found wandering in the country, and Mid,as recognised him as Silenus, the friend of Dionysus. Delighted to befriend him, he entertained him for ten days and ' nights with an unceasing round of jollity, but on the eleventh day, _thinking that Dionysus must sadly miss his friend , King Midas took him back. Thereupon Dionysus, in his joyfulness at &eeing his counsellor once more, offered Midas whatever he wished. Truly a wonderful chance had come for him had Midas been wise, but the poor king, too greatly excited to think wisely, begged that everything he touched might change into gold! Dionysus, though lamenting the astonishing choice of his friend, consented, and so it was ordained. King Midas went on his way reJOIcmg. At first everything went well with him, and . the king could scarcely believe his eyes. If he picked up a twig it became gold in his hands; if he touched a stone it was transformed; his very throne was turned to gold as he sat down on it. But, . alas, how was King Midas going to live ? Too late the awful truth began to dawn on him. All the food he carried to his lips, every drink with which he sought to quench his thirst, were solid gold for him! Even worse was yet to come, for when he kissed his child she changed into a golden statue before his wondering eyes. IMAGINATION' CHIVALRY' LEGENDS' GOLDEN DEEDS' FAIRY TAL.ES 27 STORIES "Burdened with this terrible affliction, listened to Apollo's play. However, the the King of Phrygia strove to get rid of victory was awarded to the god of'the lyre, his fearful power; but all his striving was and all but Midas accepted the judgment. in vain. At length, in his despair, he imThe anger of Apollo with Midas knew plored the god to deliver him from the no bounds, and" annoy~ that the king's consequences of his foolish prayer, and ears should be so depraved, he resolved Dionysus heard him {:!.nd yielded. "Go that they should no longer ' retain their to the River Pactolus," said the god to human form. As Midas moUnted his horse Midas, " and plunge into the stream. ,,' on his way back to the palace, Apollo Midas went, and scarcely had he murmured some words of which only the touched the waters when his power passed first and last could be heard; but none to the river, so that the sands have carried paid any attention, and Midas r:ode away. gold-dust ever since. From that time, It was not till he was once more at the hating wealth and splendour, Midas dwelt palace, with his barber, that he caught in the woods and became a friend of Pan, sight of his shadow and found that he had god of the fields. Often would he take Pan ass's ears! Apollo had avenged himself. ' The king vowed his barber to solemn to his palace, and in the king's garden Pan would cut fresh reeds for his famous flute, secrecy on pain of losing his own ears; on which he played tunes so sweet that and a new head-dress for Midas hid his lambs would follow him, enchanted. affliction from the people. Only the barber knew, and well he kept The new happiness that had come to him greatly rejoiced the king, who became the s~cret until at last the burden of it was a worshipper. of Pan; but, alas, ' things more than he could bear. And so one day the barber ran to a field, dug a hole, lay were to take a tragic turn for Midas. Apollo making fun of Pan one day, flat on the ground, and whispered into the the god of the fields answered with a hole: " Midas, King Midas, has ass's ears! " Then, having covered. up the hole, the cilallenge, saying, " My flute is well worth yuur lyre" ; and' Midas offered his hall barber went home with a lighter heart, but little guessing what would follow. for a concert. In the following year, as he happened J On the appointed day a great crowd hastened to the palace. Apollo had invited to pass by the field, he noticed" waving in his nine sisters, the l\iuses, who came down the wind, a tuft of reeds, and hardly could from the lofty mou'n tains and arrived with our barber believe his ears, for at every Apollo, who rode on the silver wings of touch of the wind the reeds were saying: ' his famous horse Pegasus, whose flight was " Midas, King Midas, has ass's ears! " , The poor barber fell stricken to the -' like the lightning flash. ' Pan began. He copied the melodious earth, dead. Soon after a child passed by call of the blackbird, the jolly chirping of that way and heard the same words <;m the . the sparrow, the thrilling note of the wind; and the child repeated them, so n ,ghtingale. M :das loved the song of that 's oon the secret of King Midas was known all over the world. b~ rds, and, applauding long, he hardly â€˘ THE THREE LITTLE PIGS But the little pig knew his voice, and said: "No, no; by the hair on my chinny, chin, chin! " " Ho, ho ! " cried the wolf. "Then I'll puff and I'll blow till I blow your house in." And he puffed and he blew, and h e puffed and he blew, till the house fell down. Then he sprang inside, pounced 0]1 the little pig, and gobbled him all up. The second little pig met a man carrying some sticks. . " If you please," said the little pig, "'. " will you give me some of those sticks to make me a house ? " "With much pleasure," replied the man. upon a time three little pigs went out into the world to seek their fortunes. The first little pig had not gone far before he met a man carrying straw. "If you please," said the Ii ttle pig, " will you give me some of that straw to make me a house ? " "With pleasure," replied the man. Away went the little pig with the straw and built his house. Now, an artful old wolf who lived close by determined to have the little pig for supper. So when it became dusk he went up to the little straw house and called out: " Little pig, little pig, may I come in ? " ONCE 28 THE THREE LITTLE PIGS Away went the little pig with the sticks and built himself a cosy house. That night the wolf came to the door. " Little pig, little pig," cried the wolf, " may I come in ? " . "No, no," replied this little pig, " by the hair on my chinny, chin, chin! " " .Ho, ho ! "cried the wolf. "Then I'll . puff and I'll blow till I blow your house in." And he puffed and he blew, and he puffed and he blew, till the house fell down. ' Then he sprang inside, pounced on the little pig, and gobbled him all up. But the third little pig was exceedingly wide awake the morning he set out on his travels. This little pig went on till he saw a man carrying bricks. " If you please," said the little pig, " will you give me some of those bricks to make me a house ? " " With pleasure," replied the man. house. But the little pig must have got up earlier still, for when the wolf arrived he found him out. The wolf hurried off to the orchard; but the little pig saw him coming and climbed up into a tree. "These are indeed fine apples," he called out, as the wolf came up to it. " Just try this one." And he threw the apple as far away as he could into so~e long grass. Then, while the wolf was hunting for it, the little pig ran home. The wolf did not like being bea ten, sO the next morning he went again to the little pig's house, and said: "There;s going to be a fair on the village green this afternoon. You come with me and we'll have a fine time. I'll call for you at three o'clock." The little pig said nothing, but at halfpast two he started off for the fair. He bought a churn, and was rolling it home when he saw the wolf in the distance. THE THREE LITTLE P1GS Away went the little pig with the bricks and built his house. Soon the old wolf came along that way. " Little pig, little pig, may I come in ?" " No, no; by the hair on my chinny, chin, chin! " " Then I'll puff and I'll blow till I blow your house in ! " But the house was made of bricks, and the old wolf he puffed and he hlew, and still the house stood firm. The wolf was furious; but, pretending he did not mind, he said, quite pleasantly: "Do you like apples? I know an orchard down the 路lane where the trees are covered with fruit. I'll call for you in the morning, and show you the way." The next morning. the wolf got up very early, and walked round to the little pig's Quick as lightning the little pig jumped into the churn to hide, and set it rolling down the hill. It came flying along at such a speed that the wolf became frightened, and ran home as fast as he could. When he felt braver he went to the little pig's house. " I was just on my way to call for you this afternoon," he shouted out, " when I met an awful thing rolling down the hill all by itself. It gave me a horrible fright." The little pig burst out laughing. " It was I," said he ; " I spied YOll coming and jumped inside to save my skin." This so enraged the wolf that he jumped c up on to the roof and began sliding down the chimney. But it was baking day, and the little pig had made a huge fire, and that was the end of the old wolf. 29 IN RUM-PEL-STILT-SKIN a certain kingdom once lived a poor miller who had a very beautiful daughter. She was, moreover, exceedingly shrewd and clever; and the miller was . so proud of her that one day he told the King of the land that his daughter could spin gold out of straw. Now this King was very fond of money, and when he heard the miller's boast he ordered the girl to be brought before him. Then he led her to a chamber where there was a great quantity of straw, gave her a spinning-wheel, and - said, "All this inust be 'spun into gold before morning, as you value your life." I t was in vain that the poor maiden declared she could do no such thing: the chamber was locked and she was alone. She sat down in the corner of the room and began to cry. The door opened, and a droll-looking little man hobbled in, and said, " Good-day to you. What are you weeping for ? " "Alas!" answered she, " I must spin this straw into gold, and I know not how." " What will you give me," said the little man, " to do it for you? " . " My necklace," replied the maiden. He took her at her word, and set himself down to the wheel. Round about it Went merrily, and before very long the gold was all spun. When the King came and saw this he was greatly astonished and pleased; but his heart grew still more greedy, and he ' shut up the poor miller's daughter again with a fresh task. Then she knew not what to do; but the little man presently opened the door, and said, "What will you give me to do your task ? " " The ring on my finger," she replied. So her little-friend took the ring, and began to work at the wheel, till by the morning all was finished again. The King was vastly delighted to see all this glittering treasure; but still he was not satisfied, and took the miller's daughter into a yet larger room, and said, " All this must be spun tonight; and if you succeed you shall be my Queen." As soon as she was alone the dwarf came in, and said, " What will you give me to spin gold this third time ? " " I have nothing left," said she. "Then promise me," said the little ma n, "your first little child when you are Queen." "That may never be," thought the miller's daughter; but, as she knew no 30 other way to get her task done, she promised him what he asked, and he spun once more the whole heap into gold. The King came in next morning, and, finding all he wanted, married her. At the birth of her first little child the Queen rejoiced very much, and forgot the little man and her promise; but one day he came into her chamber and reminded her of it. Then she offered him all the treasures of the kingdom in exchange; but in vain, till at last her tears softened him, and he said, " If in three days you can t,eH me my name you shall keep your child." . Now, the Queen lay awake all night, . thinking of all the odd names that she had ever heard, and despatched messengers through the land to inquire after new ones. The next day the little man came, and she began with Timothy, Benjamin, Jeremiah, and all th~ names she could remember, but to each ' one he said, " That's not my name." The second day she began with all the comical names she could hear of, Ban~y足 legs, Hunchback, Crookshanks, and so on; but the little gentleman still said to everyone, " That's no~ my name." On the third day came back one 0f the messengers, and said, "Yesterday, as I was climbing a high hill among the trees of the forest where the fox and the hare bid each other good-night, I saw a little hut, and before the hut burnt a fire, and round about the fire danced a funny little man upon one leg, singing: Merrily the feast I'll make, Today I'll brew, tomorrow bake ; Merrily I'll dance and sing, For next day will a stranger bring; Little does my lady dream Rum-Pel-Stilt-Skin is my name! " Then the Queenjumped for joy; and as soon as her little visitor came she said: " Is your name John ? " " No ! " " Is it Tom ? " " No ! " " Is it Rum-Pel-Stilt-Skin ? " " Some witch told you that! " cried the little man, and dashed his right foot in a rage so deep into the floor that he wa,s forced to lay hold of it with both hands to pull it out . . Then he made the best of his way off, while everybody laughed at him for having had all his trouble for nothing at all. THE KING'S NIGHT OF TERROR was a great multitude in the streets of Palermo, for not only was the morrow a feast day, but the king was pee ted to go by, on his way to church. Presently he came, the cold, handsome, haughty, and roystering King Robert f Sicily. Splendidly arrayed, he was surrounded on all sides by a glittering retinue well-nigh as splendid. The vening sun goldened his brown face and made specks of fire in his black beard. There was such a pride in his eye, such a majesty in the -c arriage of his he ad, such a masterfulness in his stride, that he seemed like a lord of the human race and m peror of all the world. The acclaiming shou t of the people drowned the ring of the purred " heels, the clatter of the , words, and the y laughter of h king and his urtiers. In the , quare before th church the 1 ud huzzas d row ned the music of the ran. The priests w re singing the autiful evenin hymn of the hurch, MagniTHERE J THE JESTER RUSHED " W hat do th e La tin words mean ?" asked the king of a young clerk. " They mean, sire," came the answer, "H hath put down the . mighty from th ir seat, and hath exalted the humble nd meek." The king frowned. Then, with a bitter .1. u h he said, "Tis very like sedition. D 1t I tell you this--no person in heaven or n earth can rob me of my throne." A little later, and the slumbrous words of prayer had sent the king asleep in the shadows of the carven stalls. He woke. There was darkness on every side. A vast silence held the church. He was there alone. With an oath, he started from his seat. His scabbarded sword and pointed spurs set strange echoes ringing as he strode down the dark aisle. His heart was on fire with rage and indignation. They had gone -his courtiers and those dogs of priests-and left him in the church alone. His great hand thur:dered on the door till the beams groaned and the iron rattled. The sexton came with the lantern. "Who is ther"e ? ,,"he cried. "The king!" Shaking his head and placing the key in the lock, the old man muttered to himself, "Some drunken beggar !" Then he opened the .door, prepared tospeak stern words. A man rushed by as if in madness, and vanished in the dark. :f(ing Robert sped through the darkness to his palace. He UP TO THE POPE gained the banquet hall, which was ablaze with light and cheerful with sounds of merriment. On the threshold he stopped dead, his cheeks blanched, his knees tottering. Another king-himself in face and form and raiment, yet glorious with some mystic holiness-occupied his throne. "Who art thou?" demanded this mysterious being, gravely regarding him. " I! I am the king!" cried Robert, 31 . STORIES with a sudden accession of strength and indignation. But as he' spoke courtiers and guests leaped up, and, drawing swords, would angrily have killed him. " Nay! " smiled the mysterious being. " You have made a mistake. You are not the king, but the king's jester. You shall be furnished with cap and bells; you shall have an ape ' for your companion; you shall lie on stable straw." And, with the laughter of his people in his ears, the king was borne away to ' stable straw and cap and bells. Long he lived as the jester, making sport for all, and buffeted by his own soldiers and servants, companioned in his stall at night by a black ape that watched unmoved his bitter tears. In vain he cried, " I am the king ! " That made the courtiers laugh the more, and made the men-at-arms more scornful with their blows. They flung him scraps of food, and, smiting him with glove or lance, would say, " Long live the king ! " and laugh to see the ape creep up beside the jester to share his broken meat. 'Thus sadly and despairingly lived King Robert, thought by all to be a madman, till on a certain day the mysterious being on the throne announced a journey to the great city of Rome. Then did King Robert's heart reVIve. For the Pope was his brother, and at Rome, also, was the Emperor Valmond, likewise his brother. Surely, when he reached Rome with this false king, he would be recognised, and the usurper driven from his throne. Never was greater pomp and glory seen than in that journey of state from Sicily to Rome. And as the cavalcade passed through sunny Italy, dazzling all eyes that saw it, behind it rolled, like the breaking of a wave, a tide of laughter, . merry as a summer's day. For Robert, in his cap and bells, seated upon an ancient piebald steed with broken knees and hanging hair, his ape mounted behind him, and striving to appear a king, made men roar with joy. But Robert said, " The Pope will know me. Wait till I return." Up to the Pope, thrusting all men . aside, the jester rushed, and, in a voice of thunder, cried, "Look on me! I am Robert, King of Sicily, your brother! This crowned impostor is a liar and a thief! I only am the king ! " The Pope turned from the sorry spectade. And Emperor Valmond said, " I ' a madman for the like not this bad jestjest~r of a king ! " Strong hands were quickly laid upon Robert, and he was flung into a cell, while the bells tolled for Holy W eek. All through that week he lay neglected , and alone. But on the morn of Easter Day, when all the air was filled with clash of bells and hymns of joy, there entered into his cell a presence and a calm which curbed him to his knees. There, on the floor of his mean cell, ' dressed in the motley of a clown, King Robert bowed down, placed his hands in prayer, felt the glory of God surrounding his soul, and asked forgiveness of his sins. And all that day he pondered on the meek an~ lowly Jesus, and meditated on His sorrow and His pain, and thought about Him risen from the earth and placed in glory by God's side. So when the visit ended, with great humility and lowered gaze, the king returned l and no man laughed to see him pass, and none did s.r:nite him with a ' scornful heel when, with the ape, he meekly sought his stable straw. But the mysterious being sent for him, and when they were alone he gently asked, "Art thou the king? " "Thou , knowest," answered Robert. " All I know, my sins are scarlet. All I seek, a cloister. I would pray my life away, with thoughts set heavenward." And as he spoke the ' music from the chapel came, and the sound of voices: " He- hath put down the mighty from their seat, and hath exalted the humble and meek," The mysterious being on the throne . became transfigured with a shining light, and like heavenly music was his , voice, " I am an angel, and thou the king." Then Robert slowly, with fear and trembling, raised his gaze, and, lo! the throne was empty, and he' stood ,in that proud chamber all alone, but not in rags, and not in motley, but in the panoply of royal power, splendid and glorious, with all his robes and jewels, and ' the great crown upon his head. An hour afterwards the courtiers came to attend the king's commands and take his pleasure. Not on the throne they found him, but meekly kneeling on the floor, in prayer. 32 DICK WHITTINGTON AND HIS CAT DICK WHITTINGTON LISTENS TO THE MESSAGE OF BO W DICK WHITTINGTON was a poor country lad, who, having lost his father and his mother, came to London to make his fortune. His only friend in the world was a cat which he had picked up and fed when it was starving; and a very good fri end it was to him. Dick used to think that the streets of London were paved with gold, but he found that they were covered with hard stones, and on these stones he had to sleep wi th his cat for many nights. At last he ot a place as a scullery-boy in the house of a rich merchant. Unhappily, the cook .wa a wicked woman, and she beat him very day and made him sleep in a garret verrun with rats and mice. These, how- BELLS-By Jamei Santo R.A. ever, were soon killed by Dick's cat, for the cat was an excellent mouser. The rich merchant in whose kitchen Dick worked was. a foreign trader. He used to fill his ships with all kinds of goods, and send them to far countries, where the goods could be sold at a great 'profit ; and, being a kind man, he allowed all his servants to put in his ships anything that they wished to sell. One day, when he was about to send a ship to trade with the Blackamoors, his pretty daughter Alice came into the scullery and said to Dick : " Now, what are you going to put in for sale this time ? " " I've only my cat," said Dick. "Well, put in your cat," said Alice. 33 STORIES And to please her he parted with the only friend he had in the world. But Dick soon began to miss his cat. The rats and the mice crept back to his garret and kept him awake at night, and the cook beat him more than ever. So hard !lid Dick's life become that one morning he tied all his things up into a bundle and set out to walk back to his home. He got as far as the village of Hollow'a y, and sat down on a stone to rest, and Bow Bells began to chi!Ile, and ' the sound travelled across the fields. " Turn a-gain, Whitt-ing-ton, Thrice Lord Mavor of London." That was what the 'ding-ding-dong of Bow Bells seemed to say to him. Poor . Dick tried to laugh, and began to cry. But he turned, and went a little way along the road to Finchley. " Turn a-gain, Whitt-ing-ton, Thrice Lord Mayor of London." said Bow Bells, and he turned and went a little way along the road to Enfield. " Turn a-gain, Whitt-ington, Thrice Lord Mayor of London," said Bow Bells. "After all," said Dick, " it's only the cook who treats me harshly. How kindly Alice spoke to me! I will turn again, as the bells say, and see what happens." Something happened as soon as Dick regained his master's house. The ship in which he had put his cat returned with the news that his cat had been sold .at a very great price. On arriving at the land of the Blackamoors, the captain of the ship went to the king of the country, and was invited to dine at the palace. There he saw an amazing sight. As soon as the dishes were placed on the tables, a vast crowd of rats and mice came and devoured all the foo路d. "Oh dear !" cried the King of the Blackamoors. "I shall not get anything to eat again today." "Good gracious ! " said the captain. '~ You ought to keep a cat in your palace to kill all these rats and mice." "A cat ?" said the king. " What's. that? Is ita new kind of lion ? I have bought hundreds of lions and tigers but none of them would kill a mouse for me." The captain 'sent a sailor to the ship to get Dick Whittington's cat. When the King of the Blackamoors saw how quickly it killed rat after rat, and mouse after mouse, he clapped' his hands and shouted with joy, and said that he would buy it even if it cost him half his kingdom. " Will you take six sacks of gold for this wonderful little animal? " he asked. The captain agreed, and the ship came to London laden with the sacks of gold . . The wicked cook told the merchant that Dick was only a poor scullery-boy, without a friend in the world, and that there was no need to give him the gold. But the merchant was an honest man. He gave Dick all th,e mopey, and had him brought up as r---.... if he were his own son, and years after Dick 路 married Alice. He was made Lord Mayor of London three times, as Bow Bells had said. Such is the legend that grew up about Dick Whittington, who really was Lord Mayor of London. LOVE LAUGHS AT -LOCKSMITHS laughs at locksmiths. This was the device which the handsome young Marquis of Hautmont engraved on his shield when he came to Paris. Being as bold as he was handsome, he began to make love to Princess Marguerite, the king's daughter, and the king was annoyed at his boldness. " They are loud words which you have taken for your device," said he, " but are 't hey true? I will lock the princess up in a tower. If yqu can enter it within a month, you can marry her. If you fail, you must lose your life." . The marquis pretended to be discomfited. 路 But he secretly ordered some woodcarvers to make a great hollow wooden nightingale. When the bird was finished and painted, the marquis got inside and played beautiful airs on a flute, while his servant drew it about the streets. Everybody began ' to talk about the mechanical nightingale; the king came to see it, and Princess Marguerite asked for it to be brought to her. The king, thinking that the music was produced by machinery, had the bird carried into the tower, and the marquis then jumped out and kissed the princess's hand, saying: "Love laughs at locksmiths, you see, sire." And the king was forced to acknow-' ledge that this was true; and as he saw that the marquis and the princess were in love with one another, he allowed them to marry, and presented them with a really royal dowry. LOVE THE WILLOW-PATTERN Chinese girl named KoongShee fell in love with her father's secretary, Chang, who was poor. But the father of Koong-Shee wanted her to marry a rich man, and because she could not give up Chang her father sent her away to a little house at the end of the garden. Outside Koong-Shee's window was a willow tree, and just beyond a fruit tree, and Koong-Shee sat REAUTIFUL Two pigeons flying high, Chinese vessel sailing by, PLATE Koong-Shee read the letter, and sent back her answer. She said she would go if her lover were brave enough to come and fetch her. Chang went boldly up to the little house and took her away. They had to cross the bridge to get out of the garden, and as they were. half-way across Koong-Shee's father saw them, and hurried after them. Koong-Shee went first with her distaff, Chang followed carrying her Weeping willow hanging o'er, Bridge with three men, if not four. all day watching the fruit tree bloom. She was very lonely and unhappy, until one day Chang asked her to fly with him. Chang dared not post the letter lest it should fall into the hands of KoongShee's father, but he found a coconut shell, fixed a sail to it, and, putting his letter inside the shell, dropped it into the lake, and watched it sail across. 8G jewel-box, and behind them ran the father with a whip. But the father did not catch them, and they escaped to a little house on the other side of the lake, where they lived happily. But the rich man who had wanted to marry Koong-Shee was so angry that he set fire to the pretty little house, and KoongShee and Chang were seen no more. JELLYFISH IN SEARCH OF A MONKEY This is a tale they tell in Japan of the origin <)f the Jellyfish we find stranded on the beach. LONG, long ago, instead of soft tentacles, he had a bunch of legs as graceful as a greyl!ound's, and as for his figure the proudest pig in Ireland could not vie with him for firmly arched, well covered ribs. Naturally, he was the admiration of all the other fish, for, besides being nimble and stately, he was the only deep-sea thing that could walk on land as well as swim in the water. Unfortunately, he was like only too many human beings, who simply rely on their good looks to make them popular, and do not trouble to develop their brains. This handsome creature was exceedingly stupid. One day Jellyfish was strolling about the shore of a coral island, when a flying fish shot out of the waves, and told him that he was summoned to the palace of the Dragon King. As he approached the audience chamber he could hear by the clanking of golden scales that the Dragon King was pacing about in the greatest agitation, but his brow cleared as he caught sight of Jellyfish. " I thought you would never come I " he cried. "And the Queen gets worse every hour! Listen. The doctors say that she can be cured by swallowing the liver of a live monkey. You are the only fish who can go ashore. You must swim, as you have never swum in your life, to the nearest bit of land, and persuade a monkey to return with you. If you succeed I will make you Grand Warden of the Indian Ocean, with the right to a coronet of pearl shell and cowrie." Jellyfish hardly stopped to bow; in a 'very little while he was wading out of the ,breakers on to a lovely island of palm ltrees and scarlet hibiscus. The first A animal he saw was a small grey monkey with a friendly countenance. Jellyfish hailed him gladly: " Ho, you Master Monkey there! I am sent by the Dragon King of all the seas; you are to come to his palace." The monkey's shrivelled face beamed with pleasure. Never had he dreamed of receiving a royal invitation, and he was only too ready to accept this. For a little while Jellyfish, with the. monkey on his back, swam in silence, for he was short of breath, but soon he asked: " By the way, I hope you have got your liver with you? " The monkey was not handsome, like Jellyfish, but he kept his wits well polished, and now he grew suspicious. " Why do you ask? " he inquired. " Well," said Jellyfish, " the Queen is ill, and she can only be cured by the liver of a live monkey." At this the monkey exclaimed: " Dear me I What a thousand pities! I left mine hanging out to air at the top of a coconut palm. We had better go back for the thing at once." " We must, indeed," said Jellyfish. No sooner was the monkey up his coconut palm than he called down: " Go away, stupid I I won't part with my liver for any queen, in the sea or out." To clinch the argument he threw nuts at Jellyfish till he ran into the sea. All his knees knocked together as he told the tale of his failure, and the Dragon King smoked with rage. When he had stammered out his last word the monarch roared to his servants: " Beat him! Beat him within an inch of his life I Break every bone in his body I Beat him' to a jelly! " As you can see for yourself, that is exactly what they did. HOW A SULTAN FOUND AN HONEST MAN SULTAN wanted to find an honest man to collect the taxes of his realm, and a wise counsellor advised him to publish abroad his need, and invite :all the applicants to his palace. "I will show you the honest officer when you ask them to dance," said he. The applicants arrived, and were told to advance to the Sultan, one at a time, through a dark and empty corridor. As soon as they were all assembled before tihe throne, the Sultan said: "Gentlemen, I should very much like to see you dance." But all the applicants refused, with many blushes, except one man, who danced cheerfully and well. "That is the honest man," said the sage, pointing to the dancer. In the dark corridor the wise man had placed sacks of money, and all the dishonest men had filled their pockets as they passed through to the Sultan. II they had danced, their pockets would have sounded like money-boxes being shaken, and so they had refused. 36 ANIMAL LIFE CHAPTER 1 Nature's Wonderful Living Family in Earth and Air and Sea What This Story Tells US a marvellous family is Mother Nature's, with her host of W. HATstrange and terrible and beautiful children! Some of them have passed away for ever-gigantic creatures of the long ago, tramping the lonely world before Man came. No more will Iguanodon be seen, or Brontosaurus, or old Diplodocus, or the dragons that flew like birds, or the Dodo that lost his power to fly. Gone are they all. Nature has a vaster kingdom now, and smaller. Since life first came ashore her great families have spread throughout the earth. The story of their lives would fill the most romantic book that could be written, and here we will read a few chapters of it. Sometimes the truth will seem too strange to believe, but nothing is more astonishing than truth. The lives of animals, like the lives of men, are far more wonderful than anything the novelist writes about. NATURE'S THOUSANDS OF CHILDREN A family is Mother Nature's, with .thousands of children almost beyond belief. Think of a few of them. Consider a group comprising a protozoan, an oak tree, a crocodile, a whale, an elephant, and a man. The protozoan is the very simplest form of life, all the mysteries and magic processes of existence wrapped up in a single cell. The crocodile, king of the reptiles; the oak tree, monarch of our forests; the whale, greatest of all existing animals; the elephant, lord of all the beasts that tread the ground; and man himself-each was once a single cell. The protozoan remains one-celled today, the rest develop, multiply cells, cell upon cell, in uncountable profusion. In that rough-and-ready grouping we have the story of the rise of the living families of the world-plant, animal, human. We cannot any longer make the. old sharp division between plants and animals. A sea-lily is like a freakish plant whose stem is chiefly mineral; yet it. is an animal. A pitcher plant seems animal in its capture of insects; but it is a plant. The no more intelligent sea anemone, so like a lovely marine blossom, is an animal. An oak tree goes to sleep for the winter as hedgehogs, MARVELLOUS tortoises, and big bears do. In torrid lands trees and plants go to sleep till rain returns. So does a lungfish in his exhausted pool; so do the worm and the snail during drought in parched English gardens. Trees shed bark and leaves; shell- fish shed their covering and cast off their limbs; reptiles cast their skins; caterpillars jump out of one skin and grow another. We take cuttings from plants. and establish new ones; a starfish rent asunder may become five starfishes, and' a worm cut in halves may become two· worms. The resemblance is repeated in the pro-cess of reproduction. As trees and flowers, produce enormous quantities of fruit and seed, so in animal life we find enormous numbers of eggs. An oyster lays eggs exceeding the popUlation of the British Isles, a ling has a progeny outnumbering the population of our white colonies. Ingenuity excelling human invention is shown by Nature in providing for the dispersal of seeds, as if trees and flowers loved the thought of offspring. The same astonishing principle exists in the animal world. The eel undertakes an appalling voyage from ditch and pond, far into the deepest recess of a distant PREHISTORIC LIFE· MAMMALS· BIRDS·· REPTILES' FISHES· INSECTS 37 ANIMAL LIPE of us. Her ways may be terrible only in appearance, not in reality. She may have her drugs which dispel the fears and soothe to sleep the senses of her victims. It is comforting to assume that. But it should make us determined not to add one pang of suffering to the inevitable total, and to prevent pain and anguish wherever we have dominion in the animal world. For Nature will not alter. She never does. She is as ruthless as she is benevolent. She cherishes success, she tramples down failure-,-not suddenly, not in a century, not in an age, but slowly and surely. The things living today are her successes, though some of them-the great apes, the sloths, the giant reptiles-are failing fast, while others are improving. We do not know whether existing creation has reached its pinnacle, or whether it is only in the cradle. If man is too successful as an agent of destruction the answer may be that the bulk of wild creationjs neither in the cradle nor at the summit, but on the brink of the grave. But until man rose to pre-eminence Nature pursued an even course of development, progress, trial, failure, renunciation, triumph. ocean, to bring forth eggs from which will arise little eels that the mother will never see. Birds build wonderful mound nests for eggs which they will not hatch; wasps construct nurseries and store rich larders for baby wasps which will come to life when their parents are dead. Fishes strew the sea with ova and never see their children., Purpose and result are the same with trees and with animals. That parents shall leave one or two children to succeed them and to maintain the species-that is the lot assigned them, and all the fruitfulness, all the splendours, beauties, and harmonies of existence are means to that end. IS MADE UP OF BEAUTY AND SPI-ENL IFEDOUR AND TERROR That unseen mighty Hand which painted the flowers painted also the butterflies, . gave them lustrous scales to make them equally lovely, gave them, also; their own apparatus for the creation of rich perfume to render them attractive to their fellows. All the colours of the rainbow are in the flowers, but they are repeated in the insects and again in the birds. Reptiles have many rich, strange hues; there is luxuriant colouring for many of the mammals; and, as if Nature has an eye to farce as well as to harmony, we find most extravagant colours on the bodies of apes. Life is m~de up of beauty, splendour, wonder, skill, cunning, and also of terrors we can dimly understand. To balance the song of the nightingale and the rich loveliness of a humming-bird we have the terrible deeds of the flesh-eating animals. Every day and night myriads of herbeating creatures must die to make meals for the carnivores. Every day, while the bee is performing her beneficent wonders in the hive, multitudes of insects are sentenced to lingering death by ichneumon flies, which make nurseries of them for their eggs, from . which will hatch ichneumon grubs to devour the living bodies of the insects in Which the eggs are laid; and wasps carry living spiders to their nests, paralysed but not killed, to await, alive, 'the birth and appetite of the grubs yet to be born from the wasp's eggs. TH~:;~N:t:~'&'x I,':I~':t~C~:TURE BUll-T She has filled the Earth, the air, the waters, with abounding forms of life. All arose from creatures as simple as the one-celled animals of our waters; From those lowly creatures, during unthinkable periods of time, came all life. No changes effected in the crucible of the scientist match the marvels wrought in Nature's processes. She had all time and all substance for her work. The one group of elements sufficed for all the diverse outlines and characteristics known in the Book of Life. Our oak, crocodile, whale, . elephant, man--'-all are made up of precisely the same elements, differently grouped and arranged. A boy with a box of bricks builds first a cottage and then a castle. Nature, with her box of bricks, built man and mouse and mammoth, reptile and bird and insect, at different times and from different starting-points. In the waters .of a twilight world were the first of created life forms, mere specks of living jelly. From these substances Nature evolved a succession of creatures new and strange. She changed a creature a little and changed its children more, and the changes became constant, as the chan1Ses which man effects in flowers. H AS NATURE REACHED HER HEIGHT OR IS SHE IN THE CRADLE? These are facts to be considered as much as the vivid luxuriance of the flowers and the harmony of the song of birds. On the face of it the scheme seems desperately cruel' but Nature is wiser than thewisest 38 THE AMAZING PROCESSION THROUGH TIME Here our 路artlst Imagmes a man wltn the puwer tu lOOK down rime and see tne gigantic creatures tnat inhabited the world before man. If we study this picture by the Clock of Life on page 10 these creatures, going down the page, would begin to appear about 9 and go on appearing till about half-past 11. 39 PROWLING BEASTS OF SWAMP AND JUNGLE THE LION. MOST TERRIBLE MEMBER OF THE BIG CAT FAMILY AND LORD OF THE ANIMAL WORLD THE TERROR OF THE SWAMPS-THE RHINOCEROS WITH- A COAl. LIKE LEATHER 40 THE QUEER ANT.BEAR COMES DOWN TO US FROM THE GIANT .SLOTH 41 ANIMAL LIFB birds, and animals by scientific breeding are constant. Jelly-fish arose, and to protect them from creatures which would have devoured them Nature gave them stings. Worms were formed, in infinite variety, and from them came insects and the sea-urchins, brittle-stars, and so on. Then along another line came the Crustaceans, first of all Nature's little men ill almour,; then the things with shells such as we recognise in the molluscs and gasteropods; and, as shell~design became a fixed feature of life, the way was open for the, cuttlefish to take his place in the increasing army. . We are sketching very rapidly only the imaginary line of ascent, so that a thousand details are omitted. Let us hasten to the first attempt at a backbone. Na,ture seems to have toyed with this idea'in several forms. Two of her experiments are with us today. The lancelets and the tunicates of modern times never are, but always seem likely. to be, blessed with backbones. Each young one seems about to grow one; but the promise is never realised, and the adUlt is grouped like its ancestors, with the backboneless. There they are today to suggest what all creation might have been like had not Nature succeeded at last in finding a line of life fit to bear spine and ribs. To do so gills, which breathe water, had to yield place to lungs, which breathe air. What a revolution this represents we may infer from what would happen if men tried to convert themselves now from air-breathers into water-breathers, and to forsake the land for the sea. Life had to make the hazard in those old days, and insects and vertebrates came trembling ashore, to be left high and dry when the tide ebbed, to be re-covered when the tide flowed again, and finally, . after millions of years, to come right inland and possess the Earth. OF .THE MQST DRAMATIO ONETHE STORY OF NATURE EPOOHS IN That was one of the most dramatic epochs in the story of animate nature. It was the beginning of a pageant whose source was the waters and whose summit was mankind-a sea-squirt at one end of the line and Shakespeare at the other. Once life had landed it made fast, and the developments which had begun in the deep were multiplied on Earth. The great forms were amphibian-frogs, toads, and salamanders, things' which were born in the water and came ashore to live. The early amphibians 'grew gigantic, some of them as big as路 oxen, but the reptiles, creatures born on .land, were the next to advance. They also attained colossal size, but, though they possessed BAOKBONE OOMES AND ALL THETHINGS the Earth and ruled in horror, the future ARE POSSIBLE . Lancelet and tunicate, deprived of the did not lie with them, for there was not a backbone, never got any farther forward, brain worthy of the name among them. Forth from one of the reptile groups came and thousands of other failures of which we have no record must have passed out the ancestors of the birds-:-not at a bound, of knowledge. But路 at last fishes came, of course. The reptiles themselves took strong, pliant, bold; the order of Verte- to the air in numbers, huge, loathsomebrates had come into the world, and all looking things with leathery wings, the real dragons, though they did not breathe things w,ere possible I Fishes multiplied in number and species, . fire, as the legends say. and, the idea of armour having taken root HE. MOST TERRIBLE AGE OUR on the bodies of crustaceans and molluscs, T EARTH HAS SEEN the fish路 must 'have their armour too. . The age of reptiles was the most appal路 And arm tl;J.ey did, in mail of bony plates, ling, we must suppose, that ever Old invulnerable to any: ,teeth then in exist- Earth has witnessed. The sea was turence. Nearly all fisht,poltto armour for bulent with the movements of the colossal ages, and the sturgeori 'and half a dozen swimming fish-lizard called ichthyoother floating fortresses survive to remind saurus. The marshy land trembled ane: us of what they were. Things were de- squelched beneath the tread of giant veloping apace in the waters. as each suc- dinosaurs, which, . squatting on their cessful feature established itself, and fishes haunches,.~pl111ed down the tops of trees to gradually grouped themselves in an feed. C3!inivorous monsters devoured ascending scale of power and merit. But herb-eating dinosaurs; the nightmFlre the greatest adventure had yet to come. creature called stegosaurus roamed about Life had to cease swimming and march I with its immense bulk and length, armed It had to come ashore. with great bosses of.bone.along the back. 4J MOTHER NATURE AND HER LITTLE ONES路 THE WA OF NA RE'S SMALL WILD CHILDREN, ANO HERE MISS PEARSE HAS PICTURED MOTHER NATURE WITH A GROUP OF THEM ABOUT HER 43 ANIMAL LIFE The incredible brontosaurus, the terrific iguanodons, creatures of the lizard order, were there, and in the air were the pterodactyls, flying reptiles with teeth as terrible as a crocodile's. These were the masters of that amazing world. The birds began pretty much where' the pterodactyls left off, for the archaeopteryx, first of birds, was lizard-like in body, in tail, teeth, and jaws. Its tail was long and jointed, but feathers grew from each joint. Here, in feathers, a new structure !had come into being, and we must believe that blood-cold in reptiles, amphibians, and fishes-had at last become raised in temperature. Birds were the first things not clad in scales or armour, and they were the first to possess hot blood. Birds had come and were left to blossom into bulk, beauty, and a thousand forms, hues, songs, and habits. The giant moa tells us by his remains what they did with their genius for mere size; the extinct dodo, the ostriches, and the penguins reveal to us how fatally some misused their sovereign gift of flight. AT LAST THE HOUR GREAT DAWN SOUNDS FOR most. Herb-eaters grew gigantic. The flesh-eaters grew huge, too; bears bigger than any now existing, tigers immense and strong with tusks like sabres, lions of appalling size and power. There is nothing tending to increase of bulk to which Nature has not given rein. Every order existing today has had its giant in the past Nature, though she explored possibilities with every order, though she sent the whale and walrus back from the land and let them grow monstrous in the sea, has ceased her strivings for giants and Methuselahs. No more does she produce enormous trees which last thousands of years, or dinosaurs that live two centuries. She creates more trees, but gives them shorter lives. She summons into existence more animals, but gives them a briefer span. All the giant reptiles are gone, all the giant mammals save the whale, elephant, rhinoceros, and hippopotamus; all the myriads of armoured fish have vanished save seven groups. Birds have lost their reptile teeth and gained a thousand graces. Mammals have increased their speed and cunning and lost inches and weight; man himself has lost his hairy body-covering, his gloomy brow and mighty canine teeth. Much has gone of the animal world which the reptiles knew. Its secrets have now to be sought in the rocks formed from the age-old mud into which past forms sank to die. THE At last the hour sounded for the dawn of mammal life, of life for creatures that have hair or fur, warm blood, and, the highest characteristic of all, the habit of nurturing their young on milk. They came from a reptile origin. Man bears the seal upon his body of far-away ancestors who were reptiles, and of still earlier ancestors who were fishes. The first mammals were little timid animals, and how they kept their helpless young alive in such a world of perils passes understanding. But they did it by the exercise of a new quality. Something which made the Earth worth while appeared. It was love, mercy, the spirit of self-sacrifice; the sublime power which makes us ready to lay down our lives for others. That was the condition which changed the face of Nature when mammals came into being. It did not happen. forthwith, but the mere fact that mammals survived the early days of danger in that reptile-ridden Earth tells us that love for offspring was triumphant. The doom of brute frightfulness arrived when animal love conquered peril. HAS STOPPED NATURE METHUSELAHS MAN THE LORD OF ALL, WITH HIS WONDROUS POWERS The best and highest yet remain to proclaim the wondrous story. The past is full of nightmare terror and phantasy, interpreted by creatures turned to fossils underneath our feet. Now comes Nature's highest yet-Man, the lord of all, the only creature to whom a soul is given, in whom the brain has become the master organ of the body. Though he rises from the same ancestral stock which produced apes and monkeys and lemurs, he is the supreme achievement of Nature; and, having made him master of her kingdom, its animals, its resources, and many of its secrets, it would seem as if Nature means him to act the role of Viceroy of the Earth, and himself to mould the forces which, until his coming, were wielded by Nature herself. And what will Man do with his powers? His conduct in the discharge of his trust will determine whether the animal world generally is in its cradle, or is approaching a destiny which is to be a tomb. HER GIANTS AND The same varying development which we see among fishes and reptiles took place among mammals. Armour and size were the order for the reptiles, size and weapons for the mammals; that was the plan for H GROUP The March of Man from the Age of Barbarism to the League of Nations W 1......""'...........1 What This Story Tells US E do not know how long it is since some trembling human creature hid himself from some wild beast that threatened to engulf him, b~t we know this trembling man is now master of the Earth. How he rose rrom the mists of time, by what struggles he survived, how he overcame his enemies, how he setÂˇ up kings and threw them down again, how he found fire and what he did with it, how he magnified the senses Nature gave him and won new powers from Nature's secret stores, how he made the world a better place to live in and filled it with beauty and power and mU3ic and books-this is a tale indeed I Here we shall look at the great epochs of m3.n's m3.fch from the days he came into the world, through the long years of his struggling and yearning, up to these days when, if only he will open his eyes to see, he stands at the gate of the Promised Land. MAN SETS OUT ON A JOURNEY story in the world has grown out of the story we are going to read. Every picture in the world has grown out of the picture we are going to unfold. And every discovery that has been made by the inventors and the men of science since life began has come from JULIUS the discovery un veiled in this journey we now set out to take together. For we are setting out to follow the rise, the growth, and the adventures of the very greatest thing on this planet, the thing which stood up in the midst of barbarism and chose a road which led to civilisation, which found itself shut in on every side by Ignorance and broke a way through to Knowledge, which was so feeble that any beast of the field might have stamped it out of existence, yet which discovered in itself thf' secret of all power and dominion. We are going to consider the wonderful journey of Man through Time. Many thousands of years after the flames which wrapped the whole Earth had blown away, many thousands of years after the steaming vapour which clouded it all round had lifted into the sky, and many thousands of years after Life in myriad forms had appeared on its surface, EVERY there came into existence a creature different from every other creature under the shining Sun. Millions of years had gone to the making of thi~ astonishing creature. A period of time, so tremendous that we may call it almost an. eternity, had CAESAR passed over this beautiful and mysterious Earth before there came into the world of life a creature radically different from all the other inhabitants of Earth, yet so like some of them that from an outside view it might have been confounded with them. The difference was invisible. The thing which separated it from all other living forms was inward and spiritual. This creature had a Mind, and this mind was the most wonderful thing existing in the world. Man stood in the dense primeval forest, and looked about him with eyes which seemed no different from the eyes of apes and tigers, elephants and birds, snakes and bear; but behind those eyes of his was a mind which reflected on what he saw. All the rest of creation looked; he alone observed. Something within him could not rest content with the instincts he had inherited, like the rest of creation, from MIGHTY EPOCHS OF THE WORLD & MAN'S WONDERFUL ADVENTURES 45 â€˘ HISTORY millions of years of experience. He felt within himself a power which urged him into strange ways; a restlessness, a disquiet, a curiosity, a faint and struggling faith in himself which crossed his instincts at every step. He had no name for this movement in himself, just as he had no name for bear or tiger; all he knew, dimly and confusedly, was that something pushed him from within into new paths. This is what happened. The energy which had been working in matter for millions of years, which had brought into existence during those tremendous periods an infinity of living shapes, was now working in the brain of man. The great process of Evolution had taken a new turn. The body had been fashioned; it was now the turn -of the mind. Henceforth evolution was to be the story of man's soul. Now we can see how it was that this creature of the forest felt within himself a movement away from his animal instincts. The power of Life was concentrating all its yearning for improvement on his brain. He was to be the Adam of a new race. No longer was the elephant to excel in strength, the tiger in swiftness, the serpent in subtlety, the ape in knowledge. MAN LOOKS AT HIS WONDERFUL HAND, AND BEGINS TO THINK No longer was the Earth to remain a vast wilderness. No longer was time to lack a chronicler. Life, pressing forward in its passion for improvement, needed a gardener, a discoverer, a historian. In man it had found its opportunity. The first difference in man, distinguishing him from all the other creatures, was observation. Think about that word, for it is the foundation of every single thing that has happened since the dawn of human history. Man found himself looking at things with a particular attention. Perhaps the first thing he looked at attentively was his own hand, turning it over and over, closing and unclosing its fingers,examining the bendof the knuckles, observing the tension and relaxation of the muscles. Never had the lion reflected on its paws, or the parrot on its wings or the whale on its tail. Never had any creature wondered if it might not do something else with its limbs-something different from instinctive action. But man, observing his hand, reflected on it, and wondered. We must remember that as yet there was no language. There was no name for any creature, no term for any thing. Man 46 did not say to himself, "I have a hand, and my hand is composed of four fingers a~d a thumb." H~ ~id not look a~outl hIm and say, "ThIs IS a tree, that IS a! flower, and yonder goes a panther." Hel had no words of any kind in his mind, no speech on his lips. Like other animals he uttered sounds expressing satisfaction or fear, like other animals he could convey to his fellows in an instant the feeling of alarm or the sense of caution; but neither the things about him nor the, sensations within him had any name. WONDERS IF HE COULD NOT HAVE MANDONE SOMETHING BETTER We must picture him at the dawn of human history, standing in a maze of wordless thoughts, torn between the two paths of Instinct and Reason. We must not think of him as a creature suddenly dumped down on Earth with no experience to help him. His experience reached right back to the first stir of life on this planet. He was no more frightened of the world than the ant and the bee are frightened now. He knew many things. He knew quite as much as the elephant, the bear, and the snake. But he was more confused than any other creature! because, whenever he did anything in-I .. stmctIvely, a movement within him suggested that he might have done something; quite different-something better. This was a new birth on our planetthe birth of mind. Instinct said to man, Do this! so imperiously that he did it at once, just as a tiger and a jaguar do what instinct tells them; but, after man had obeyed his instincts, reason bothered him with questions: Was that the best way to act? Might he not have done something better? The next time the same thing occurs let him think before he so blindly obeys the unthinking impulse of instinct. THE MORNING WHEN A MAN RAN FOR HIS LIFE A tragic position! How much happier: is the bird that wings and sings without. thinking how or why, that builds its nest, exactly as its ancestors built theirs ten million years ago. But, with the tragedy, what a marvellous romance! Man may be torn between instinct and reason, he may be confused and perplexed, but at least he has something to console him for this civil war within his brain; he has a feeling that he can outwit his enemies. Imagine him setting out one morning': in the fall of the year to pick blackberries MAN SETS OUT ON A JOURNEY for his family. He is bending over a bush when he hears a soft padding noise behind him. He turns his head. A few paces away is a huge bear. Instinct bids him fling away his berries and run for his life. He charges up a hill. Breathless and terrified he reaches the top. He looks down, and there is the bear climbing after him. Instinct says Run! He obeys, but catches his foot in a huge stone and falls. Reason, as quick as instinct, says to him: "Don't you remember how you took a little stone in your hand yesterday and threw it at a tree?" He springs round, seizes the big stone in his two hands, lifts it above his head, and hurls it at the bear. PICKS UP A STONE AND A MAN THROWS IT A wonderful thing has happened. The stone struck the bear on the side of its head. and the bear lost its foothold and ~ent tumbling down thehillside. Now it lies at the bottom of the valley, dead! Man rushes back to his home in the forest, and brings his fellow-men to the hillside. He shows them the bear. He points to the stone. He acts the scene for them. He lifts the stone, raises it above his head, and flings it from him. The others imitate him. They chuckle and grin. The first game of cricket is being played. Something has come of observing the human hand, of not taking that hand for granted, of wondering about it, reflecting about it, experimenting with it. Man has discovered that he need not run away. His hand has become his plaything. He takes up a stone and flings it at a snake, twenty yards away. A bird flies over his head, and he flings a stone into the air. He stumbles over the bough of a tree broken by a winter's gale; he drags it along, pulls it after him, breaks an arm of it off, swings the branch over his head, flings it ahead, picks it up again, and takes it home with him. T HE MAN GOES INTO THE FOREST IN SEARCH OF FOOD One day his family is hungry. He goes out into the forest with his cudgel and looks for prey. A rabbit starts up under his feet. A blow of the stick and the rabbit is dead. He remembers a place in the forest where rabbits came out after sunset and just before dawn. He goes with his cudgel, hides, and waits. No longer need his family fear for food. The cudgel does something else for him; it enables this feeble and defenceless 47 creature to leave the woods and adventure himself more boldly in the open. He is now a hunter. He can creep up behind a sleeping animal and kill it with his club. He can throw a stone so accurately that no bird within forty yards is safe from him. He wanders farther and farther afield, and comes presently to a broad river. He sits down to observe this mighty flow of water. In a pool he sees fish, and studies them. These, too, are not to be taken for granted-these large legless things which move in water like a flash of light; not merely as the buffalo or the hippopotamus looks at fish does man look at them. In the midst of his observation a bough of a tree comes swirling down the river. He watches it with curious eyes. That, too, can move in water, like the fish. But this tree does not move under the water: it moves on the water. He watches it intently. Suddenly it is caught by the branch of an overhanging tree and prevented from moving. A bird flies up the river, sees the log, and perches on it. Slowly there comes into the mind of man an idea which is destined in far-off centuries to revolutionise human life. If he stood on that tree where would it take him ? If he rode upon it, kicking his legs, could he make it bear him across the river? MAN FINDS AN ACORN THAT WILL GROW INTO A TREE On his way home he thinks of riding logs of wood over great rivers, and tells himself strange stories of adventures on the other side of those flowing waters. Presently he passes a cave in the hillside. He peers into it. Nothing in there. He enters. It is warm. Nothing could attack him from inside. Only the entrance would need to be guarded. Why should he live for ever in the forest? It is better to live in the cave. It is nearer the great waters. One day he is sitting at the mouth of this cave when he notices little sprouts of green in the earth. He picks up the soil with his fingers and discovers at the end of such sprout a seed which he himself has flung away after eating berries and fruit. He notices that some of the sprouts are strong and others weak. They are strong where the ground is open, weak where they have fallen among thorns. He begins to observe the earth with attention. The acorn which drops from the trees is not only food for swine; it grows into a little tree. The grain he loves to chew as he walks, falls into the earth and HISTORY comes up again as a plant. He collects handfuls .of their golden grains and carries them back to his cave. He breaks down the brambles, sharpens a stick to loosen the roots, pulls them up from the ground, and plants his seed. On another day he comes upon a pile of bones at the foot of a hill. A number of wolf-like creatures start away from them as he approaches, growling. as they go. How did they come there, all those bones? As he stands watching, a 'buffalo comes turning over and over through the air from the top of the hill. It crashes among the bones, and lies still. At the same moment, a wolf-like creature appears breathless at the top of the hill looking down. The man climbs up the hill. He watches. One day he sees a buffalo chased by these wolves How is he to get those things? Is there in all nature such a thing as a steamplough, a railway engine, a steamship? No, but in his own mind there is the idea of a spade, a wheel, and a boat. He has invented a crude language. He can tell others what is in his mind. They are all agreed to call a tree a tree, a bear a bear, water water, wind wind, and wheat wheat. They have names for themselves. One is father, another is mother, this child is son, and that daughter. When a fire rages through the forest they call it fire. They can speak to each other of fire. They notice that two flints struck sharply together produce the same thing on a tiny scale-fire. Thev have observed that fire eats up drieCl things quicker than damp things.. They make a heap of twigs and MAN CLIMBS UP THE HILL across the open, headed for the precipice. He says to himself, " I need not go hunting for animals. I need not fight with them." He becomes a trapper. His wife flings meat to some of the creatures about his cave. The smallest of them become friendly. In winter time they come even to the mouth of the cave. Presently they take meat from the hand of the man's children, and play with them. The man thinks to himself, " Why should not these things hunt for me?" The hillside becomes his trap, and the wolf becomes his dog. His needs multiply with his victories over Nature. He wants something more than a stick for breaking the earth to receive his seed. He wants something more than his two hands for dragging home his loads. He wants something more than a log for crossing the rivers. dead leaves; they strike flints against it, and presently it burns. A vegetable root which has got into this fire smells good. They taste it and like it. They fling flesh into the fire, and taste that. It is good. Animals are afraid of fire. Very well, when he goes hunting, he will light fires at night and that will keep tigers away from him. All this movement away from instinct is the work of observation. Man is unafraid of the universe. So far he is only a hunter seeking power over his prey. He has never lifted his路 eyes from the earth. He is like the rest of the animal kingdom except in this-that with him instinct is not enough. Superstition is yet to come. Death is not yet either a tragedy or a mystery. Savage man has many questions in his mind, but they concern only his stomach. The Great Journey of Man is begun. 48 FAMILIAR THINGS The Story 6f the Things We See About Us Every Day A What This Story Tells US LL around us is the mystery of familiar things. How does the blade of your penknife come through the roaring furnaces into your pocket? How does your Waterman pen come from the heart of a forest, from the top of a mountain, from the depth of a mine, from the fiery crater of a volcano, to' your desk?' How does a piece of cotton, growing like a flower in Egypt, come on to a reel on a sewing-machine? How does a newspaper come out every day? Through what marvellous processes do the faJlliliar things about us pass before they reach us? Here we shall look round at many familiar things-at pens and pencils and coins, at railway engines, ships, and aeroplanes, at silk and cotton and wool, at sugar and salt and tea, at gas-meters and cameras ; we shall see, too, how tunnels are made under cities and rivers; and many other fascinating things. IRON FOUNDATIONS OF ENGLAND A old man lay dying. He called his' sons to his bedside and said to them: "I leave to you, my sons, all the wealth I possess. There is, a great mass of riches buried underground in my vineyard, but the exact place in . which it lies you must discover for yourselves." The old man died, and was mourned by his sons. When their time of mourhing' had passed, they took spades and rakes into the vineyard, and dug and raked .the soil with all their might, taking care, of course, not to injure the roots of the vines. Not a particle of gold did they find. There was no gold to be found, and they were sbrely disappointed. But the work they had done in the vineyard. caused the vines to g~ow as they had never grown before. The next year the sons had an enormous crop of grapes, which they sold for a great sum of money. They then understood the meaning of the trick their wise father .had played upon them. He had truly left them all the wealth he had, but it was in the soil, and their labour was needed to turn it into riches~ Now, Nature has been a wise and kind parent to those of us who live in Great N Britain. She has not sown our fields with diamonds or threaded the hills and valleys with gold, but she has planted in our soil rich deposits of iron and coal. She has given us the restless sea for our frontier and boundary line, and iron for our backbone. The iron and coal in her soil have given England her greatness. It is a greatness of which we may be proud, for the wealth which has made us rich and strong has been gained, like that of the sons in the vineyard, by honest labour. Can we picture what Great Britain would be like if the use of iron were not known? Everything made by man would be different. There would be no great ships to carry us across the sea, for without ' iron and steel we could not build anything better than the rough canoes which the primitive men used before history began. There would be n,o fine houses; we should all have to dwell In huts such as savages make; for without iron we could not build houses requiring the use of metal tools. We could not have printed books or papers; we could not have proper clothes; for there would be no machinery with which to make them. There would be no INDUSTRIES' HOW THINGS ARE MADE. WHERE THEY COME FROM 49 " FAMILIAR THINGS the use of coal for smelting that our industry in iron has grown to such a vast extent. Yet it took our forefathers over twelve centuries to learn it. The material the early ironmasters used was burnt wood, which we call charcoal. As this fuel answered well enough, they simply laughed at the idea that coal could do their work better. A clever man, named Dud Dudl€y, tried coal' for his furnace in I6I9, the first man ever to do so, and others tried to copy him; but the plan was not properly understood, and, instead of our store of iron being increased, the output of iron actually went down for, thirty years. Then the practice of first making the coal into coke began, and gradually succeeded. Still, the iron that we made toward the end of the eighteenth century was poor stuff. It was brittle and bad, and could not be made hard and tough and at the same time capable of bending just as the smith desired. But in I784 Henry Cort invented the puddling process. such tilings as aeroplanes or trains or motorcars, and horses would be of little use to us if we were unable to shoe them with iron. How did men manage without iron? They used flint stones-sharp pieces of flint which they chipped off larger stones. Bones served for knives and forks, and for needles with which to stitch together their garments of roughly tanned skins of animals. It would have been no use looking round for a knife to sharpen a pencil; there would be no knife, and there would be no pencil; we should have had to burn a piece of wood for a pencil, and scrape it to a point with a flint. MEN WHO TOLD THE BRITONS OF THETHE TREASURE IN THE EARTH How it was discovered that iron is of service to man nobody now can say. There in the soil lay mines of wealth more than man could calculate, but, for all the use it was, the iro~ might have been in the clouds. By and by wise men of the East came to Britain to buy things and to sell other things, and perhaps they told our Britons how people in India took rough stuff from the hills, put it into a fierce fire, and melted out of it stuff which, when freed from the rock in which it was embedded, could be heated and made to bend into all sorts of shapes, and be made sharp so that it could remain sharp and durable when cold. Anyhow, our Britons, without the help of any civilising influence, did discover how to melt iron, and when the Romans came they found the brave Britons armed with iron weapons. The Romans already knew how to work iron, for the art had been practised earlier in Greece. When they came to stay, they soon found where the Britons got their iron ore, and all the time of their occupation, a period of about five centuries, they had large ironworks in the Forest of Dean. KEPT BURN INO FROM THE F IRES CINDER-HEAPS LEFT BY THE ROMANS But great as were the Romans, they knew little about ironwork; they wasted far more metal than they were able to use, so poor were their methods. How much they wasted we know today from the fact that long afterwards twenty furnaces were kept at work by Englishmen for between 200 and 300 years, working at nothing but the mounds of cinders the Romans had left in the Forest of Dean. In the cinders were enormous masses of iron the Romans had been unable to extract, and they proved a mine of wealth. We are bound to couple coal and iron, for it is by GIANT THAT HELPED TO MAKE BRITAIN THE MISTRESS OF THE WORLD ' Th ddl f h h d k e pu er, one 0 tear est wor ers in the world, takes the iron which has been smelted (or melted) in the blast furnace, and places it in a special furnace, and when it reaches melting point he stirs and stirs it with an iron rod, causing the iron to collect together while the bad parts flow away. Then, when this has been done, the good part is taken out in practically a solid ball, and is run through great rolling mills, which squeeze liquid impurities out of it like water from a sponge. Thus we get pure iron. We all depend today upon the iron and steel founders. From them we get our pens and our instruments for doctors; they supply the material for' our ships, our engines, our cars, and our wonderful modern bridges; to them we owe our marvellous machinery, from the vast Nasmyth hammer down to the tiny needJe which works the telegraph; and also all the tools with which the work of the world is carried on. The miser may hoard his gold, but it is iron which keeps the world going. Truly Nature gave us a wonderful fortune 'in our soil, but the will and skill of our people have realised the fortune that lay in the earth, and made England the mother of the greatest Commonwealth of nations of which man has ever heard. 50 WHAT HAPPENS IN AN IRON WORKS Here the iron ore is trom where burned to expel water, sulphur, and other substances, and to render it porous so that it heats readily in the blast furnace. British blast furnaces at work have varied from fewer than 100 when trade is bad to more than 300 in prosperous times. from the fierc.e fires ore goes by. inclined hoists to the top of the huge blast furnaces. A modern olast furnace IS often over 80 feet high and 25 feet across, and can produce 700 tons of pig iron a day. 51 THE TREMENDOUS FI This section of a furnace-tower with the lid 'open, shows ' the, ore is shot into the fires. ,Coal and a flux, such as limestone, are also added. ,The lid closes ,and: the"hot air is' for~ed'into the "bottom of the furnace. The blast of air through the fiery core melts: the 'iron until iiruns like water' At the bottom ot the turnac~ the mo.ten iron collects, and trom time to tIme IS ailowed to flow whIte-hot through a tap-hole into grooves in the ground, and so into sand moulds. Here are seen the sand moulds where the iron lies until it cools and can be taken out in solid bars. The slag or waste flows off through another exit The waste gases are used for heating kilns and ovens, and, purified, for driving gas engines. THE MEN AT THE GREAT FURNACES All furnaces are not bUllfalIke. Here,in placeofthe small otap-hole, is an open-mouthed furnace, beyond which is an inferno offire; its heat so intense thai protedingo.screens are provided as shelter for the toilers. In the famous Bessemer process of steel manufacture, bars of pig iron are first melted in a cupola furnace and then run direct into a Bessemer converter, which is here shown thrown horizontally to receive it. Steel is a malleable and tough alloy of iron and carbon. For special steel other metals may be added. 53 THE BLAST OF AIR THROUGH A MOLTEN MASS A converter for is-ton charges is about 2S feet high and may weigh from 60 to 70 tons. It is turned to the vertical and a mighty blast of air, in numerous small jets, is forced through the molten pig iron. For some 15 or 20 minutes a blinding flame of varying hues roars from the mouth of the converter. Carbon is added, and then the. momter egg tips to give up its molten mass into a ladle carried on a crane. 54 . A TRAIN OF GLOWING INGOTS The crane now swings: over,. and from the bottom of the ladle the liquid steel is poured into ingot moulds in the casting ring. When somewhat cool the moulds are lifted from the partly solid ingots by ingot cranes. The ingots are carried to the heating furnace in the. rolling mills. ' 55 stan~1ing THE STEEL FLOWS INTO THE INGOT MOULDS Here is a view of the molten steel tlowmg.lrom. the bottom' ot the ladle through a nOZZle mto the mgot moulds. A large ingot may be about 19 jnchessquare and weigh 50cwt.; for rails the ingot is about 14 inches square and weighs perhaps a ton and a half Before being rolled, ingots are reheated in furnaces sunk in the ground. Here, by crane tongs or "dogs," an ingot is being lowered into a furnace to make its temperature uniform. 56 THE WHITE-HOT STEEL READY TO BE SHAPED' Nasmyth .hammer' the white-hot -begins, to, take"shape.;,'. ... . .. ~ ' Plain Answers to the Questions of the Children of the World F What These Pages Tell US OR ever in this life we are asking questions; for ever, throughout this world, wise men and children are saying "I wonder why?" Where do we come from? Where are we going? What happens when we are asleep? What brings a mighty forest from a few small seeds ? Has the sea been moving for ever and ever? Who holds the stars up and lights them at night? Who puts the thoughts in our heads and tb.e feelings in our hearts? How does a bird find its way from Africa back to the same little nest in Kent? To aU of us come such questions, and never will they stop while the world goes on, because out of the answer to one question another question grows. So it must always be, for the wonder of the world has no end; the longer we live the more we wonder abollt life. Here are hundreds of questions asked by readers of this book. WHY DO I LAUGH AND CRY? Y laugh and cry because you are "made that way." It depends upon the way in which your brain and body are built. After all, you laugh when you are tickled, even though you may not be pleased, and that is really easier to explain. _If a bright light suddenly strikes your eye, you shut it because your brain is made so as to make you reply in that way. OU That is a simple way of replying, and laughing when you are tickled is really the same, only that instead of doing only one thing, you do a number of things all at once. You move many muscles of your face instead of merely moving the muscles You also move the of your eyelids. muscles you breathe with in an unusual way, and the muscles you make sounds with. It is this particular movement of all these muscles together that we call laughter, and it is really a reply to the tickling, just as drawing away your foot is a reply when someone tickles the sole of it. lt is the same with crying as with laughing. We do not know why our brains should be so made, for, though there is much use in tears when we are not crying, there is no use in crying when we are hurt. When people grow older they find this out, and usually do not cry when they are hurt. The highest part of the brain is the master of the lower part, and can order it to do things, and forbid it to do things. Now, it is the lower part of the brain that replies by crying when we are hurt, so that even the tiniest baby can cry. But when we grow older we tell the lower part of the brain that it must not do as it feels inclined to do, and so we stop crying. There i搂 no known reason why tears should come when we cry, but there is a very good and beautiful reason for the tears we are really making all the time we are awake, though we know nothing about it. You know that every few seconds you wink both your eyelids at once. If you did not your eye would soon cease to work. Now let us see what winking does for the eye. When the eye is open, the front of it is exposed to dust and dirt, and also the front of it is apt to get dry, and if it路 got dry we could not see properly. Yet, how is it that, though we never wash the front of our eyes, they are .always clean? It is because we wash them every time we SUN . MOON . STARS . FIRE . WIND . WATER. LIFE . MIND . SLEEP 59 WONDER civilised times, when everybody wears boots, the toes themselves are really very little used, but in the early days of the human race they were very valuable, and capable of much more movement than now. A person without toes could easily walk, but his steps would be somewhat uncertain, and his movement more restricted. Up above each eye, rather to the outer side, is a tiny thing called the teargland, and all the time we are awake this is slowly making tears. Then when the front of the eye feels itself becoming rather dry, and perhaps a little dusty, it tells the brain, and down comes the eyelid with a tear inside it, so washing clean the front of the eye. If you look at the inner corner of your lower eyelid you will see a tiny little hole. The tear runs down this and finds itselfwhere do you think? When you have been crying a great deal, do you not have, to blow your nose? The reason is that tears run down into the nose. All the time we are awake this goes on,keeping our eyes moist and clean; but when we cry we make far more tears than we need, and so they get spilt over the edge of the lower eyelid, and run down our cheeks. But though the tears, when we are not crying, are so useful that we could not do without them, yet it is no use to make too many of them. Let us not shed too many tears in this beautiful world. wink. Will Frogs and Fishes Some day Turn into Animals like Horses? The answer is No, and the reason is that these animals represent the result of many generations of gradual changes until they have been produced in the special form in which路 we now find them. They are, in fact, like a completely manufactured article, and are therefore as perfect in their way as the horse is in its way. The creatures from which frogs and toads and fishes sprang are not like any of these,any more than the raw cotton is like a fullymade shirt. Is there a British Lady Mentioned in. the Bible? Yes.; there was a British lady in Rome in the days of Paul, and we are almost certain that she would go to visit Paul in his prison cell, and comfort him. We read of her in Arthur Mee's book, "Little Treasure Island," where we are told that we may stand today in Rome in the house this British lady lived in. She was Claudia, wife of Pudens, and if we look at Paul's letters to Timothy we shall find that the apostle there sends her his greetings. Her house was open to Paul and the followers of Jesus in the days when to follow Him brought ridicule and peril. Her praises were sung in poetry eighteen centuries ago, and it may be, though nobody can know, that through Claudia came the first news of Christianity to Britain, for we may be sure that, holding the fort for Paul in Rome, this lady would not have left her friends at home in ignorance of what was happening in a far-off Roman province. What Does Encyclopedia Mean? This is quite an easy question, even though the name of this book is longer than any word in it. En means in, and is added to make the word stronger; indeed, the word is often used without the en, and just written cyclopedia. Then the next part of the word comes from the Greek word cyclos, a circle, and tells us that the book is not about one thing only, but goes all the way round knowledge. And the last part of the word is just the English form of a Greek word paideia which means teaching or instruction. So this book is a circle of teaching. But the name is better even than it looks, and perhaps ours is the only kind of book that ought to have this name; for the word that means teaching comes in Greek from another word, pais, which means a child, because, of course, teaching suggests child, and. a child suggests teaching. So the very word tells us that it has something to do with a child. Where does the Tadpole's Tail Go? At a certain stage in the life-history of a tadpole some of the cells within the tadpole's body begin to attack and devour the cells that make up the tail. The tail is gradually eaten away and absorbed until finally, by the action of these cells, there is nothing of it left. The material thus disappears, by the process which is known as absorption; that is to say, it is used up by something else. Could we Walk without our Toes? There is no doubt that we could walk without toes, but we should not walk nearly so well, nor so gracefully, nor so safely, for the simple reason that our toes spread out over the ground to a certain extent, and so give us a greater space upon which to balance our bodies. In these 80 WONDER What Makes the Sea Salt? bodies of ants. There it probably prevents other animals from eating the ants, because it is not nice to taste. This is one of the thousands of ways in which animals and plants are protected from their enemies-like the poisoned tooth of the serpent and the unpleasant and often poisonous oils found in the leaves of certain plants like the tobacco plant. The Sun sucks up the water from the sea, but it sucks up nothing else. The salt of the sea has been brought to it by the rivers, These, as they come down from the land, melt away from the land anything that water can melt, and this they carry into the sea. River water is salt, too, only so very little salt that we notice nothing. Sea water is so much salter chiefly because it contains all the salt that the rivers have been carrying down to it for ages past. One of the commonest kinds of salt in sea water is ordinary salt that we use at table, but there are a great number of other kinds too .. We must remember that, though table salt is the only kind of salt we usually think of, yet " salt" is really only a general word for a large number of compounds, like each other to some extent, yet different. It is a mixture of a great number of these that helps to make the sea salt. How Does the Speedometer Work? The two types of speedometer most commonly used are the Centrifugal and the Chronometric. The first is a simple arrangement based on the fact that rotating weights tend to fly outward. Details of its working are shown on page 62. The Chronometric speedometer is rather more complicated. It may be said to consist of four sets of mechanism in one. There are two distance-recording drums and the way they work is described on page 63. The speed-recording mechanism consists of a series of wheels engaging with one another to indicate the speed; and an escapement and camshaft control the periods during which the speed-recording apparatus is to work. The Geared Spindle turns the Integrator Wheel for a quarter of a second and then is out of engagement for half a second. Clearly the integrator wheel will be turned farther at 60 miles an hour than at 10 miles. A peg on the integrator pushes forward a peg on the Recorder Wheel, turning it an equal amount, and this movement is passed to the Stabiliser Wheel to which the pointer is fixed. The integrator and recorder wheels are locked by flat Control Springs and are held until the Camshaft releases them, when coiled springs pull them back to zero. Now the car starts off. The geared spindle engages, carrying the integrator and recorder wheels forward. This movement is transferred to the stabiliser and pointer. The camshaft then lifts the integrator control spring, and that wheel flies back to zero, ready for the next engagement of the geared spindle. The recorder wheel does not drop back yet. If the car is moving slower, the integrator is not moved quite so far next time; the camshaft releases the control spring of the recorder, and its coiled spring pulls it back to the integrator peg where it is stopped. If the car's speed had increased, however, the shape of the How Many Words Do We Use? We need not tremble at the number of words it is possible to use. The Oxford English Dictionary contains over 400,000 words, but our greatest writers find quite a small number sufficient. Shakespeare, with all his varied writings, used only about 21,000 different words. Milton needed only 7000 different words for Paradise Lost. Some people use only about 300 different words, and most of us between 1000 and 2000 words. The beauty of writing and speech lies not in the number of words used, but in the choice and placing of them. Simple language is the most beautiful. The finest English writing is in the Bible, in Robinson Crusoe, and in the Pilgrim's Progress, and in each of these books the language is so simple that a child may understand, while great scholars find delight in it. What Makes a Nettle Sting? The leaves of a stinging-nettle are covered with small hairs with sharp, hooked points, that will break off when they are lightly touched. But the nettle does not merely prick; it stings. This is because the hairs are filled with an acid which gets under our skin, through the hole made by the point of the hair. This makes our skin uncomfortable. Formis is Latin for an ant, and this acid is called formic acid because it is found in the 6l HOW A CENTRIFUGAL SPEEDOMETER WORKS 2. Every modern car has a speedometer drive in its gear路 box, and this picture shows how it may be arranged. The shaft which passes the engine power to the back axle may have a little spirally-toothed gear-wheel, meshing with another. To this second gear a long flexible cable is attached, and .this, in a metal casing. takes the drjve up to the speedometer. 4. Here is the recording gear. A worm on the spindle turns a worm-reducing gear so that an eccentric makes one turn in a tenth of. a mile. Each time the eccentric makes a downward push the pawl moves a ratchet wheel and brings the next figure up to the little window where tenths of a mile are shown. After nine ffgures have passed the single-toothed wheel will next move on one tooth the ten-toothed wheel next to it. which indicates miles. When this second disc has made a complete revol ution, after ten miles, it moves on the next by. one tuoth, and so on. 62 INSIDE THE CHRONOMETRIC SPEEDOMETER 1. This speedometer is of a different type altogether, known as Chronometric. It is based on a clock movement, driven from the gear-box as before. The distance-recordins- gives us two sets of figures, one for the trip Just made and one for the increasing- total. 2. Here we see inside the casing of the chronometric speedometer with the dial face half broken away to show how the parts are arranged. On the right of the trip mileage drum, which also records tenths of a mile, can be seen the connection for setting the trip back to zero, which can be done without interfering with the total mileage. The speed-recording gear is the mechanism in between the two drums. 3. Here is an enlarged view of the speed-recording路 mechanism and, on the left, the camshaft is shown removed. Notice the train of four gear-wheels. That on the right is driven by the flexible shaft from the gear-box. Next is that which drives the geared spindle, and following this is an idle gear. This is not connected to the spindle running through the column of wheels above it. The gear on the left is the camshaft drive, but it is not fixed to the camshaft, driving it by way of a spring clutch. This camshaft is the master of the mechanism, operating the control springs; it can only make one revolution every three-quarters of a second. The balance-wheel and escapement ensure this, as described on page 64. 4. The working of the distance-recording gear is shown here, on the left being the complete assembly, the five drums, each similar to that shown in the centre, being squeezed together by a spring. The eccentric and pawl step the right-hand drum round one turn in ten miles. The locking-teeth on the right edge of the next drum are held by the locking springs until une complete turn has been made by the right-hand drum. Then the spring-lifting cam on the right-hand drum levers up the spring and allows one tooth of the next drum to the left to move up. The same thing happens when the second drum has made one complete turn, and so or. until 99,999 is registered, when all go back to zero again. 63 .. WONDER recorder wheels,' teeth would have allowed it tobt pushed onward. A gearwheel drives the camshaft through a slipping spring clutch, and whatever the speed of thIS gearwheel the camshaft, controlled by the balance wheel and an escapement of clock type, cannot turn at more than 80 revolutions a minute or one in three-quarters of a second. The top cam on the camshaft engages the geared spindle with the integrator wheel, and the two Jower cams lift the flat control springs as required, releasing recorder and integrator wheels in turn. other cells which grow best in the dark, and which even seem to be affected by the gravitation of the Earth, so that they grow best toward the centre of the Earth. It is possible to play tricks with the seed, as, for instance, to turn it upside' down; but the rule is that the plant will do its best by curling round as it grows, to ensure that the shoots shall get into the air and the light, and the roots shall grow downward. So the tree-and this is true of nearly all plants-has two parts: one that lives in the air and one that lives in the soil. Neither part could live without the other, and the tree is so made froin the first that the right part of it, that which is capable of making leaves,. must grow upward into the light and air: while that part of it which will be capable of sucking up water and salts, and also of holding firm, must grow downward into the earth. What Wakes Me: Up in the Morninl(? • In order to understand this we must realise that we do not sleep in just the same way all through the night. To begin with, we sleep deeply. Now, it is good to sleep deeply. It makes us look well and beautiful. But for some hours after this we sleep less and less deeply. We can easily find thjs out by noticing exactly how loud a noise is required to wake anybody up at various times in his' sleep. And we find that when he has had nearly enough sleep he will be wakened bv a noise which, a few hours before, he would not have noticed. That is the sort of thing that happens when we wake. We have been sleeping less and less deeply for some time, and our brain has almost awakened of itself. Then there comes a sound or a light, or perhaps we move inbed and feel ourselves moving, and since we are already very nearly awake the sound or the light or the feeling wakes us up. Of course, we live in a way that we have made for ourselves: but if we lived out of doors, as men did long ago, and as' birds do still, it would natllrally be light that woke us up at last. That is what wakes the birds up now, though weare awakened by a noise. Why Is It Dark at Night? If you take a ball and hold it near a bright light, said the Wise Man, the half of the ball next to the light is shone upon, and the half of the ball away from the light is dark. If you mark a spot on the ball,and then turn the ball round and round like a top, that spot will be shone upon half the time and will be in the dark the other half of the time. We live on a big ball called the Earth, which is always spinning round and round, and it is shone upon all the time, day and night, by the bright light called the Sun. The place where we live is like the spot on the ball, and, as the great Earthball spins, part of the time we are on the side next to the Sun and part of the time we are on the side away from the Sun. When we are on that side it is dark at night, but while it is our night it is daytime for the people who live on the other side of the ball. However dark it is where we live, the Sun is always shining somewhere, and the Earth is always travelling toward it or away from it. The Sun does not come to the Earth, but the Earth comes into the sunlight. If you think of the ball and the light you will understand that, however dark it is, the Earth will soon carry us rouhd into the light again. Have you ever heard one of the most beautiful lines in all poetry: "There is a budding morrow in Ip.idnight,'· meaning that every night a day is being born? Why Does a Tree Grow Upward? The first thing to say in answering this question is that the whole tree does not grow up. Part of the· tree grows downward, and that is the root. Each grows to the place where it can do the work for which it was made. In the seed from which the tree grows there are certain cells which are meant to form the part of the tree that is to live in the air and the light. Wherever the light is, they grow toward it. On the other hand, there are 64 ART The Story of the Beautiful Things in the Treasure-House of the World W What This Story Tells US HO shall count the treasures of the world that men have made-the lovely things that have come down to us through the ages? Nature has filled the Earth with beauty, and in the dark hours of the world it is good to remember that spring and summer have never failed to come, that the violet and the daffodil have never failed to bloom, that June will bring red And man, too, has made a glory in roses and lift up the hearts of men. the world not unworthy to compare with Nature in her glory. It is good to think of all the heritage of art that comes to every child alive, of the gems that pack our museums, the glory that enriches our great galleries, the old cathedrals that stand to witness to the faith that man has never lost in his Creator. Here we shall read of the most beautiful things that men have made-pictures and statues and buildings from all ages and all lands. THE RICH TREASURE THAT IS OURS THE art of the world is a glorious inheritance of which we can never be too proud, and it is our very own. The great pictures of a nation may hang on the walls of public galleries. hut every time we go and look at them it is as if we stamped them with our own names. They MICHAEL thus become our private collection-a treasure house of lovely things that time cannot wither nor custom make stale. And. by a beautiful magic" the more miserly we are, the more we gloat upon our treasures and count them over, the richer we become. There is something extravagant in the world's showering of these gifts upon us, the children of a hardworking and meagre day. It is not only in our galleries and museums, in great paintings and sculptures, that we find things to gladden our eye. Art is with us everywhere. We can scarcely walk by a bookseller's shop, or a pottery store, or a jeweller's window, without being face to face with something we owe to the art of the past. It may be a picture painted and reproduced yesterday, an enamel or china bowl fresh from the maker's hands, but its beginnings lie in the remote civilisations of the world. It may be a beautiful doorway or a pedestal of modern construction, but the first stone was laid many thousands of years before Jesus was born. The art of today is the inherited sense in large or small degree of the art of all time. ANGELO So that our treasure, our inheritance, is twofold. For centuries upon centuries the nations of the earth have been creating and storing 'up lovely shapes and colours that are our joy today. These are a historic possession. And every year that passes, beautiful things are made which owe their origin consciously or unconsciously to this historic possession; and in these we are again enriched. In art, more than in any other province of the world's history, we are indeed the heirs of all the ages. PICTURES' STATUES' CARVINGS BUILDINGS . IVORIES . CRAFTS Surrounded as we are by innumerable expressions of 'art, we are apt sometimes to confuse an 'inspired picture with its imitations, and to take for great what is only cleverly shoddy. We need some standard by which to set our judgment, and we find sooner or later that the Old Masters are the best of all teachers. ART A picture or a statue is not necessarily good because it is old. A great deal of ancient art is mainly treasured because it is a living emblem of a dead civilisation, and acts as illustrations to the book of days of an extinct race. But there are certain paintings and sculptures which can be taken as great art, the work of the loftiest genius the world has known, and they owe their proud place, not merely to their antiquity, but to the judgment and verdict of history. T HE THREE OHIEF OLASSES OF THE GREAT ART OF THE WORLD In the minds of some people there is at first an unwillingness to take the opinion of another, even of generations of men. And often, if some of us were courageous and sincere, we should confess that we preferred Miss Maud Goodman's pretty little pictures to the paintings of a Titian or a Botticelli. This is, perhaps, because we have never had an opportunity of studying art seriously enough. It takes two to make a picture, one to paint it and the other to look at it. A great picture is the subject the artist painted plus the secret he painted into it. Until we understand something of that secret we cannot fully appreciate our magnificent inheritance. The great art of the world-the art which has passed the ordeal of centuries of criticism-falls into three chief classes: painting, sculpture, and architecture. Architecture, indeed, may be called the parent of all art, because for a long time pictures were only made to decorate spaces on walls, and they were painted on the fabric of the building itself; the framed picture is a comparatively modern adaptation of the coloured wall-panel. And statues were chiselled to adorn niches in temples and palaces, or cut in low relief, to make a long fresco pattern. love of the mind-the love of abstract qualities, such as truth, courage; spiritual love-the love of God and of the earth, which poets call the garment of God. The pictures inspired by sorrow are fewer, but move more intensely, because the tragedy of life is that death stalks our beloved, and sooner or later hurls his dart. Love, sorrow, worship; and in a way the greatest of these is worship and holds in itself all three. Worship painted pictures, carved statues, built temples and cathedrals, and made them greater than man because they held a sense of Godhead, of eternity enclosing time as th" universe encloses the Earth. If we think seriously of any picturE, the world calls great, we shall see that its subject is one of these powerful emotions; and any work so conceived, if poorly . e;'{ecuted, has in it the seeds of greatness because it strikes at the heart of the human race. This basic feeling, however, is, so to speak, the foundation, the scaffolding, and not the finished edifice. It is the subject the artist painted minus the secret he painted into it, which some of us spend our lives trying to discover. The secret was his own imagination and sense of beauty, and therein lay his final and 路unapproachable greatness. THE FEELINGS OF THE SOUL THAT ARE PERFEOTLY REAL We ask what is beauty, what is imagination, and no one can find an answer. We know where beauty and imagination are revealed, in form and colour which satisfy the soul as food satisfies the body; but their nature is hidden deep in the mystery of life. We can think of them as senses of the spirit, as real as are the physical senses of sight, hearing, touch, taste and smell. Just as our ears record the sound of a piece of music, and our eyes register an impression of the shape of a piece of stone, so these spirit-senses "feel" the vision of perfect sound that makes the music beautiful, the vision of perfect contour that makes the stone ar lovely statue. Beauty and imagination reach out beyond the actual to the ideal. For instance, thousands of artists have drawn portraits of old women. Rembrandt drew the portrait of an old woman, and it is one of the greatest things in the world, because, having his sense of sight, he recorded the features, by his sense of beauty and imagination he recorded something LOVE THAT INSPIRED THE THEWORLD'S GREAT PIOTURES Whatever it may be, sculpture, painting, or architecture, this work of the Old Masters has a kind of family resemblance in that it owes its birth to an instinct common to its kindred. In almost every case it was inspired by one of the great emotionsofthe human heart-love, sorrow, reverence, or worship, and without some such feeling no great art is ever conceived. Love has inspired more pictures than any ot~er ~uman em<:tion, but loye bea~s a very Wlde mterpretatlOn. There IS phySIcal love-the love of husband, wife. or child' 66 THE RICH TREASURE THAT IS OURS To look back on the art of the world is, in a way, to see the story of the growing pains of this aesthetic life which is now our pride and exceeding great joy. The early art of the world was centred round the several religions of the human race, and for a long time the sense of beauty was small md stunted and responded to false ideals. Imagination went astray, and the gods men portrayed in their sculpture as high aboveh umans were often decorated puppets. But while his soul was thus struggling in the half-light, man's power of selfexpression was becoming great. With each passing century art became more ennobled, more purified of excess, and grew to be a very real part of the life of a nation. Ane soon it came to pass that men were borr. whose sense of beauty and imagination were so powerful as to override all other instincts. They were the men we call geniuses, in whom the inward urge for selfexpression in lovely imagery became a driving force that cut a wedge, so to speak, :hrough the history of their day. infinitely wonderful: not the face of one old woman, but the lovableness, the dignity, sorrow and other-worldliness of old age of all time. Hundreds of men have painted landscapes and got on to their canvases the glow of the sun and the radiance of the sea. Turner painted that same glowing sun, that same radiant sea, but his sense of beauty, his imagination, reached out to an intangible, heavenly glory, and so he put into his pictures" the light that never was, on land or sea, Hie consecration, and the poet's dream.'.' 'THE SPIRIT THAT BUILT THE PARTHENON AND WROTE SHAKESPEARE'S TALES These spirit-senses of beauty and imagination are powers which the human soul has developed through thousands of years of effort to express itself. All art, poetry, and music, are forms of self-expression. Next to bodily needs, such as food, shelter, clothing, the need of self-expression is one of the most powerful of human instincts. Every man, save the few in a generation who are born spiritually slothful, is moved by it to the doing of certain kinds of work on which he can stamp his own individuality. It is that which makes a child set up an erection of sand with patience and care, and then say, "I have made a house." It is that which built the Parthenon and wrote The Winter's Tale and composed the " Pathetic" Sonata. We are told by Indian mystics that it was because of God's desire to express Himself that He created the world-flung from Him a whirling atom, and on that atom, grown huge and populous, we live and are trying to express the beautiful, which, in the ultimate, is God. GREAT T HEEXPRESS THAT FEEL DEEPLY, AND NATIONS NATIONS BLIND AND DEAF To these gifted ones art mattered more than food or clothing; they spent their lives working out their ideals of purity in line and colour, their spiritual conceptions, in a word, their secrets, which they wrought into their painting and sculpture. But nations, like men, are different one from another; some races have been sensitive to beautiful impressions, and other~1 have been blind and deaf. The spirit of beauty and imagination filled one people as one man-the Greeks. The soul of Greece was loveliness, pagan loveliness, and there has never been another nation to whom art was so vital. Even in Greece there were generations of immaturity. A sense of pure beauty only comes to a race in its flowering time; when the soul of a people withers and falls asunder the art it expresses becomes depraved and false. Nature is chary of perfection. It is, perhaps, because artists have always dreamed of a realisation of perfect beauty that genius is called the sorrowful gift, always urging the soul to express the inexpressible, to attain the unattainable. It was the pent-up spirit of an artist who cried: "Oh beauty, oh divine, white wonder, On whom my dull eyes, blind to all else, peer." HUNGER OF MEN TO THEMSELVES Art is the very earliest form of this selfexpression. Before men could read or write, while yet their clothing was the skins of animals, they could draw. They rendered the objects about them in the simple way a little one would draw its pet kitten on a slate today. They drew in their idle moments, when the chase was over and the food broiled and eaten by the cave fire. Between those early efforts and the art which today is a lofty vocation there is a great gulf fixed. Thousands of years are needed to span the gulf, and during that time, as whole civilisations rose to power and died, the craving to express himself in beautiful imagery became a spiritual hunger in man's heart. 6'7 ART But it is not only artists who yearn for the vision beautiful. Almost every man, woman, and child has inherited, in however slight degree, the instinct which is the beginning of. art. And therein, as soon as we realise it, lies a wonderful happiness. It is because we have in our own soulswe who have never painted a picture or carved a statue-a latent sense of beauty and imagination that we are moved by great art, that we stand spellbound before a picture and go away haunted by its lines and colours. It is not necessary for us to understand the subject of the picture. We see something beautiful ancl it calls to something beautiful in us. W E ARE ALL DESOENDED FROM THE OENIUSESOF THE WORLD tures are more than lovely shapes and colours: they are beautiful dreams corrie true, heavenly visions crystallised in stone. They are the sum of all that is best in the mind and heart and soul of the human race. 'They are a fragment of bygone time and yet a piece of today and tomorrow. They are the tremendous fulfilment of all the small longings of the individual soul, the ideals and hopes that flit to and fro in the chambers of the mind, the loveliness we yearn for and may not possess. The spirit senses of beauty .and imagination have seized once and for all the fleeting rapture of daily life, the dawns that are full of little angels' wings, the sunsets that are full of spring flowers, the hours when earth is very near to heaven. And we may be quite sure that a picture which does not react on our own imagination, which does not make us conscious of other qualities than colour and shapeof the artist's secret, in fact-is not great. It may be a pleasant and attractive subject, but if it ends in itself it will die. It is the secret of art for ever to tantalise us with its secret. We are all, in a way, descended from the geniuses of the world, and the longer we live, the 'more we cultivate our sense of beauty, the more shall we show the .marks of our breeding. There is scarcely a child born .into the world who carries not in himself the seeds of greatness. And the reason the greatness so rarely flowers is due to the accident of circumstance, upbringing, environment. So that we are in HE THRILL OF THE FIRST MAN WHO the position of knowing in our inmost souls DREW A BEAUTIFUL THINO what beautiful sound is, and being unable For all our knowledge of the presence of to express it in music; of realising dimly art as a living force in the world for some what colour is, and of being helpless when sixteen thClusand years, it is still as someone offers us a palette and a canvas. mysterious a presence as it was in the conArt says for us the things we cannot say sciousness of the first man who drew ,a for ourselves. And, in the measure that beautiful thing and thrilled with the we allow our aesthetic sense to grow, we thought, "I have done that." Art has realise that it is not only in the actual become in a way. a great science, whereof rendering of concrete shape and colour the handbooks are legion, and yet a fairy that artists are our spokesmen. Art makes tale; a career demanding seasons of hard articulate the dumb emotions of the soul. study and yet dependent on th,e elusiveness Great happiness or .great sorrow seals our of dreams. And when painters have given lips and .keeps us dumb, but as we look on their rich years to learning and toil, and great pictures and sculptures we find that have grown great, they are still what the happiness and that sorrow portrayed for unlearned artists of .old were, magicians ever by someone' who had" the power to who make the world a garden. speak it out. The work of these inspired ones of ART RUNS THROUOH THE WHOLE WORLD yesterday and today lies scattered about OF THOUOHT AND FEELINO the world like flowers which bloom for ever. As in a greater degree, so in a lesser one, We cannot think how bare out lives would we owe to lovely things the expression of be, lacking these blossoms. Colour, shape, ourselves. There is not a province of and line, finely drawn old faces, lovely thought or feeling that art does not reveal. forms, green fields and tossing seas, are It is as if beauty and imagination, like brought within the Tangeof our stay-atpagan goddesses, immeasurable in their home eyes by means of great art. We power, had thrown over the world a finely should never count an hour wasted that is meshed net, and caught all the outward- spent on looking at these treasures and flying fragments of human aspirations and making them our own, for every time our held them 路for ever in a golden web. AJ?-d hearts are moved, however faintly, by the so we come to see that great statues and plC- sense of beauty, our souls are marching on. T 68 THE EVERLASTING GLORY OF ART Art. the expression of the love of beauty in the soul of man, is the pride and glory of the world throughout all ages. Here we give a few examples of the treasures men have left behind for all mankind to love. They show Art in many different fields-painting, sculpture, carving, and so on. THE WONDERFUL HEAD OF DAVID AS HE LOOKS DOWN FROM THE HILL ABOVE FLORENCE WHERE MICHAEL ANGELO PLACED HIM 00 The Wonderful House We Live In. and Our Place in the World H What This Story Tells Us ow Life came into the world no man can tell. Certainly the first living things were plants, and from these all the life we know has come. This part of our book tells us what we know of life, and how it works, and the most marvellous things it has made-the bodies we live in. Fearfully and wonderfully are we made, and perfect and beautiful beyond words is the human frame and all that moves within it. Here we shall read how it works, of the astonishing arrangements which govern our lives, of the delicate balancing of the machinery which secures the perfect working of sight, thought, speech, hearing, breathing, moving i of the complete cooperation and sympathy existing in us all between body, mind, and soul. We shall read here, also, of the lives of those about us, of citizenship, and of our place in society and the world. LIFE THAT FILLS THE EARTH fills the seas, covers the dry land, and flies in the air above. Everywhere there is life and movement and birth and death and new birth; always and everywhere there is life and more life. These are the most interesting facts of the world we live in, and we must ask many questions concerning them. For instance, what is the difference between a living thing, like a fly, or a rose, or a child, and a thing that is not living or that never has lived, like a stone, or the gravel or clay in the garden? What are the different kinds of living things? How is it they are so different? An elephant is very different from a piece of moss, yet an elephant is much more like a piece of moss than like a piece of flint. Why is it? We know that living creatures die, and yet Life does not die; there is no living thing on the Earth now that was alive two thousand years ago, except, perhaps, a few great trees like the cedars of Lebanon. All the living things that were alive then, fishes and flies and birds and flowers, are dead now; yet the Earth never was so filled with life as now. Why is it? It is because of the very wonderful fact that aU living things have LIFE children, that these children are like their parents; and that when the parents die the children carryon their lives; and so the world goes round. There is an old Greek story of the runners who had to carry a flaming torch, and as one runner fell, tired out, he gave the torch to another; and so, though the runners fell and could not reach the goal, the torch was not put out, but went on burning. The torch is like the flame of life, and each living creature is like the runner, handing the flame to the. children who will carry it on when he is gone. Where have all these living things come from? We know that all things, livlllg and dead, have come from God, who sustains them from everlasting to everlasting, but how did all these kinds of living things come into existence? What is their history? Who were their parents? It is well for us that we have been born in the days when this truth and so many others are becoming known, for the more truth we know the better it is for our lives. Let us begin by asking ourselves how we can tell whether a thing is alive or not alive. Now, that is really silly, you may say, because anyone can tell in a moment that the fly is alive and that the BODY, MIND, AND SOUL' CITIZENSHIP . ECONOMICS 77 GOVERNMENT 11 ' OURSELVES window-pane is not alive. We know that the fly is alive, just as we know that a boy is alive, because he is so lively. We call anything alive that moves about itself, anything that jumps, or shouts, or swims, or flies. We say this, but is it true? Really it is not true. When we come to think of it, the boy is still alive even when p.e is asleep. He is just as alive when asleep as he was when he was playing before he went to bed. Some wise child may say this is not a good argument at all, for even when the boy is asleep he still moves, for we can see him breathing. VIEW OF THE A BIRD'S-EYE WORLD ABOUT US That is true. The heart has not gone to sleep; it is still moving, and it is moving because it is alive. So that, after all, the boy is lively all the time, whether he is asleep or awake, and the real question is whether a thing which does not seem to move at all is alive like the boy. Must anything really alive be really lively like the boy? We shall see. , We can路 imagine how a bird flying high in the air is able to look down on the surface of the earth. A bird's-eye view is a view that the bird has of the world when it is up in the sky; it sees everything at once. Now, it is always necessary to take a bird's-eye view of anything we are trying to understand. If we take nothing but short views of one thing at a tir..1e our ideas will be as silly as a fly's idea of an elephant must be. We must see one thing at a time, and all things together-we must take both sorts of views. Let us try to take a bird's-eye view of living things. When we do this we see that there are two great kinds of living things, very different from each other. The difference is not in size or quantity, but in kind or quality. The one kind of living things we call animals, and the other kind plan ts ; and they are quite different. There are many differences, but the difference we notice first when we take our bird's-eye view is a difference of liveliness. Animals - move about themselves; plants donbt. THE LIFE IN THE ANIMAL AND THE LIFE IN THE PLANT Shall we say, then, that plants are not alive? That has often been said and thought in the past, because men thought that if a thing was to be called alive it must be lively. We know that plants are not lively, like a cat; you can always find a rose bush where you left it in the garden, 78 but the cat is not always where you left it. So men thought that because plants did not walk away they were not really alive. And then men came to see the truth of what we have already said-that, after all, there is something about a rose which makes it more like a fly than it is like a piece of stone, even though the fly can fly and the rose cannot. So men thought there were two kinds of life; one was real, true life, like the fly's life, or the tiger's, or ours, and the other was a sort of half-andhalf life, not the real thing but a feeble imitation of it, just enough to make a difference; and men said that that kind of half-and-half life was the life of trees and plants. The men who said these things did not understand much about them. They knew that there was something strange about the Qak and the acorn, but they could not persuade themselves that anything that was not lively was really and truly alive. But men began to find out things at last. One man learnt something, the next man learnt a little more, the man who came after him learnt a little more still ; and so the world became wiser and wiser. QUIET WAY IN WHICH THE PLANT THEKINGDOM DOES ITS WORK We know all that the men who lived before us knew, and we have also learned something they did not know. As men learned more about the world they were able to get a bird's-eye view, and the result of all their thinking is that we know now that plants are just as much alive as animals. In some ways plants are actually more alive than animals, even though they are not lively. The difference is that the life of the animal shows itself in liveliness, but the life of the plant shows itself in something else. We know the animal is alive because it is lively, like the boy-like you. Your life shows itself in your liveliness. But we know the plant is alive because it helps the animal to live and to be lively, and for many other reasons. Though the plant is very quiet and still, its life is very important, because it makes the liveliness of the animal possible. For the animal lives on the plant, and if there were no plants all animals would die. Animals make a great noise, but plants do just as much work, only they do it quietly. We need not always be shouting and jumping and barking or blowing a LIFE AND ITS WONDERFUL LADDER This picture suggests the later steps in the Ladder of Life-the steps since the creation of the backbone, which the first creatures had not. The oldest backboned creatures are fishes. Above them are Am路 phibians, the land and water animals. Then there is a split. On the one side the Amphibians gave rise to Reptiles, and these gave rise to Birds. On the other side came the Mammals. Man came later in this last line. I' OURSELVES trumpet to prove that we are alive. Plants do none of these things, but their life makes all other life possible. We see now that 1i f e means more liveliness. t han Many things that are not lively are really alive, but all living things do not make a noise and walk about. You may look at a thing and never see i t move for a day, or a week, or a year, yet it may be alive. Life means much more than the idea of something which moves by itself. Movement is not really life, because everything m 0 v e s. Plan ts do not walk about the garden, but th~y move by themselves. When the acorn grows in to an oak it m 0 v e s upwards. When the sunflower faces the sun as it grows it moves not only upwards, but in other ways also; and if we take the leaf of a plant and look at it through wha t is called a microscope we can see for ourâ€˘ selves that the tiny specks of green stuff which g i v e the leaf its colour are ever moving. Everything is moving, whether we see it or not, so that life is more than liveliness. The tiny specks of stuff that make up a pebble are always In olden days aÂˇ runner would carry a flaming: torCh, and as he fell out of the race would hand it on to another to keep burning. So each one of lis carries on life. How can we tell whether a thing is alive or not alive? What is the difference between a living thing, like a boy or a rose, and a thing not living, like a stick ~ 80 moving, and so are the black specks that make the ink o n this page. I f liveliness mea n s life, then all. things are alive, for all things are lively if we see them clearly enough. This is important to understand if we are to think properly of the life of the plant. Perhaps movement is the m0 st important thing in the world, and perhaps, if we could really see dee p enough, we should find t hat life itself is really a very special kind of movement or liveliness.But if Ii f e is just a special kind of movement, it is so very special that it makes all the difference whether ,a thing has this movement or not. The best way for us to understand what it is that really makes a thing alive is t o study very simple kinds of life. The most simple kinds are plant life or vegetable I i f e ; some are lively and some are not lively, but they are all alive. If there were 'n () plants animals co u I d not Ii v e. Plants are older than animals; that is'to say, there were 'plants CJn the Earth before there we r e any animals, and t he first kinds of animals were the children of the first kinds ofÂˇplants. PLANT L!FE The Story of the Marvellous Plants that Cover the Earth T What This Story Tells US HE oldest living things on Earth are plants. They cover the Earth with beauty like a truly magic carpet, and they are the very foundations of our lives. We could not live without them; but for the Plant Kingdom, spread over the whole surface of the Earth and along the surface and the bottom of the sea, the Animal Kingdom must perish. The whole world depends for its food upon plants, and the whole world depends, therefore, upon a secret that a plant has which no man knows ; for a plant knows how to take its food from air and water. It takes its supplies as it stands there rooted in the soil, nourishing itself in some mysterious way from the atmosphere direct. As we stand_looking at it a plant is making its own food; no man knows how. Here we shall read of the wonder that astonishes all who think of it-the life of the Kingdom of Plants. HOW _LIFE GOES ROUND AND ROUND FOR a very long time there to help them to build up were no living creatures carbon compounds from simat all upon the Earth. pIe materials. That was millions and millThe genealogical tree of ions of years ago, when the all living creatures must be Earth was too hot to be thought of as like an ornamental V, with little twigs on a home of life. But the crust cooled, depressions were filled each half of its fork. To the left we may put the animals, with water, and there was a heavy atmosphere of gas. and to the right the plants, Then the first living creatures made and it would be useful to make the animal their appearance, but we have no idea line go much higher than the plant line. Everyone feels that there is a great how or whence they came. What they were like, these firstlings, we do not gulf between a beech tree and the squirrel know-almost all beginnings are very on its branches; but we are not quite misty-but it is probably safe to say that so clear when it comes to distinguishing they were microscopically small, like the between a mushroom and a sponge, and microbes which cause rotting and disease. some of the old naturalists thought sponges If we can imagine an observer of the and corals were plants of the sea. Still Earth in the time of the dawn of life more difficult is it to be sure whether a he would not have been -able to see the living creature with a single cell is a plant teeming animalcules, any more than we or an animal, especially as some simple can see the tiny specks of bacteria. animals have managed to get hold of the Another thing that is almost certain green colouring matter called chlorophyllis - that the first living creatures were which is characteristic of almost all plants. neither decided plants nor decided animals. Then, at the foot of our V-shaped tree, They were, so to speak, hesitating between there are creatures, sometimes called these two very different lines of life. They Protists, which the botanists and the were nearer plants in this way-that they zoologists both claim. They have not were able to feed at a low level on water yet taken the decisive step. and carbonic acid gas (carbon dioxide) and Long, long ago, then, some simple, salts in the water; they were able in some single-celled creatures manufactured chlormeasure to use the energy of the sunshine ophyll, surrounded themselves with a BOTANY & ITS WONDERS路 FLOWERS路 TREES. HOW THINGS GROW 8] ------~ PLANT LIFE cell-wall of cellulose-now sold in the shops as vegetable parchment paper-and began to build up quantities of sugar, starch, and other carbon compounds. These were the first plants, and they probably lived freely in the sea. The secret of their success was the ability to feed at a low chemical level, and to use the power of the sunlight in their chemicaL operations of building up. Their success meant much for future history, for they began to form an atmosphere of free oxygen, and they made carbon compounds sufficient to feed not only themselves but the animal world. T HE GREAT SECRET OF THE ANIMALS AND WHAT IT MEANT FOR THEM Of course the animals had their simple beginnings too, and the parting of the ways was when certain creatures--the first animals-became addicted to the habit of not building up their own food but using what simple plants had made. This discovery of ready-made food was the deep secret of animals, and it meant the possibility of great activity, of living For food is just like adventurously! fuel; it is a supply of chemical energy. Plants are like manufacturers of munitions, and animals explode these in the never-ending battle of life. Happily for us, plants are like misers, accumulating much more than they need; animals are spendthrifts, often living close up to their income. We Ca(l understand, then, why most animals get along comfortably without being green, and why they are nearly all free from the somewhat clogging and embarrassing material called cellulose, which forms the cell-walls of plants. Perhaps a plant may be compared to a knight of long ago, boxed in by his suit of armour. The muscles of animals could not do what they do if the wall of each muscle-cell were surrounded by stiff cellulose. It must be remembered that cellulose is chemically next door to w?od. The sundew and the Venus fly-trap and other" insect-eating plants" have turned the tables on animals; they depend in part on insects for their food, and catch them very effectively. Many leaves rise and fall, many flowers open and close, with the growing and waning light of day. Young shoots bend and bow to the different points of the compass; the young rootlet moves in the earthworm's burrow; the tendril of the pea is extraordinarily sensitive to the touch of a twig, and its tip moves around in little paths as if it. were searching; it is easy to see the movements of the stamens of the rock-rose, or the closing of the stigma of the musk. All plants are sensitive in some measure, and Sir J. c. Bose, the great botanist of India, has proved that a tree may answer back' to a passing cloud. Many plants, if not all, have some capacity for movement, and there is a telegraph-plant in the Ganges basin-called Desmodium-whose leaves are always moving a little. When the Venus fly-trap in the Carolina swamp shuts the two halves of its rat-trap-like leaf and catches a fly there is an,electrical change similar to that which occurs when we contract our muscles in shutting our hands. There is no doubt that the animal lurks in the plant. T HE SOMETHING OF THE PLANT THAT IS OFTEN FOUND IN THE ANIMAL Many animals, like sponges, zoophytes, and corals, have relapsed into a plantlike sluggishness. Except when they are very young, they are fixed. Many of them are much given to branching, often in a very tree-like way. In the sea-squirts there is abundant cellulose in the enveloping coat-a characteristic vegetable substance in the most sluggish part of a very sluggish animal. A number of sluggish animals resemble plants in accumulating quantities of stored material, which may be utilised in hard times or serve as a legacy for the young ones. Not a few animals have a very plant-like power of partially dying down when outside conditions are unfriendly, and some types form resting germs which last through the hard times of winter, as the seeds of many plants do. One must not m~ke too much of green animals, for most gteen animals, like the green freshwater sponge, or the green fresh- OF THE ANIMAL THAT THEIS SOMETHING OFTEN FOUND IN THE PLANT The two halves of the V-shaped tree of life diverge farther and farther, but it is not surprising that something of the animal may often be detected in the plant, and something of the plant in the animal. We shall have to return to the animal lurking in the plant, but let us t::tke a few examples in the meantime. 82 HOW LIFE GOES ROUND AND ROUND water Hydra, or green sea-anemones and corals, owe their green colour to tiny partner-plants which live inside some of their cells. There seem to be just a few cases where the animal has chlorophyll belonging t 0 its e If. I n many cases-in so m e starfishes and worms, some lizards and birdsthe green colour has nothing at all to do with the green colour of plants. So far as complexity of structure and lifehistory goes, the whole kingdom of many - celled plants may be compared simply to the zoophytes and corals among animals. all They are within a comparatively narrow range. But w hat diversity there is between and toadstool oak tree, b etween the lichen the hilltop on and the fields of golden wh eat, between the beautifully coloured seaweeds and the flowers .0 f the meadow! Or, if we take a single class like that of ferns, wh at a m u It i t u d e of kinds .there are, each itself and no other I And we get the same impression of endless formchanges W hen we study a single . order 0 f flowering plantssay, t.he Rose order. All the members have a great deal i n common; they are near relations. Yet how different at first sight seem such plants as the rose, strawberry, apple, tormen til, and salad burnet! Who would think at first sight that the columbine, monkshood, and bu ttercup belong to the same order of Ranunculuses? The glory of the flowers field .LlFE COVERS THE EARTH WITH BEAUTY 83 And, besides variety of form, there is variety of habitat. Where is there any plan tless place, except in the darkness of the Deep Sea? There may be "red snow," due to a very simple plan t, on a floating iceberg; there are s")me simple plants in hot springs; there are Alpines above the snowline on the mountains; there are moulds glistening on the underground . passages in mines; there is a par t n erfungus spreading through and through the PLANT LIFE We are accustomed to think of strength in connection with animals and machines that move quickly about and do things and withstand assaults. The elephant, the railway-engine, the lighthouse, show strength. Whereas we are inclined to think of the tender plant, the bruised flax, the short-lived grass, the poppy which is broken by being plucked As everyone knows, many of our gay garden flowers are annuals, lasting only for the summer. heather-plant, even into the flower; and doctors sometimes speak of the "flora" of man's food-canal! Another fact so plain that we hardly think about it is the almost universal beauty in the plant world. The exceptions are certain cultivated plants, like cauliflower and cabbage, which have lost most of the beauty of their wild ancestors. And perhaps there are some parasites which do not live independent lives, and are therefore branded with some measure of ugliness. For beauty is the hall-mark of harmonious, healthy, well-ordered living, and it may be that, though life remains half asleep in plants, the beautiful shapes and colours are their dream-smiles. Think of the harebells swinging by the wayside, the wood-hyacinths, which the poet speaks of as the heavens upbreaking through the earth, the laburnum's dropping wells of fire, the daffodils dancing by the lake-side, Wordsworth's "jocund company." No doubt there is easy beauty and difficult beauty, but the big fact is T HE QUIET STRENGTH OF THE FOREST TREES AND THE WORK THEY DO But this is only one side of the picture. The grass withereth and the flower fadeth, but, after all, the grass is one of the most successful of all living things. It has covered the earth like a garment. This power of spreading and multiplying is all very well when the plant is on man's side, as most grasses are; but when it is an injurious plant that spreads, like bracken in this country or prickly pear in India, then we see the menace there may be in the strength of plants. We are often impressed by the weight. lifting feats of the strong man at the show, but have we done justice to the quiet strength of the forest trees, which are continually sustaining enormous weights against gravity, every year adding to their burden and lifting it higher? We know the explosive power of dynamite, but it is very interesting to see the roots of a tree spreading within a cleft in the rock and ending by rending it asunder. We know of the great transformations of energy which go on in chemical and engineering works, but we must do justice to the intensity of the operations that continue unceasingly through the summer day in the chemical and physical laboratory of every green leaf; and all without a sound! o PLANT IN THE WORLD LIVES OR beauty everywhere. CROWDS UPON US ALL OUR BEAUTY LIFE IN NATURE'S WIDE KINGDOMS The old idea that beauty is exceptional, and to be looked for especially in such plants as orchids, has almost disappeared. Many orchids are, indeed, resplendent, and often strangely suggestive of butterflies, but one cannot say that they greatly excel some of our common flowers-the violet, the butterwort, the bog-bean, the bladderwort, the grass of Parnassus, the bog-pimpernel, and the daisy. The fact is that beauty crowds us all our life if we keep in touch with wild flowers; and this is a fact not less important than the statement that the central secret of the green leaf is being a sunshine-trap. We have not learned much botany unless we have come to feel the beauty of common plants. The poet Keats said that throughout his life nothing moved him more than the opening flowers, and there is something wrong with us and with our science if we do not feel the wonder of the crocus breaking through the sad. But it is worth our while, also, to discover thrills, to follow the stream up the gorge till we find the Royal Fern, glistening with spray beside a waterfall : N DIES TO ITSELF What strength of a sort there is in the way that microbes multiply, killing a king in a few hours! If one bacillus of the plague gets entrance into man through the bite of a rat-flea it may be represented by a million the next day. What strength of renewal there is in many plants; the hawthorn is all the more vigorous because of the hedgeman's savage pruning. Then there is the strength of longevity, for the oldest living creatures in the world are some of the big trees of California, which may have lasted for two thousand years. Plant lovelier in its own recess Than Grecian naiad seen at earliest daWn Tending her font, or lady of the lake Sole sitting by the shores of old romance. 84 HOW LIFE GOES ROUND AND ROUND One of out poets is responsible for the magnificent exaggeration: the basis for manufacturing the essentIa1s of life known as starch, sugar, fats, and what are known as proteins. Some animal eats the plant, or part of. the plant, and another incarnation begins. For the nutritive material obtained from the plant-the nectar the hee changes Thou canst not stir a flower Without troubling of a star It is but a striking way of saying that no plant lives or dies to itself. EVery THE WONDERFUL CYCLE OF LIFE THAT NEVER ENDS AND NEVER FAILS Life wo~ks in a cycle. Water, gases, and salts are absorbed by plants as food. The plants are eaten by animals. the animals die, and bacteria destroy their bodies. From these bodies arise new gases, water, and salts. These are absorbed by plants again, and the cycle of life begins afr~sh. one is the intersection of numerous threads in the web of life. Let us gather a few illustrations of the part plants play in the Natural Kingdom. First, there is the work of plants in the circulation of matter. As we have seen, green plants feed on air, water, and salts; they use the carbon of carbon dioxide as into honey, the nut the monkey cracksbecomes part and parcel of the anima!,i;" body; it is incorporated in some measure into the animal's living matter. As the animal lives it gives off carbon dioxide, and this carhon dioxide, when it again enters the atmosphere, may be absorbed by a green plant. 85 PLANT LIFE Other forms of waste from the animal pass into the soil and may help to form salts which the roots of plants may absorb, Some may pass as ammonia into the air, and this may be washed down bv rain into the soil, to be again recaptured by the roots of plants. Or, when the animal dies and sinks to the gronnd, bacteria begin to work on the dead body, and it rots. Its complex substances are broken down into simple substances, such as carbon dioxide, water, ammonia, and some salts. Out of a dead bird on the ground the bacteria make materials which plants can utilise. Bacteria act as middlemen between the dead animal and the living plant. They make the materials of the dead body fit to enter again into the cycle of life; and so the world goes round. SMALL SPECKS OF LIFE ON WHICH THETHE CREATURe:S OF THE SEA LIVE If we pay an early morning visit to a great fishing-port, such/as Hull, Grimsby, or Aberdeen, we see what look like miles of fishes laid out for sale. We get a glimpse of the harvest of the sea, and the question arises in our minds: How is man able to take so much out of the sea, year after year, when he puts so little in? If he did this on the farm there would soon ,be exhaustion of the soil, and he obviates this on land by putting in manure. But what happens in the sea? The answer is partly to be found in the vegetable sea-dust which is wafted outwards and downwards from the shallow water, where seaweeds and sea-grasses flourish abundantly. Minute particles, worn off by the breakers or nibbled at by animals, are washed down the slope and form the food-supply of fishes or animals, worms and molluscs on which fishes feed. It takes ten pounds of this vegetable sea-dust to make a pound of worms; it takes ten pounds of worms to make a pound of whelk; and it takes ten pounds of whelks to make a pound of rock~cod J T HE WONDERFUL CYCLE OF LIFE BY WHICH THE WORLD GOES ROUND But the other half of the answer is to be found in what Sir John Murray called the floating sea-meadows of the Open Sea. Countless millions of diatoms and other minute algae form a sort of living seasoup at or near the surface of open waters. These minute organisms depend on the air and the sea-water with its salts; in the sunshine they go on with their work 86 of building up life from light, like the leaves of the forest; they and some minute green animals form the fundamental food-supply of small crustaceans; and these, again, are devoured by fishes. The Earth is run on a plan of successive incarnations something like this: Air, water, and salts are absorbed by green plants in sunlight. Nutritive carbon compounds are built up out of these, and are eaten by animals. The animals die, and their dead bodies are destroyed by bacteria. From the decay of these bodies gases, water, and salts are formed. These are absorbed by green plants again, and the cycle of life begins afresh. A great transformation of energy is always going on in plants. The plant is a laboratory of complex chemical substances, and each has its own peculiar chemical routine, as every chemical factory has. But this work of building-up could not keep going without help from outside, and it is the green plant's special secret to obtain this from the orange-red rays oj the sunlight. The energy of the sunligh t is used by the plant to help it in its manufacture of carbon-compounds, which have chemical energy just as gunpowder has. MYSTERIOUS EVENT ALWAYS TAKING THEPLACE IN A GREEN LEAF Thus there is a continual changing of kinetic energy into potential energy. We see the same thing when the kinetic energy of a rush of water is used by a hydraulic machine to raise a heavy weight to a height, where it has energy of position, or poten#al energy. But what takes place in the green leaf is a more intricate transformation, and it is not yet fully known. We shall have to do with many other " between" things, or linkages. Thus, one plant may unconsciously play into the hands of another, as when the dodder gets both support and food from the nettle; or when the mistletoe gets support and watery sap from the apple tree; or when an alga joins with a fungus to form a double plant or lichen; or when root-tubercle bacteria join in with clovers and enable them somehow to utilise the free nitrogen of the air. On another line are the linkages between flowers and their insect visitors, which secure fertilisation, and the linkages which secure the scattering of seeds by fruiteating birds. But we have made a good start toward understanding the relations which bind plants to the rest of Nature. COUNTRIES The Story of the Peoples of All Nations and Their Homelands T What This Story Tells US HIS wide world, 8000 miles in diameter and 25,000 miles round, with over fifty million square miles of land and more than twice as much water, is the home of 2000 million people. Some of them are crammed up in great cities; some are scattered here and there with vast spaces all aroljnd them. Greater London, with about seven hundred square miles, has more people than all Australia, with about three million square miles to live on. There are still forests and deserts that keep back population, but rarely do we find a spot on Earth that is not home, sweet home, to somebody. Which way is the world going? Backwards or forwards? In our own time the world has been thrown back by war, plunged into evil and disaster, but we who make this book believe that still the world will go forward. Here we see the life of the peoples who share the world with us. O"CE THIS GREA T WORLD OF OURS Jesus. And yet look at the vast time-distances which separate the French mathematician from the Laplander, the American inventor from the American Indian, the German chemist from the African negro, the English engineer from the peasant of Egypt. The age of the Earth is the same for all the world, and Asia was civilised many centuries before Europe; yet at the westernmost parts of Europe, so lately barbarian, we see more science, more art, more r~finement in morals and manners than in the very heart and centre of the once reg;al East--the East of Babylonia, Assyria, and Greece. At once, then, we learn to be careful how we speak of the world. It is absurd, and it is also dangerous, to speak of the world as if it were a body of people all marching together on one road towards one definite goal. It is absurd to speak of the Present as if it were the Present for all the world, or of the Past as if all the world had done with it and was pressing forward to one Future for all mankind. We must speak of the world as a long chain of humanity which at all times stretches from the very beginnings of human history up to thIs fleeting moment upon a time, in the not very distant past of our ancestors, there was no such word as World. They used two words meaning Man and Age. When they did at last run these two into one, making it presently our own familiar word World, they meant by it an age of man They never used it to suggest the whole Earth as we do now. It is in this ancient sense that we will now speak of the world-our world, the world composed of living men, women, and children in every corner of the Earth, the rich and various humanity of this planet circling round the flaming Sun. What is it that first strikes us as we look at our world? Is it the difference which exists in speech, the difference which shows in raiment, the differences which mark one nation from another in complexion and size? No; something much more difficult to understand. The first thing to strike us in looking at the inhabitants of the Earth is the extraordinary distances which separate the various peoples in time. It is the same hour for the whole Earth. For the history of the entire planet, it is the twentieth century since the time of THE FIVE CONTINENTS & 100 NATIONS & RACES THAT INHABIT THEM 87 .COUNTRIES person is to have run some part of the race through time. To be a genius or a saint is to be nearing the goal. There was genuine inspiration in the lines of old Andrew Marvell: which is flashing onward into the future as we speak. We are reminded of that old story of a travel!er through Time, told in a book seven hundred years old. In passing one day by a very ancient and The world in all doth but two nations bear; The Good, the Bad; and these mixed everywhere. extremely populous city, I asked one of the inhabitants who founded the place. He replied: " I know not; and our ancestors knew no more than we do on this point." Five hundred years afterwards. passing by the same place, I could not perceive a trace of the city. Inquiring of one of the peasants when it was that the city was destroyed. he answered me : " What an odd question I This country has never been other than you see it now." I returned there after another five hundred years, and I found a sea. I now asked the fisherman how long it was since their country became a sea, and he replied that I ought to know it had always been a sea. I return('d again after five hundred years; the sea had disappeared, and it was now dry land. No one knew what had become of the sea, or if such a thing had ever existed. Finally, I returned once more after five hundred years, and found again a flourishing city. The people told me that the origin of their city was lost in the night of time. Indeed, the whole business of politics, philosophy, and religion lies now in getting the Good to act together as one nation, not to crush and destroy the Bad, but to encourage them to travel a little faster. It is because the world is marching out of step, and at such different paces, that we get confusion and the constant danger of catastrophe. HOME OF TWO THOUSAND THEMILLION HUMAN LIVES We shall notice many other interesting differences when we come to visit all the countries of the Earth in this book. No nation will show us the same picture. Each country to which we travel in thought will tell us a tale told by no other. Every people will speak to us in a tongue quite different from the rest. We shall be looking at the details of a tremendous canvas, at particular threads in a long tapestry, at small fragments in a vast mosaic; and we shall have to remind ourselves from time to time of the thing as a whole-not of France, not of Italy, not of Japan, not of Mauritiu~ but of the world. This mighty world consists of some two thousand million human beings. It is divided up into a hundred nations or peoples. Here it spreads itself over an enormous space and calls itself India. Here it creeps away into a little corner of snow-capped mountains and calls itself Scandinavia or Switzerland. Here it swarms over a fierce and desolate territory and calls itself Russia. Here it captures a few little islands and calls itself England. So Time covers up the history of men. NATION HAS ITS GOOD EVERY MEN AND ITS BAD MEN But there is another way in which time enters into our view of the world. Each country is composed of people who are living at different points in this chain, people whose mental clocks are all striking a different hour. One of the greatest of thinkers said that he did not know the way in which to draw up an indictment against a whole nation. It can never be do11e. Each nation has its savages, its barbarians, its illiteratt's. its half-civilised, and its civilised. Each nation drags the same worldchain on its journey to the future. There are saints in India and criminals in England. There are philosophers in China and ignoramuses in Germany. There are geniuses in Arabia and yahoos in America. We see, then, that the difference of all differences in this great world is one of time; and when we ask what we mean by time in this sense we discover that it is a question of intelhgence. To be a savage is to be near the starting-post of life. To be an' educated and law-abiding THE VAST AREAS OF THE WORLD THAT WE SHALL SEE At one point, as in China or Japan, this world is so congested that the very roadsides must be cultivated for food; at another point, as in Australia, every man has a square mile to himself. We shall visit the prairies of Canada, the tropical forests of the West Indies, the sultry streets of Spain, the frozen peaks of Cau88 1 OUR NEIGHBOURS OF FOUR CONTINENTS A BOY OF CHINA • A YUGO.SLAVIAN WU1VlAN AN'ARA8 COUNTRIES We shall see quite clearly that one casus, the sandy wastes of Arabia, the domestic calm of Holland, the mighty nation cannot suffer want and woe withwaters and far-stretching deserts of Africa, out inflicting want and woe on other the storied cities of France, the rocky nations. We shall see that while nations fastnesses of the Balkan peoples, the dis- live like wolves and vultures there will membered empire of Austria, the slumber- always be suffering on the Earth; and ing islands of the South Sea, the romantic that until they all cooperate together, as towns of Germany, the shores of Portugal, the wheat cooperates with the soil, and the bee with the flower, and the rivers and the lovely realm of Italy. with the sea, there can be no lasting peace But what will specially interest us in this grand tour, this journey round the on this planet, and no permanent security world, is the present condition of the for human life. And, however dark seems the future, human mind. We shall see the average person in each country moving before our we shall learn from the troubled past that, so long as the Good strive nobly and eyes in one direction or another. earnestly forward, the Bad can never drag HE MEMBERS OF THE BIG WORLD 'IS right back to the past " T FAMILY WE SHALL MEET We shall see the odd little figure of the Chinese awakening from his sleep; the German building a new world on the ruins of an old; the Frenchman loving art and following the path of strict logic; the I talian turning from the monuments of a past of unrivalled glory to the factory of modern industry, a future of trade and commerce. We shall see the industrious Norwegian harnessing his tumultuous waters to the service of man; the Indian uncertain whether to follow his holy books or Herbert Spencer; the Russian suffering unimaginable inconvenience and privation under a new system of government; the Englishman digging his garden, building his ships, and spinning his cotton; the Australian riding after his sheep and the Canadian after his cattle; the Cingalese diving for pearls and picking leaves from the tea plant. for a while a youth is lost in soaring thought, And while a maid grows sweet and beautiful, And while a spring-tide coming lights the South And while a child and while a flower is born, And while one wrong cries for redress and finds A soul to answer, still the world is young. So the present generation, if it have faith, if it have courage, if it have a clear conviction of the one far-off divine event to which the whole Creation moves, may be able to break down the madness of war the wickedness of jealous rivalry, and help to carry the world over the dangers brought about by the pursuit of a blind and selfish nationalism. And so on to the end (afld the end draws nearer) When our soi.Ils may be freer, our senses clearer ( Tis an old-world creed which is nigh forgot), When the eyes of the sleepers may waken in wonder, And hearts may be joined that were riven asunder, We shall see the Spaniard waiting for a si&n; the Mexican flaming into sudden passIOn; the Hollander smoking his pipe And Time and Love shaH be merged-in what? on the side of a canal or in the midst of LOVE IS THE WAY, LOVE acres of tulips; the American ceaselessly' /, MUST BE THE END making new things to lift the load of . The ansiTe:- to that question is the great labour from mankind. nddle of eXIstence; but if Love is the way Love must be the end. At least we HILE A CHILD AND WHILE A FLOWER may be certain of this-that moral inIS BORN, THE WORLD IS YOUNG telligence makes for Love, and that in all And when we have seen all these things, the nations of the world the 'Good are and thought about them, we shall not only those who believe in Love as the one be able to form an opinion as to whether solution of human difficulties. No prouder the nations will find a way out of the boast can be uttered by the human soul financial and industrial chaos into which than that which claims kinship with the they were thrown by w~r, but we shall Mind of God in the universe, and says: have at least some notion as to the spirit in which mankind should face the mani- On Earth there is nothing great but Man, fold new problems of life today. In Man there is nothing great but Mind. 'IF Illustrated Maps of All Countries' with Many Thousand Pictures H What These Pages Show US ERE we shall see, in pictures and maps, what the surface of the Earth is like. Such an array of pictur" maps we shall have in these pages as has rarely, if ever, been brought together before. They will show us, not only the boundaries of nations, the rivers and hills and oceans, but often the insect life and plant life of a country so vital to its prosperity and the proper development of its natural resources ; the animals and birds, and the remarkable migration of living things; great events in its history and where they happened, sometimes the fossils that lie under its fields. With these maps, too, come hundreds of pictures illustrating striking scenes in these lands, their picturesque landscapes, their innumerable industries, peoples, cities, and buildings, while the little pictures which have been carefully drawn on the maps must number many thousands. THE WONDERFUL GLOBE WE LIVE ON LIVE TODAY A NATIONS THE EARTH- FIFTY MILLION SQUARE MILES OF Thismap shows the surface of the Earth and its division into land and water. The Polar land boundaries have not been finally mapped, but the whole surface of the Earth is about 197 million sqtfaremiles, of which about 57 millions are land. Europe has 3,750,000 square miles, and a population of almost 500 millions. Asia, four and a half times as large, has more than 1000 millions. Africa, three times the size of 92 LAND ON WHICH 2000 MILLION PEOPLE LIVE Europe, has nearly 200 million people. North and South America are four times the size of Europe, and have about 250 million people. Oceania is nearly as large as Europe, but has fewer than ten million people. The oceans, covering about 140 million square miles, occupy over 80 per cent of the southern half of the world. The Pacific covers nearly 64 million square miles, the Atlantic about half as many. 93 HOW WE GET ABOUT THE WORLD-TRANSPORT BY LAND, SEA, AND AIR HERE OUR ARTIST HAS PICTURED THE MEANS OF TRAVEL CHARACTERISTIC OF EACH COUNTRY WHEN TH'E WORLD BECAME KNOWN 1000 A.D. THE WORLD AS KNOWN IN EIGHT PERIODS IN HISTORY. 95 KNOWN LAND IS SHOWN IN BLACK OH, THE SIGHTS THAT THEY WILL SEE SHUT.EYE TOWN IS PASSING FAIR. GOLDEN DREAMS AWAI r US THERE. 96 See poem on pa.e 98 POETRY SECTION 1 One Thousand Poems of All Times and All Countries What These Pages Give US of the world is the noblest thing that every child inherits. T HEIt.poetry is more precious than all the gold in the mines of Africa. There are poems we would not sell for all the crowns of kings. They are the sweetest music of our tongue. They enshrine in matchless words some noble thought, some famous deed, some heart's great dream. One of our poets pictured the lark pausing in its flight to listen as the poet sang; and he goes on : And the nightingale thought," I have sung many songs, but never a one so gay, For he sings of what the world will be when the years have died away." It is poetry that leads us on to the vision of what the world will be, and it is the poet who, more than any other man, weaves himself from generation unto generation into the very hearts and lives and souls of men. THE GRANDMOTHER'S TALE Pierre Jean Beranger was a great song-writer of France. He lived through the most exciting periods of French history. He was a great admirer of Napoleon, and, though his genius was worthy of a nobler theme, we can hardly help being moved by his pathos and humanity in these lines. He was born in 1780, and died 1857. H With triumph every bosom swelled; ., Ah, what a glorious scene! " they cried, .' Never has France the like beheld I " A smile his features seemed to wear As on the crowds his glance he threw, For he'd an heir, at last, an h.eir!Ah, grandmother, what times for you, What times for you! Then came for France that dreadful day When foes swept over aU the land; Undaunted he alone made stand, As though to keep the world at bay I One winter's night, as this might be, I heard a knocking at the door; I opened it; great heavens! 'twas he I A couple in his wake-no more; Then sinking down upon a seatAy, 'twas upon this very chair, He gasped: .' Defeat! Ah, God, defeat! " 'What, grandmother, he sat down there, He sat down there? fame shall never pass away! Beside the cottage hearth the hind No other theme shall list to find For many and many a distant day. When winter nights their gloom begm And winter embers ruddy glow, Round some old gossip closing in, They'll beg a tale of long ago" For all," they'll say, " he wrought us ill, His glorious name shall ne'er grow dim, The people love, yes, love him ,still, So, grandmother, a tale of hIm, A tale of him!" IS One day past here I saw him ride, A caravan of kings behind; The time I well can call to mind, I hadn't then been long a bride, I gazed out from the open door, Slowly his charger came this way; A little hat, I think he wore, Yes, and his riding coat was grey. I shook all over as quite near, Close to this very door he drew"Good-day,"he cried,' 'good-day,mydear!" What, grandmother, he spoke to you, He spoke to you? He called for food; I quickly brought The best I happened to have by ; Then, when his dripping clothes were dry, He seemed to doze awhile, methought. Seeing me weeping when he woke, "Courage," he cried, "there's still a,chance; I go to Paris; one bold stroke, And Paris shall deliver France!" â€˘ He went; the glass I'd seen him hold, The glass to which his lips he'd set, I've treasured since like gold, like gold! What, grandmother, you have it yet, You have it yet? 'Tis there. But all, alas! was o'er; He, whom the Pope himself had crowned, The following year I chanced to be In Paris; every street was gay. He'd gone to Notre Dame to pray, And passed again quite close to me , The sun shone out in all its pride, POEMS . SONGSÂˇ BALLADS . VERSES AND RHYMES WITH MUSIC 97 POETR't The mighty hero world-renowned Died prisoner on a far-off shore. For long we none believed the tale, They said that he would reappear, Across the seas again would sail, To fill the universe with fear! But when we found that he was dead, When all the shameful truth we knew, The bitter, bitter tears I shed! Ah, grandmother, God comfort you, God comfort you I To the Balow-land above us, To the Balow-folk who love us, Let us hasten while we mayAll aboard for Shut-Eye Town 1 Shut-Eye Town is passing fair, Golden dreams await us' there ; We shall' dream those dreams, my dear, Till the Mother Moon goes downSee unfold Delights untold! And in those mysterious places We shall see beloved faces, And beloved voices hear In the grace of Shut-Eye Town. MY GARDEN This lovely little poem, sweetest of all swallow-flights of song about a garden, was penned by Thomas .Edward Brown, the Manx poet. Born in 1830, T_ E. Brown died in. 1897_ His poems were chiefly written about the people of the Isle of Man, their quaint ways and seafaring heroism. A is a lovesome thing, God wot ! Rose plot, Fringed pool, Ferned grot: The veriest school Of peace; and yet the fool Contends that God is not. Not God! in gardens! when the eve is cool? . Nay, but I have a sign; 'Tis very sure God walks in mine. Heavy are our eyes, my sweet, Weary are our little feetNestle closer up to me In your pretty cap and gown; Don't detain The Shut-Eye train! " Ting-a-ling ! " the bell it gaeth, " Toot-toot! " the whistle bloweth, Oh, the sights that we shall see! All aboard for Shut-Eye Town! GARDEN THE SHUT-EYE TRAIN The poetry of Eugene Field is the quaintest and prettiest ever written for the entertainment of children, and The Shut-Eye Train is one of the most charming of them all. We see the passengers to Shut-Eye Town on page 96. COME, my little one, with me ! There are wondrous sights to see As the evening shadows fall, In your pretty cap and gown. Don't detain The Shut-Eye .train" Ting-a-ling ! " the bell it gaeth, " Toot-toot! " the whistle bloweth, And we hear the warning call: " All aboard for Shut-Eye Town I '~ Over hill arid over plain Soon will speed the Shut-Eye train! Through the blue where bloom the stars, And the Mother Moon looks down, We'll away To land of Fay. Oh, the sights that we shall see there I Come, my little one, with me there'Tis a goodly train of carsAll aboard for Shut-Eye Town! Swifter than the wild bird's flight, Through the realms of fleecy night We shall speed and speed away I Let the Night with envy frownWhat care we . How wroth she be! LAND OF HOPE AND GLORY Mr. Arthur Christopher Benson, the author of these lines, was the gifted son of an Archbisltop of Canterbury, and one of three brothers who have won distinction. Mr. Benson was born in 1862 and died in 1925. He wrote many poems, and in these verses has deserved a nation's thanks, for We should all be grateful to a man who sings so nobly of our land. The poem is set to music by Sir Edward Elgar D Land of H6pe, thy hope is crowned, God make thee mightier yet! On Sov'ran brows, beloved, renowned, Once more thy crown is set. . Thine equal laws, by freedom gained, Have ruled thee well and long; By freedom gained, by truth maintained, Thine Empire shall be strong. EAR Thy fame is ancient as the days, As ocean large and wide; A pride that dares, and heeds not praise, A stern and silent pride; Not that false joy that dreams content With what our sires have won; The blood a hero sire hath spent Still nerves a hero son. Land of Hope and Glory, mother of the free, How shall we extol thee who are born of thee? Wider still and wider shall thy bounds be setÂˇ God, ~ho made thee mighty, make thee mightier yetâ€˘ 98 POETRY ONLY A BABY SMALL The writer of these charming lines, ending with a note so tender, was Matthias Barr, a Victorian verse-writer for and about children. He was born in Edinburgh in 1831, of German parents, and his spirit was bright and gentle a baby small, Dropped from the skies; Only a laughing face, Two sunny eyes. ONLY Only two cherry lips, One chubby nose; Only two little hands, Ten little toes. Only a golden head, Curly and soft ; Only a tongue that wags Loudly and oft. Only a little brain, Empty of thought; Only a little heart, Troubled with naught. Only a tender flower Sent us to rear; Only a life to love While we are here. Only a baby small Never at rest; Small, but how dear to us God knoweth best. THE TWENTY-THIRD PSALM The Psalms of David in the Bible are among the finest poetry we can read. Many of the other books in the Bible are also poetic in form, but we do not usually think of them as poems. They are not in verse. More than two hundred years ago a Poet Laureate,named Nahum Tate, re-wrote them with rhyme, and his verses are still sung; but he was a poor poet. Joseph Addison was a far greater man, and the 23rd psalm is here given as turned into verse by him. THE Lord my pasture shall prepare, And feed me with a shepherd's care; His presence shall my wants supply, And guard me with a watchful eye; My nooriday walks He shall attend, And all my midnight hours defend. When in the sultry glebe I faint, Or on the thirsty mountains pant, To fertile vales and dewy meads My weary, wandering steps He leads, Where peaceful rivers, soft and slow, Amid the verdant landscape flow. Though, in a bare and rugged way, Through devious lonely wilds I stray, Thy bounty shall my pains beguile; The barren wilderness shall smile, With sudden greens and herbage crowned, And streams shall murmur all around. Though in the paths of death I tread With gloomy horror overspread, My steadfast heart shall fear no ill, For Thou, 0 Lord, art with me still : Thy friendly crook shall give me aid, And guide me through the dreadful shade. PIPING DOWN THE VALLEYS WILD William Blake, the famous English poet, has always a touch of the mystical and imaginative even in his simplest verses, and this poem is no exception to the rule. What the poet means to suggest to us is the inspiration of the true singer of Nature, whose written poems should be as much in tune with Nature itself as the imaginary piper who here turns a reed into a pen to write down for ever the songs l1e has been piping. down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he, laughing, said to me : PIPING Pipe a song abotd a lamb. So I piped with merry cheer, Piper, pipe that song again; So I piped; he wept to hear. Drop thy pipe, thy happy pipe; Sing thy songs of happy cheer. So I sang the same again, While he wept with joy to hear. Piper, sit thee down and write In a book that all may read. So he vanished from my sight; And I plucked a hollow reed, And I made a rural pen, And I stained the water clear, And I wrote my happy songs Every child may joy to hear. LIGHTS OUT When General Sherman, a hero of the American Civil War, died, these verses were written in commemoration of him by C. H. Adams, a fellow-countryman. The verses were appropriately read at the funeral of the author. THE strenuous day is past, The march, the fight; The bugle sounds at last Lights out. Good-night! The sky is white with stars; The tents gleam white; Tired captain from the wars Sleep through the night. Sleep till the shadows take Their endless flight, Until the morning breaks, Good-night! Good-night I LITTLE VERSES FOR VERY LITTLE PEOPLE A A LITTLE KINGDOM I POSSESS kingdom I possess, Where thoughts and feelings dwell ; And very hard I find the task Of governing it well ; For passion tempts and troubles me, A wayward will misleads, And selfishness its shadow casts On all my will and deeds. How can I learn to rule myself, To be the child I should, Honest and brave, nor ever tire Of trying to be good ? How can I keep a sunny soul To shine along life's way? How can I tune my little heart To sweetly sing all day? Dear Father, help me with the love That casteth out my fear; Teach me to lean on Thee, and feel That Thou art very near; That no temptation is unseen, N a childish grief too small, Since Thou, with patience infinite, Dost soothe and comfort all. Louisa M. Alcott LITTLE WILLIE'S LODGER little boys named Willie TwoLive in the house with me. One is as good a darling As ever I wish to see ; His eyes are glad, his smile is sweet, His voice is kind, his dress is neat, And he is the boy for me. This Willie says: " Good-morning I ''. Happy as any bird; A merrier laugh, a lighter step, No mortal ever heard. "Thank you," he says, and "If you please? " He will not pout, he will not teaseOh, he is the boy for me I The other Willie, sad to say, Is very, very bad ; I think he is as cross a child As ever a mother had. " Go 'way! " he shrieks. He squalls and cries: The angry tears oft fill his eyesHe is not the boy for me. He lingers round my Willie, And whispers evil things. Oh, how we dread him! For we know The sin and grief he brings. Who keeps him, then? Why, Willie s self ; He keeps this wicked Willie-elf Who is not the boy for me. If I were you, my Willie, I'd make him stay awayThis boy who grieves your mother And spoils your brightest day. For he lives in you where he doesn't belong, So oust him, Willie! Send him along! "Clear out!" I'd say, "old Fume and Fret! This heart of mine is not to letYou're not the boy for me ! " Mary Mapes Dodge TRY AGAIN TIS a Try lesson you should heed, again; If at first you don't succeed, Try again; Then your courage should appear, For if you will persevere, You will conquer, never fear, Try again. Once or twice though you should fail, Try again; If you would at last prevail, Try again; If we strive, 'tis no disgrace Though we do not win the race; What should we do in that case? Try again. If you find your task is hard, Try again; Time will bring you your reward, . Try again; All that other folk can do, Why, with patience, may not you? Only keep this rule in view, Try again. William Edward Hickson THE WORM TURN, turn thy hasty foot aside, Nor crush that helpless worm! The frame thy wayward looks deride Required a God to form. The common lord of all that move, From whom thy being flowed, A portion of His boundless love On that poor worm bestowed. The sun, the moon, the stars, He made For all His creatures free; And spread o'er earth the grassy blade For worms as well as thee. Let them enJoy their little day, Their humble bliss receive; Oh ! do not lightly take away The life thou canst not give I Thomas Gisborne 100 I SAW A SHIP A-SAILING .... . I me_ There were cI ~ 1~~~m~i~-~8i~M in~t~he~~~~~~-~m~.~a~oo~~~~~~m~on!~~,3n~th~e ~hr~~I ~~r~:~hejJ sa - tin. And the mast was made of THE four and twenty sailors Who stood upon the decks \Vere four and twenty white mice With rings about their necks. gold. ! THE 0 101 captain was aduck,aduck, With a jacket on his back, And when the faery ship set sail The captain he said Quack! U D I. NURSERY RHYMES W HEN I was a little boy, I had but little wit; It is some time ago, And I've no more yet. o P AT-A- CAK E, pat-a-cake, baker's man. So I will, mast er, as fast as I can; Pat it and prick it and mark it with T, Put it in the oven for Tommy and me. Nor ever, ever shall, Until that I die; For the longer I live The more fool am I . D ANCE to your daddie, My bonnie laddie, Dance to your daddie , my bonnie lamb t You shall get a fishie, On a little dishie, You shall get a herring when the boat comes hame ! P RETTY maid, Pretty maid, Where have you been? Gathering a posie To give to the Queen . Pretty maid, Pretty maid, What gave she you? She gave m e a diamond As big as mv shoe. Dance to your daddi e , My bonnie laddie, Dance to your daddi e, and to your m ammie sing! You shall get a coatie, And a pair of breekies, You shall get a coat ie when th e boat . I comes m . A s I walked by myself, And t alked to myself, Myself said unto me : Look to thyself, Take car e of thyseIt, For nobodv cares for thee I answered myself, And said t o m yself. In the selfsame rep artee : Look to thyself, Or not look to thyselt, Th e selfsame thing- will be H ANDY P AN DY, j ack -a-dandy , Loves plum-ca ke and sugarcand y ; . H e bouo-ht some at a grocer 's Shop, And out he cam e. hop , hop . hop . hop . 102 OLD MOTHER HUBBARD OLD Mother Hubbard Went to the cupboard To get her poor dog a bone; But when she got there The cupboard was bare, . And so the poor dog had non~. She went to the baker's To buy him some bread, But when she came back The poor dog was dead. She went to the joiner's To buy him a coffin, But when she came back The dog he was iaughing. She wen t to the fishmonger's To buy him some fish. And when she came back ._.....,..-'/'Z He was licking the dish. She took a clean dish To get him some tripe, But when she carne back He was smoking his pipe. She went to the ale-house To get him some beer, But when she came back . ~ Th~ dog sat in a chair. She went to the hatter's To buy him a hat, And when she came back He was feeding the cat. She went to the barber's To buy him a wig, But when she came back He was dancing a jig. She went to the fruiterer's To buy him some fruit, But when she came back He was playing the flute. She went to the cobbler's She went to the sempster's To buy him some shoes, To buy him some linen, But when she came back But when she came back He was reading the news. The dog he was spinning. She went to the hosier's To buy him some hose, But whe'n she came back He was dressed in his clothes. The dame made a curtsey, The dog made a bow ; The dame said, " Your servant." The dog said, " Bow-wow! " 103 She went to the tailor's To buy him a coat, But when she camp back He was riding a goat. SIMPLE , SIMON MET A PIE-MAN S IMPLE SIMON met a pie-man Going to the fair: Said Simple Simon to the pIe-man . " Indeed, I have not any! It 104 The Story of Where Power Comes From, What It Does, & How It Works M What This Story Tells US AN has magnified his powers a millionfold. What a wonderful world there comes to mind as we think of electricity-its waves spreading themselves about the world innocently and invisibly until they touch a thing that man has made, and, 10, there is power to drive our ships and trains and light our cities. And what a vision of the past comes as we think of oil, lying buried in the earth a million years and more to come bursting out at last to turn half the wheels of Europe. Out of the past, also, comes coal. Is it not strange to think of coal growing as a great green plant ? Yet so it was. Here we shall read of all the sources of power that men have found, and of all the mechanical powers they have invented. W. shall have wireless explained, the telegraph and the telephone, the motor-car and the aeroplane, ships and trains and engines of all kinds. THE VERY HEART OF MATTER of years ago, in a certain part of the world, shepherds noticed with curiosity that bits of rocky mould clung to the crude iron hooks of their crooks. In other climes men bedecked with amber beads had noticed, with the same mere curiosity, that these beads when rubbed against their garments would sometimes attract little bits of straw or silk, which clung to the amber through some mysterious force. These two forces were magnetism and electricity, which today have revolutionised the world, and have made the wizardry bv which the voice is carried round the Earth, by which a waterfall will drive a train or light a town, and by which the common clay is turned into shining aluminium. Electncity is the heart of matter, tor recent discoveries have shown beyond all doubt that everything in the world consists of mmute particles called atoms, themselves composed of tiny specks of negative electricity called electrons, which are held together by a central bond of positive electricity. Electricity is the great secret that matter has held within it for millions of years and we now know that it has weight and is matTHOUSANDS ELECTRICITY路 WIRELESS路 OIL ter. As far as our Earth is concerned, electricity in one form or another has proved to be the sale material used by the Creator in building up its fabric. The miracle of electricity is thus around us every day, every instant. The world, revolving round the Sun with the other planets which form the Solar System, is a tiny speck in the vastness of space; but space itself is filled with a rare material which, because we can think of no better name, we call ether. The invisible ether is capable of being thrown into agitation iust as water is if it be beaten up with a stick or disturbed by a stone thrown into it. The water of a lake may become calm and still when there is no wind to disturb it, but the ether is always in a condition of unrest. Waves of millions upon millions of different sizes and forms are continually passing through it. The light of the sun, the heat from the kitchen fire, wireless signals and X-rays, all come from these waves, some so tiny that millions of waves go to an inch, others so long that they reach twenty miles from crest to crest. But they all travel with uniform speed through the ether, three thousand times as far in a second as an GAS . MOTORS . ENGINES' SHIPS 105 POWER express train goes in an hour ; their only real difference is the num ber of them which follow each other in a wave-train and pass a given point in a second of time. Let us leave these ether waves for a while, and see what has come of the discovery of this all-pervading force in Nature. We live essentially in an age in which we have learnt how to change the form of power. A mighty waterfall like Niagara represents natural power which for thousands of years has been running to waste; today men have turned it from a useless, churning, boiling mass of spray ipto a force which produces. The swiftly flowing water is directed through a water-wheel spinning round at an incredible rate. Fixed to the shaft of the turbine is a machine that converts mechanical power into electricity. This electricity is conveyed through the ether along copper wires, which guide it to some given spot, perhaps a hundred miles off, where it arrives ready for conversion into useful power, perhaps at a mine. T HE MOTOR THAT CHANGES ELECTRICITY INTO MECHANICAL POWER Here the electricity is changed back into mechanical power again, by means of another invention of quite recent timesthe electric motor. The current flows round the magnets of a machine, within which is what we call an armature, and this armature is forced to revolve by the electric ~~~~e. I~~::~:o~g:i~!~:~l ~~i~~o~~~cht~~ miners down into the bowels of the earth and bring them up again. It drives their machines; it provides them with light. Near by may be a foundry, where broken masses of are are turned by the furnace into molten metal, and huge ingots of iron are cast-far too heavy for a man to handle. These are picked up by an electric magnet, an iron hand which, under the spell of electricity, possesses giant strength, and lifts up ten tons of metal as if it were a feather. Remember that all this work, the driving of the machines, the making of the light, the lifting of the heavy mass of metal, is still the work of the waterfall a hundred miles away. Some of this iron is turned into useful articles; bicycle handles, perhaps. These are brightly nickel-plated, and this silvery coating of nickel is put on the steel by means of an electric current. Electricity silvered the spoons and forks with which you eat every day of your life. We cannot get away from its power and results.路 The tram we ride in is driven by electricity I the light we read by is made from it. Every time we press a button and ring a bell we set electricity in motion. Everv time we talk with someone on the telephone, or send a telegram, we use electricity. Life as it is today could not go on for a moment without it. NATURE HAS BEEN USING HowELECTRICITY FOR AGES The development of electricity has been remarkably rapid in our time. But for thousands of years after the first signs of the existence of electricity men did no more than look upon them with wonder or curiosity. But through all these ages Nature had been using electricity, stimulating with it, for example, the growth of plants, everyone of which is provided with tiny hair collectors like miniature lightning conductors, collecting the atmospheric charges that play such an important part in the chemistry of plant growth. The Chinese were the earliest to make use of magnetism, constructing crude compasses which helped them to guide their ships long before the North and South Poles were known. Then a hundred years ago a greater interest was taken in these natural phenomena. Men studied magnetism. Some attempt was made to offer an explanation of the curious things that had been noticed. But no notion existed of the marvellous future. of electrilcity" orh o~f the intimate part It was to p ay In t e 11 e of the nations. Even a hundred years ago it would have seemed fantastic to think of two men. a hundred yards apart talking by electricity, yet today a man in England can ring up another one in Australia and talk to him on the telephone. WHEN MEN BEGAN TO THINK ABOUT THE WONDERS THEY SAW About a century ago, when knowledgE had reached the stage at which men began to look round for a reason for anything remarkable that they observed, there came the realisation that these forces could be imitated, and produced by themselves, and even controlled. The age of scientific ex路 perimenting had begun, the age of thinking had arrived. Many foolish theories were formed at first, many an explanation found for the curious things that happened, which afterwards proved to be wrong; but, as time went on, the real truth was gained largely by the endeavours of others to disprove these earlier theories. The age of real science had 106 POWER begun, when facts were the only things that counted, and soon philosophers in different parts of Europe, but notably in England, France, and Germany, contributed bit by bit to a knowledge of electricity and magnetism on which the world of today so largely depends. We might tum the power of a mighty steam-engine, of a million horse-power waterfall, into electricity; but how is it to be distributed to those who want it for light, heat, or power? These were great problems which have been solved in a truly wonderful way. POWER IN THE WIRES THEUNDER OUR FEET There is a whole world of romance in the way in which electricity is created, stored, and transported to a distant spot. The submarine cable is a good example. Numbers of wires lie along the bottom of the Atlantic Ocean, for example, through which flow the telegraphic currents by which England speaks with America. The feeblest currents only can be sent through these long cables, and the most delicate instruments are required for receiving. Today, busy as the cables are, we are sending other telegraph messages all over the globe by wireless. Ships and aeroplanes can find their bearings in foggy weather by that great invention the wireless compass, a heaven-sent safeguard to the modem navigator. The fact that selenium is sensitive to light was discovered by cable layers in the Atlantic, and this discovery led to others which have given us a new power, the electric control路 of machinery by light. The fact that we can tum light into electric power has brought about that modem marvel the talking picture, and has made it possible for a ray of light reflected from a mirror mounted on an express train to bring the train to a standstill if the signals are against it. THAT LIE At each large generating station is a switchboard from which pass the cables that carry the current to the factories, the trams, and the homes of the people. How does the electrician arrange that a tram wanting a hundred horse-power for its motors shall have a hundred horse-power, and the lamp wanting only a tiny fraction of this power to make it glow shall have just what it requires? Under your feet as you walk along the street is a maze of wires. Some of these carry enormous power to the factory or the electric tramway, others carry the feeblest of currents that are carrying telephone or telegraph messages. Overhead are more telegraph wires, guides merely to lead the electric current through the ether to some far-off town, and in the space above the telegraph wires are countless electric waves conveying speech, music, and entertainment to our homes. An electric car drives past; it has its own supply of electricity, virtually bottled-up in a box containing a storage battery, in which enough power is stored to drive it perhaps for fifty miles. T HE FLOOD OF LIGHT A TOUCH CAN BRING FCRTH Think how you start the electric bell ringing by a touch of the finger; how a child can tum on a switch and flood a room with light. A thousand horse-power is set in motion by the touch of a lever ; a dozen people are swiftly carried in an electric lift to the top of a high building by pressing a button. It is magic, the natural magic of electricity, so subtle that the light from a star a million million miles away can be made to set it in operation by means of a very sensitive electric cell. T HE ELECTRIC WAVES THAT FILL YOUR BEDROOM EVERY NIGHT One marvel has followed another with almost incredible rapidity; the one that appeals to most of us more than any other is the sending of electric power through space without wires. A few years ago Marconi sent a wireless message a few hundred yards, shortly afterwards a mile or two, then across the Channel, then across the Atlantic; now a telegraphic message can be sent round the world. A wireless signal will, in fact, encircle the globe in the fifth part of a second. When we lie asleep in bed the room is full of these waves. Some of them can pass through the walls, through our bodies. A drop of water will spread in a piece of blotting-paper because it can penetrate between the tiny specks of the paper. A lump of sugar will suck up a certain amount of water without increasing in size, because the water finds its way into the tiny spaces between the molecules of which the sugar is composed. The ether finds its way everywhere, and permeates everything. It is in the spaces between the atoms that make up everything, so 107 POWER that there is a continuity of this invisible medium everywhere. The fact that the atoms in a substance are arranged in an orderly manner in planes, and that these planes will reflect X-rays, has made it possible by X-ray photography to discover the exact structure on which substances are built up. In this way electricity has provided us with a new means of analysing materials, and has in itself produced a revolution in engineering and the study of metals. THING THAT THEUPWONDERFUL MUSIC OUT OF SPACE PICKS A wireless wave is often of great dimensions, and an obstacle like a house will only baulk a part of it in its progress, but everywhere in its path the ether is in motion. Put a wireless receiver into a room, and if it is sensitive enough it will pick up a humqn voice, a piece of music, oroa song sent from a distant spot. With waves of light, heat, or wireless the ether is never at rest, and thus we go about our daily life in the home, or in the office, in the school or the street, surrounded by, immersed in, a vast sea of electric waves. More wonderful perhaps than wireless itself is the revelation that every substance we know of is itself composed of electricity. As we shall see, there are two kinds of electricity, positive and negative, and we have discovered during the last few years that Matter itself, the stuff 6f which the world is made, is nothing more than a simply organised mass of positive and negative particles. DEVELOPMENT ECONOMIC GRID SYSTEM that has been made in electric lamps themselves, and in the devices for converting electricity into heat and power, the whole future outlook has been altered; light and power will be available on a remarkably economical scale, and electricity will be used universally. The greatest marvel of electricity is the wondrous variety of states in which it exists. First of all it is the common source from which everything is derived. Then it exists in a static state, as in the electric charge in a thundercloud. In an instant it turns to a blinding flash of lightning, releasing fifty million horse-power for a brief fraction of a second. It exists as an electric current, which can be controlled with the utmost exactness and made to drive a simple sewing-machine or a mammoth ship. We can make it give just sufficient heat to boil an egg or to produce the intense heat of the electric furnace, in which the chemist can melt substances that refused to melt in the hottest furnace known before. UNDER THE One of the greatest changes in our modern life has been brought about by the grid. A quarter of a century ago a famous President of the Institute of Electrical Engineers suggested that we should convert the coal where it was brought up from the mines into electrical power. There were a hundred reasons at the time why the dream could not be realised, but the dream has been realised during the last few years, and today electricity is generated at selected spots where coal is cheap and is transmitted to various parts of the country, to railways, factories, mines, towns, and cities by means of the overhead lines ~hich convey current at the enormous voltage of one hundred and thirty-three thousand. With the amazing progress THE COMING OF TELEVISION, YOUNGEST OF ALL THE SCIENCES The electric wave can weave its path through the hardest steel and produce on a photographic plate an image of a flaw or a crack in the iron of an engine. In the form of X-rays these waves saved the lives of thousands of men in the European War. Today the X-rays are among the most powerful allies of medicine. New uses for electricity are being found day by day. A few years ago the visitor to a shipyard would be impressed by the familiar noise of the hammers of the riveters. Riveting is fast dying out, and the steel plates of modern ships, bridges, and other structures of all kinds, are being welded together by the intense heat of an electric current. Perhaps most wonderful of all the things that electricity has done for us is in the field of television, the youngest science of all, which enables us to see things happening at a distance of hundreds of miles. It is actually a fact today that an aeroplane flying ten thousand feet above a battlefield could telegraphamovingpictureofthe engagement to the War Office in London. The Navigating Officer of a ship can see by television the image of an oncoming ship in the densest fog; and this, added to what the wireless compass can do, makes sea travel in foggy weather almost perfectly safe. 108 Imperishable Thoughts of Men Enshrined in the Books of the World O What This Story Tells US H for a book and a shady nook! a man cried long ago, and in truth there is nothing to equal a book. Nothing has been able to stop the men who write books. Tyrants have burned their books and writers have been tortured by fire, but books have spread themselves throughout the world so that there is no land on Earth without them now. They are the only things that live for ever, for new copies are made as old ones pass away, and so through all the ages of time a book carries down the thoughts of men. A thought put into a book is stronger than a statue carved in marble, and in the story of mankind the book has been the mightiest and noblest invention conceived by the human mind. The man who writes a book can laugh at Caesar and Napoleon ; they perish while he lives on. Here we shall look at the writers of the world and what they wrote about. WE THE REALMS OF GOLD served for our use and are to go together delight. Books live and on the rarest journey tell us of the past when ever made by the mind of man through the wondermost other things have ful treasure land of Literafaded away. Into books men have ture, the glorious world of books, and with them to put their very souls as they have longed to speak enjoy delights the greatest and the easiest that are their highest and dearest within the reach of all of us. thoughts to those who will To say that this is posfollow them, and perchance sible is no vague promise. SHAKESPEARE be influenced by them, in The master impulse of youth is curi- long distant future ages. What the world osity-to see and hear and know more has been is embalmed in books, and about the world into which it has been the passionate hopes of men for what it born, to feel and think and do more, and may be are there passed along as an everhour by hour take to itself a larger share lasting inheritance for the human race. For, on the whole, it is the best that of life. And this it does first, as a child, by observation, and then by activity and lives in books and retains an unending widening experience. But soon the child power, while what is evil or what is feeble finds, or should find, that through books perishes and is forgotten; and so the great it can reach out, by its mind, far beyond permanent accumulation of books which the pleasures and knowledge it can attain is known as Literature is constantly through its bodily activities. And so it growing nobler-a vital essence distilled will be to t):le end of its days, however from the mass of men's writings. long it may live, if once it can feel the joys It is because books have this splendid that await it in the great realm of bookland. cumulative power, age beyond age, that We want here to make some of those joys the great writers of them are so deeply honoured. They do not belong to their felt by anticipation. All that has ever been known and felt own period, but to all time. They may by men, everywhere, in all the years that shape the minds of innumerable millions. have been, is probably treasured up In the end no man has an earthly somewhere in books, marvellously pre- immortality except through books. The ROMANCE. HISTORIES路 DRAMAS. ESSAYS路 WORLD CLAS~ICS 109 LITERATURE most stupendous men of action are only known at last by what has been written of them in books. It is, then, no little thing that we do when we set out through the land of books and try to feel what can be found there that is noble and inspiring, delightful, cheering, comforting, and enduringly wise. Happily, a large part of the world's riches in literature, the books that move our spirits deeply by their truth or beauty or romance, are to be reached through a knowledge of the English tongue. Our language is a gateway to this treasure-land. T HE BOUNDLESS RIOHNESS OF THE KINGDOM OF BOOKS Think of the boundless breadth and richness of the region we are to wander in. Our great English poet John Keats called it the realms of gold, and pictured the reader as a traveller. So he is, for the kingdom of books has many provinces, each tempting us to enter in. There is, for instance, the wide region of knowledge, the books which gather up and hold in trust for us all the wisdom and skill that generations of men have won. There is the far-reaching field of history, a vast expanse, enthralling to the observant reader, beginning with fragments from the dim past, all pieced together by careful, imaginative thought. Then come legends that have passed along the centuries from memory to memory, the tales of long ago that are one of the chief fountains of the world's poetry, and existed in outline before writing began. With writing came more flowing narratives; the picturing of the characters of men and women who made a deep impression on others; the stately records of great events; the familiar jottings of biography; the virtues of some leaders of men and the sins of others; the movements of the many, as they were drawn on by hope or driven by despair; the successes and failures in forms of government; the oratory that pleads for justice and forms men's opinions-all these things have found a record in books. T HE THOUGHTS THAT HAVE FLASHED THROUGH MEN'S MINDS IN THE AGES But not only do books, the mind's realms of gold, tell of the knowledge men have gathered slowly and picture the varied story of all that has been; they treasure up for us also the imperishable and beautiful thoughts that have flashed into men's minds throughout the ages, and, being captured and expressed in lovely words, remain as guides, and awaken in us noble impulses to be good, and to spread happiness among mankind. Through books, again, we may increase enormously our knowledge of life, seeing more of it in our minds than ever we are likely to see by our own observations. That is the chief use of novels. If novels picture life truly, they enlarge our range of vision and experience. If they do not picture life faithfully and wisely they mislead and deceive us, and have a bad influence. In stories that are truthfully imagined, and choicely told, we may see family life, the tenderness of parentage, the sweetness of childhood,路 the pleasant claims of kinship, the faithfulness of true friendship, the romance of love, and the firm bond of duty. Or we may penetrate the secret history of the individual soul, its high endeavours, its stern endurance, its clashing passions and rivalries, its thirst for adventures and thrilling conquests, its selfless heroisms, its bold face turned to misfortune, its eager inquiries, patient virtues, its hushed reverence before what is good and beautiful. Yes, truthful fiction fills a large place in these realms of gold. THE HOMES OF THE FAIRIES, FAYS, NYMPHS, GNOMES, DROLLS, AND GENII It is largely in fiction that humour and laughter, those unfailing sweetnesses of life, are found. No gratitude can be too great for a combination of a humorous eye, seeing life's oddities and loving them, with a cheerful face and a tender heart. That kind of character has made itself felt in books outside of fiction, but it shows itself with much more freedom in stories. In them are tIeasured for ever the gladsomeness of spirit that is seen and heard in the merry laughter and rollicking fun of the young, in the quiet smiles of the strong, and the mellowed, humorous wisdom of the aged. The world's humour is all around us in life, waiting for us to see it, but it is also condensed in the best fiction, and the observing eye is there taught what to see that will lighten the heart, and also how to see it. It is in books, too, that we find the airy traceries of fancy which men, women, and children have been shaping since the human world began, images woven by the mind, with threads as delicate as the gossamer that bedecks the morning dew. 110 THE REALMS OF GOLD yet so beautiful that they will endure for ever. In this region live imaginary creatures seen and felt by millions as if they were realities-the fairies, fays, nymphs, and gnomes, the drolls and genii, the giants and monsters that once peopled the world born of the perplexed guesses of simple ignorance and fear; the legends made out of the half-forgotten materials of fading history; the ever-increasing riches of imagination that never were life, yet may be as true to life in their effect on us as if they were actual events. POETRY THAT ADORNS OUR THELANGUAGE FOR EVER And now, in our glance through the realms of gold, we are led to poetry, the choicest part of that wide territory. Poetry is present, more or less, in every nook of literature, though it also has a place of its own. It keeps step by step w~th advancing knowl.edge. It turns history into song. It inspires the lover of Nature, the patriot, and the saint. It gives their clearest voice to Life and Love anp Laughter; and Fancy is its dainty attendant. It is the finest expression in words of the soul of man. And so the most wondrous wealth of interest that awaits us as we travel through the world of books will be found in the poetry which, above all other writing, adorns our English language everlastingly. We have tried to suggest how wide and welcoming and attractive is the great range of reading that we call our English Literature; perhaps we may add a word as to how to approach and enjoy it. In finding out what is qelightful in books, we must never think we can know what is worth knowing by being only told about it. We must know the books themselves. We must enjoy ourselves and those things in a book that give it life and beauty. English literature. The more we know of the times in which they lived, and the circumstances in which they wrote, the better we shall understand their books. Also some directions about the purpose of a book are useful. Then we may like to know how other readers of a thoughtful kind have regarded the book, and so books about books maybe welcomed rather than avoided. But from out of our own mind our opinion should come, through our reading of the book. It is only when we have seen with our own eves, or heard with our own ears, the message sent forth in a book, in the form and with the accent the author gave it, that we can say we know the book. One of the uses of any book, whether it be simple or great, is that it is an exercise in judgment for ourselves. We should not read to criticise with cold reproof, but to see what there is in a book that will attract, reward, and delight us. And we must remember, if we are not attracted by a book that many praise, that it is quite possible the fault is in路 ourselves. Some great books may not attract us at first, and we may leave them for a later reading, when we pass that way again. J_ET us BE HONEST WITH OUR BOOKS, AND NOT PRETEND Let us be honest and not pretend we like what we do not really care for. But let us not be hasty and condemn what we have failed to understand. Even things of beauty do not always dawn brightly on us at once; many people have wondered, as they have grown up, how they could have missed enjoyments in books which might have been theirs years ago. The truth is that they were not ready for them. The reading of the finest books should never become a task. It should be a natural delight. In that spirit all the bes books were written, and in that spirit they TO THE HIDD~N should be read. Then reading becomes A FINGER-POST TREASURE OF BOOKS the chief source of . pure delight, the Whatever may be written here will be a happiest of habits, pleasing us greatly finger-post pointing the way to the while it enriches our minds. treasures of the realms of gold, but each What we wish to do here is to help our cne of us must make the journey and seek readers to extract from books their choicest the treasure. A guide may say what to essences, as the bee extracts honey from expect. He may quicken anticipation by the flowers. Books that have delighted promises of what can be found; he may men for hundreds and thousands of years show specimens; but if even every word a -, must have rar!'!. essen~ces of thought路 and guide says is remembered, the reader will feeling in them, dr they would have have failed unless the book itself is read. been neglected and Jorgotten. We will Of course it is helpful to know a good wander with our readers in search of such deal about the interesting people who have books, to discover their inmost spirit, and written the books that make up our fine enjoy together their unfailing charm. HI MOVING, MOVING, SINCE CREATION fOR EVER THE WINDS BLOW, FOR EVER THE WATERS MOVE; NOT FOR ONE MOMENT SINCE CREATION HAVE THEY BEEN STILL 112 GROUP 16 CHAPTER 1 The Great Words that Stir the Hearts and Minds of All Mankind What This Stcry Tells Us and how s.olemn are the words we speak I They H owcomewonderful down to us out of the life of the past full of meaning and of mystery, often stirring great emotions in us as we think of them. One of our great poets used to say that he could never think of the words" far, far away" without a tear in his eye. So, as we grow up, the time comes when we can hardly think of great and noble words without a thrill vibrating through OUf being. To those who know something of the vastness of the universe the word Distance brings a thrill. To those who think of man's long fight for freedom the word Liberty brings a thrill. And so it is with many words. Here we shaH talk about the really big words in our language, and consider what they mean and what thoughts they stir within us. They are like milestones in the march of life and learning. IN waking from sleep it is said that movement almost always precedes sensation. We move first; then we feel that we are waking up. There is a tremble of the body, then a tremble of the mind. MOVEMENT Movement precedes everything we know. There could have been no Earth without movement, no universe, no life. But for the movement of the ocean there would be no health on this planet. But for the movement of the seed .there would be no grass. But for the movement of man's brain there would be no history. One of the most striking phrases in the great story of Creation as told by Moses comes at the opening of that immortal epic. In the beginning God-- and then, after the thought of Creation enters the Divine Mind, "the Spirit of God moved upon the face of the waters." We all make use of this word: it is one of the commonest words of tongue and pen. But how many of us stop to think what this word means, how long a history it has, and how greatly it helps us in trying to understand the riddle of existence? One of our greatest men of science has laid it down that man's sole occupation on this Earth is moving things from one place to another, shifting matter about, arranging it or re-arranging it. We once told him that a surgeon of the brain had explained to us that he could make the right hand or the left hand of a patient jerk up in the air by merely touching the particular cells in the brain which connect with the arms. "I have no doubt he can," replied the scientist; "but can he, by touching those cells, make the hand do this?"and he lifted a book from the arm of his chair and placed it on a table at his side. From this remark you will see at once that into all rational movement something enters which determines its nature or character. A tree moves when the wind blows, and so does a sailing ship; but the sailing ship moves to a destination because a sailor is controlling its movement. A scarecrow moves if you give it a push. But think of the difference between the movement of the scarecrow and the movement of Handel's fingers over the keys of an organ, the movement of Van Dyck's brush over a canvas, the movement of Shakespeare's pen over a sheet of paper. We are now taught by science that everything is in motion. Look up from this page at the door of your room. It appears to be perfectly still. Once it moved and throbbed in the forest; but it was cut LIBERTY' JUSTICE' SPACE . DISTANCE' MOVEMENT' TRUTH' FAITH 113 11 EI IDEAS down, sawn into a plank, ceased to be a consciously will. You do not will to living thing, became dead wood. So, at any breathe, to digest your food, to grow taller rate, thought our ancestors. Now we know and stronger. Obviously there are many that every piece of wood in a house is movements into which the will does not composed of atoms, and that every atom enter. And look at the movement of the is like a miniature firmament, a tiny stellar tides, of the wind, of the electrons in an universe, its circle blazing with specks of atom, of the stars. What are we to say of such movements? electricity for ever in motion. The Earth appears to be still; but we BACK IN TIME AS FAR AS IMAGINATION know that it is making a vast journey WILL TAKE US round the sun, spinning at the same time We must go back in time as far as like a top, and moving also with the whole路 imagination will take us. Once there was universe tRrough the voids of space. nothing but ether-or some substance out Nothing is still. You wake up and look of which everything has been madefrom your window, and everything is the no suns, no moons, no planets, no life, no same as last night; a leaf may have fallen, movement. All was silence and stillness or a window in the opposite house may have and darkness. Then came movement. been closed, but otherwise everything is The ether was swept up into flaming forms. exactly where it was last night. But in The universe became alive. There were truth everything you see has accomplished suns and moons and planets. Light shone a journey which no aeroplane or express )ntbe darkness. Order came out of chaos. train could have accomplished in tha( !,' N'"ow we must rnak e th e ch' Olce of ev er y d time; yes, and not only trees,' hills, an' one: Did this first movement originate in a buildings, but the very air you brea.$.e Will, ()r did it happen no one knows how? has also flown like the wind-the climate IJi4 Will come out of that movement, or of your country has swept with ybuli~e dfd~Witl ordain the movement? Did Mind an eagle through the fields of space.' cot,:re, first, or Matter? us TRY TO UNDERSTAND THE Notice that there is a difference between LETMYSTERY OF THIS THING the" movement of a scarecrow and the What is it, this thing we call Movement? movement of Shakespeare's hand writing Can we shut our eyes, fold our hands, and Hamlet. Out of the one movement comes think it out? A thing is here; then over nothing; out of the other an ordered work there. A thing was red with autumn glory, of the brain. Is the universe nothing? now it is black as death. A thing was so Is it nothing more than the movement small that it could lie easily in the palm of of a scarecrow blown by the wind, or is it an infant's hand; now it is an oak tree more wonderful, more' full of order and with great rooks swinging in its branches. perfection, than the play of Hamlet? A thing was beautiful and delicious; now it is withered, hideous, ill-smelling. Look A MIGHTY WILL MOVING TO SOME STUPENDOUS PURPOSE in this nest: a little white egg no bigger The great majority of thinking men have than a finger-nail and as still as a stone on the road-but soon a thing that flies, up decided that behind the first movement of into the air, that sings, that builds a nest, matter was a Will, and that we could not ourselves possess wills if there had not that can feel joy, that can suffer pain. been a previous Will. How is it possible for us to understand Those who take this view see in evoluthe meaning of this mysterious thing? tion the movement of a mighty Will We can begin quite simply. You want working in matter to achieve some st.upento read a book or to playa game of cricket. dous purpose of which we can only dream. You take a book from the shelf or a bat They tell us that before there could be from the cupboard. You have moved any potentiality there must have been a those things. Why have you moved them? directing Activity-that is to say, before Because you wanted to read or to play. there could be an acorn capable of changing The want came first. Your hands obeyed into an oak there must have been a Power to your will. Then we may begin by saying give it that capacity to turn into something that movement is the action of the will. so different from itself. In the beginning Our hands move because we will them to was God, and from God came Movement. And see the glory of this word. Out of move. But there are many movements, even in our own bodies, which we do not the first movement everything we know 114 MOVEMENT has come to pass. For this first movement Evolution; now they. speak of Creative was not a case of moving matter from one Evolution. It is not the movement which position to another, but a case. of giving amazes them,. but the character of the it one single 路impulse capable of creative movement. The universe is not a pebble results, capable of路 going forward itself, rolling down a hill, but an arrow shot at and incapable of stopping. Matter was a mark in the vast distances of Eternity. moved in a direction which not only To think about movement, to realise brought suns and planets into existence, that every metal and plank, every stone but suns to shine so long as God wills, and every leaf, every nodule of soil and THE MOST ASTOUNDING MOVEMENT OF MATTER THE EYE NIAGARA 'FALLING OVER A CLIFF and .planets to bring forth life capable of everlasting multiplication. Creation is not the work of successive movements, but of one movement which is continuous and creative. We may say that the electrons blazing like fireflies in every atom represent the continuing vibration of the first movement of God's Will~the whole universe still tingling with that first touch of the Creator. Once men spoke about CAN SEE-THE WATERS OF every drop of water, is in. constant and unceasing motion is to make us wonder at the little human word stillness, and to prize the calm and silence of the mind in which we come into communion with the First Mover of all forms and all existences, the First Will of Creative Evolution. There is only one stillness in the midst of a universe which is never still. It is in the soul of man. 1,lp, THE CROSS STANDS IN THE MIDST OF TIME Think of time and of all human history as a picture-the picture of a vast country stretching under tne $(m and the Moon and the stars fot ever and ever; and in the midst of this picture, lonely and sad, you will see a Cross rising out of the ground, with the figure of a Man hanging on it, dying for love of His friends and enemies. Behin,j that lonely Cross all the country is called B.C.-in front of if all the country is tailed A.D. 116 GROUP 11 The Story of the Most Beautiful Book in All the World T What This Story Tel's US HE glary (jf oUt wfitteit language is our English Bible; of all the millions of books in the world it is the most beautiful. It is the only book read in every land by scholars and peasants and little children ; it is printed in every known tongue ; it is read by white people and black people and yellow people and red people and brown people everywhere. It has an ancient history. It comes down to us through thousands of years, filled with the wonder of the past, with marvellous and beautiful stories, and with wisdom beyond compare. Here we shall read the wonderful stories the Bible tells, the lives of the great figures of the Old Testament, the Psalms of David and the Proverbs of Solomon; and shall go through the beautiful life of Jesus, reading the words of wisdom that fell from His lips. and considering also the work of the Apostles. THE WAY OUR BIBLE CAME you look at inscriptions on monuments and buildings you find that the date is very often followed by two capital letters. These letters are either B.C. or A.D. The mst means the time Before Christ; the second means Anno Domini, the time After Christ. Think of time and of all human history as a picture-the picture of a vast country stretching under the sun and the moon and the stars for ever and ever; and then, in the midst of this picture, very lonely and sad, you will see a Cross rising out of the ground, with the figure of a Man hanging upon it, dying for love of His friends and enemies. Behind that lonely Cross all the country is called B.C.~in front of it all the country is called A.D. Jesus is the centre of history and time. From the Cross men look forward; from the Cross men look backward. Man, you see, has divided time into two great parts, two immense divisions. The first division is the time before Jesus lived among men; the second is the time after Jesus appeared on Earth. All over the world time is now divided in this way. N ow, the Bible, the most beautiful of all the books in the world, is divided into WHEN two parts, just as time is divided. It has its period called B.C. and its period called A. D. The period called B.C. is known as the Old Testament, and the period called A.D. is known as the New Testament. The word Testament used to be called Covenant, and this word covenant is really a much better word than testament, because it is truer to the meaning. By the Old Covenant men meant a promise made by God to man before Jesus appeared on the Earth; and by the New Covenant men meant a new promise made by God to man in the life and teaching of Jesus Christ. The New Covenant is really the keeping of the promise made by God to man in the Old Covenant. Now we see what the Bible is. It is a book about God and man, and the hero of the book is the 'great central figure in the history of the human mce, Jesus. The Old Testament is the history of路a certain nation called the Hebrews, or Jews, or Israelite~three names all meaning the same thing. It is their own history written by themselves. The Jews believed they were chosen by God to teach the other nations about life and the mystery of death, and that God promised GREAT FIGURES OF THE OLD TESTAMENT' THE LIFE OF JESUS 117 THE BIBLB that they should be a blessing to all the world. What God promised they wrote down, and kept the writings carefully. They were a wonderful nation, worshipping One God when other nations worshipped sticks and stones. Then they were a poetic and kind-hearted people. They loved to live with their flocks and enjoy the simple blessings of the beautiful Earth. They made the home the great thought of their lives. What we call family life, meaning the pleasures and affections of a happy home, was the chief ideal of this brave people. What made them so happy and strong was their belief that God was watching over them. So in the midst of their sorrows they began to watch for the coming of some mighty being whom they called Messiah, thinking that this Son of God would destroy their enemies, give them back their flocks and herds, and set them up as the rulers of the whole Earth. All this is written in the Old Testament. THE WAITING AND WATCHING FOR THE COMING OF THE MESSIAH They watched and waited for the coming of the. Messiah. The promise of the Messiah runs through the Old Testament like a little silver brook winding through a dry country toward the sea. But when the Messiah came they found that He was not a mighty warrior, but a beautiful young peasant, who-lOa,t in a weatherbeaten ship with .simple fishermen, and taught people that to forgive their enemies was better than to fight them. And then the Jews were angry, and refused to believe that He. was the Messiah. The Old Testament shows them seeking the Messiah; the New Testament shows them rejecting the Messiah. In very ancient times men used to write the stories of their fathers on a peculiar paper made from the pith of an Egyptian plant called papyrus. It was on this papyrus that the Jews wrote their history, and the precious writings were kept as sacred records. Even before Christ came into the world, the Greek people were anxious to learn about the Jews and their clever writing. Men took the history of the Jews told on the papyrus and wrote it down in the language which the Greek people knew. Now, the Greek word for papyrus was biblos, and this word came to stand for book; so that they sp9ke of the Hebrew writings as Biblia, or the Books. The Latin nation borrowed this word, and our first copies of the Bible were in the Latin language and were called Biblia Sacra, meaning the Holy Books. At last Englishmen made their own words, and, speaking of all these writings as the Book, and not the Books, called it the Holy Bible. So that Bible means The Book. THE BOOK WRITTEN IN FAR-OFF TIMES BY MANY MEN We must not think of the Bible as a single book written by one man. It is many books, written at far distant times, by many very different men. These different books have been collected and bound together, because they teach us so clearly about God and man. To understand the story of the English Bible we must go back five hundred years or more in our history. In those days the influence of the Church was not so strong as in the earliest years. England was filled with Italian clergy who failed to understand the needs of the people, and who were not acquainted with their language; and it was at this time that John Wycliffe arose. He was a Yorkshireman, a weak-looking man with a little body but a fervent soul. He was a scholar, and he held that all men should study the Bible for themselves, and interpret it as they thought fit. Accordingly he sent out poor men, dressed in rough serge, through the country lanes who preached the story of Jesus in plain and homely English, and this attracted many people to his views. When he himself spoke, crowds of people flocked round to listen-peasants, nobles, and townsmen. GOOD MAN WHO BELIEVED T HETRUTH WOULD CONQUER THAT Wycliffe was not a Protestant, as the religious reformers came to be known a hundred years later, but he was the first man in England who, within the Catholic Church, claimed that every man should have a right and an opportunity to read the. Bible for himself, and build up his belIefs on what he had read. Wycliffe's good work came to an end when he died at Lutterworth, in the firm conviction that he had discovered the true faith. "I believe," said he, " that in the end the truth will conquer." Even thirty years after that the bones of this good man were dug up from the kindly earth and thrown into a river. us	dance to your daddie
Which is the only freshwater member of the Cod family?	Full text of "Children's rhymes, children's games, children's songs, children's stories : a book for bairns and big folk" See other formats ^h^ Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/childrensrhymescOOford CHILDREN'S RHYMES, GAMES. SONGS, & STORIES JiNGO-KlNG. DRAWN BY KATE T. HILL. Children's Rhymes Children's Games Children's Songs Children's Stories j\ BOOK for Bairtis and Bid 7olk By ROBERT FORD Author of ''Thistledown/' and Editor of Ballads of Bairnhood/' Vagabond Songs and Ballads of Scotland'' ^ ^ Etc., etc. r " Au/<i rhymes and auld chimes Y" Gar us think 07i atild times" — Proverb PAISLEY: ALEXANDER GARDNER Publisher to the late Queen Victoria : 1904 THE IflEW VORK PUBLIC LIBRARY 28418815 ASTOR, LENOX AND TILDEN FOUNDATIONS p 1944 ^ SECOND EDITION PREFACE. In offerino- to tlie public this collection of Children's Rlivmes, Children's Games, Children's Songs, and Children's Stories — the multitudinous items of which^ or such, at leasts as were not living in my own memory, have been gathered with patient industry, albeit with much genuine delight, from wide and varied sources — I anticipate for the work a hearty and general welcome, ^ alike from old and young. It is the first really sincere ^ effort to collect in anything like ample and exclusive '^ fashion the iiatwal literature of the children of Scotland, >\^and meets what has long appealed to me as decidedly X a felt want. The earlier pages are occupied with a \|J^ commentary, textually illustrated, on the generally \d puerile, but regularly fascinating Rhymes of the Xur- ser}', the vitality and universal use of which ha\e been \ at once the wonder and the puzzle of the ages. This is s^followed in turn by a chapter on Counting-out Rhymes, >j' with numerous examples, home and foreign ; which is ^ succeeded, appropriately, by a section of the work ^ embracing description of all the well-known out-door and in-door Rhyme-Games — in each case the Rhvme being given, the action being portrayed. The remain- ing contents the title may be left to suggest. I may 6 PREFACE. only add that the Stories — inchiding ^"^ Bkie Beard/' and "Jack the Giant Killer/' and their fellow-narratives — ten in all — are printed verbatim from the old chap- books once so common in the country^ but now so rare as to be almost unobtainable. Essentially a book about children and their jiictur- esque and innocent^ though often apparently meaning- less, frolics, by the young in the land, I am assured, it will be received with open arms. From the " children of larger growth " — those who were once young and have delight in remembering the fact — the welcome, if less boisterous, should be not less sincere. Commend to me on all occasions the man or woman who, " with lyart haffets thin and bare," can sing with the poet — " Och hey ! gin I were young again, Ochone ! gin I were young again ; For chasin' bumbees owre the plain Is just an auld sang sung again." ROBERT FORD. 287 Onslow Drive, Dennistoun, Glasgow. CONTENTS. PAGE Rhymes of the Nursery, 9 Counting-out Rhymes, .S8 Children's Rhyme-Games, 55 ' ' Merry-ma-Tanzie, " 56 "The Mulberry Hush." 57 " A Dis, a Dis, a Green Grass," .. . 58 " Looby Looby," 59 "I Dree I Droppit it," (iO " Bab at the Bowster," 61 "The Wadds," 68 "The Wadds and the Wears," 65 "The Widow of Babylon," 68 ' ' London Bridge, " 69 "The Jolly Miller," 70 "Willie Wastle," 70 " Oats and Beans and Barley," 71 " Hornie Holes," 72 "The Craw," 73 " Neevie-neevie-nick-nack," 73 "Blind Man's Buff," 74 ' ■ Wa t e r W al 1 fl o w e r , " 75 "The Emperor Napoleon," 75 " A' the Birdies i' the Air," 76 "Through the Needle-e'e, Boys," 76 " King Henry," 77 "The Bhie Bird," 78 "When I was a Young Thing," 78 "Carry my Lady to London," 79 "A, B, C^' 80 "My Theerie and my Thorie," 80 ' ' Glasgow Ships, " 81 " Airlie's Green," 83 " Het Rowes and Butter Cakes," 83 ' ' Queen Mary, " 84 " Whuppity Scoorie," 85 " Hinkumbooby," 85 ' * Three Brethren come from Spain, " 87 "Here Comes a Poor Sailor from Botany Bay 90 "Janet Jo," 91 "The Goloshans," 94 8 CONTENTS. PAGE Children's Songs and Ballads, 101 Cock Robin, 101 The Marriage of Cock Eobin and Jenny Wren, 104 The North Wind 109 Little Bo-Peep, 110 The House that Jack Builr, Ill Simple Simon, 114 Old Mother Hubbard, 114 Old Mother Goose, 115 The Old Woman and her Pig, 117 A Frog he would a- wooing go, , 122 The Carrion Crow 126 My Pretty Maid, 127 Can ye Sew Cushions ? 127 Hush-a-ba Birdie, Croon, 129 Dance to your Daddie, 1 29 Katie Beardie 132 The Miller's Dochter 133 Hap and Row, 133 How Dan, Dilly Dow, 134 Crowdie, 135 Whistle, whistle, Auld Wife, 136 The Three Little Pi^s, 137 Cowe the Nettle early, 138 The Wren's Nest, 140 Robin Redbreast's Testament, 141 Children's Humour and Quaint Sayings, ... 143 Schoolroom Facts and Fancies, 163 Children's Stories, 182 Blue Beard, 184 Jack and the Bean-Stalk, 191 The Babes in the Wood, 205 Jack the Giant Killer, 210 Little Red Riding Hood, 229 Cinderella; or, the Little Glass Slipper, 233 Puss in Boots, 243 Whittington and his Cat, 249 Beauty and the Beast, 259 The Sleeping Beauty, 274 RHYMES OF THE NURSERY. Writing on the subject of nursery rhymes more than half a century ago, the late Dr. Robert Chambers expressed regret because, as he said, " Nothing had of late been revolutionised so much as the nursery." But harking back on the period of his own childhood, he was able to say, with a feeling of satisfaction, that the young mind was then " cradled amidst the simplicities of the uninstructed intellect ; and she was held to be the best nurse who had the most coj)ious supply of song, and tale, and drollery^ at all times ready to soothe and amuse her young charges. There M^ere, it is true, some disadvantages in the system ; for sometimes sui)er- stitious terrors were implanted, and little })ains were taken to distinguish between what tended to foster the evil and what tended to elicit the better feelings of infantile nature. Yet the ideas which presided over the scene," he continues, "and rung through it all the day in light gabble and jocund song, were simple, often beautiful ideas, generally well expressed, and unques- tionably suitable to the capacities of children. There was no philosophy about these gentle dames ; but there was generally endless kindness, and a wonderful power of keeping their little flock in good humour. It never occurred to them that children were anything but children — ' Bairns are just bairns,' my old nurse would 2 10 RHYMES OF THE NURSERY. say — and they never once thought of beginning to make them men and women while still little more than able to speak." They did not ; and^ in the common homes of Scotland, they do not to this hour. The self- same rhymes and drollery which amused Dr. Chambers as a child are amusing and engaging the minds and exercising the faculties of children over all the land even now. I question if there is a child anywhere north of the Tweed who has not been entertained by Brow, brow, brinkie, Ee, ee, winkie, Nose, nose, nebbie. Cheek, cheek, cherrie, Mou, mou, merry. Chin, chin, chuckle, Curry-wurry ! Curry-wurry ! etc. Or the briefer formula, referring only to the brow, the eye, the nose, and the mouth, which runs : — Chap at the door. Keek in. Lift the sneck. Walk in. And it was only the other evening that I saw a father with his infant son on his knee, having a little hand spread out, and entertaining its owner by travelling from thumb to little finger, and repeating the old catch : — This is the man that broke the barn. This is the man that stole the corn. This is the man that ran awa'. This is the man that tell't a'. And puir Pirly Winkie paid for a', paid for a'. RHYMES OF THK XLHSKRY. n As well as its tVllow-rhvine : — Tliis little \n<r went to the market, This little pig stayed at home ; This Httle pig got roast beef. This little ])ig got none ; This little })ig cried, Squeak I squeak ! I can't find my way home. Than the nonsense rhymes and capers that have delighted the nursery Hfe of Scotland for many genera- tions, none, of course, could be more delectable — none more suitable. While charming the sense, they have awakened imagination and develo])ed ]wetic fancy in thousands who otherwise might have blundered into old age proving stolid and uninteresting men and women. They are, for this reason, part and j)arcel of every properly-balanced life, and the healthy and happy mind can never let them go. Johnny Smith, my fallow fine. Can you shoe this horse o' mine } Yes, indeed, and that I can, Just as weel as ony man. Ca' a nail into the tae. To gar the pownie climb the brae ; Ca' a nail into the heel. To gar the poAvnie trot weel ; There's a nail, and there's a brod. There's a pownie weel shod, Weel shod, w^eel shod, weel shod })ownie. What pleasing recollections of his own early child- hood many a father has had when, sitting with his child on his knee, he has demonstrated and chanted that rude rhyme by the fireside o' nights far, as often 12 RHYMES OF THE NURSERY. has been the case^ from the scene where he learned it ! To know such is to reaHse one, at least, of the various reasons why the old delight in the frolics of the young. Hush-a-by baby on the the tree top. When the wind blows the cradle will rock ; When the bough breaks the cradle will fall, And down will come cradle and baby and all. This is a rhyme which " every child has joyed to hear." Its origin, as told in the records of the Boston (U.S.) Historical Society, is not more curious than beautiful and significant. " Shortly after our forefathers landed at Plymouth, Massachusetts (I am quoting), a party were out in the fields where the Indian women were picking strawberries. Several of the women, or squaws as they were called, had papooses — that is babies — and, having no cradle, they had them tied up in Indian fashion and hung from the limbs of the sur- rounding trees. Sure enough, when the wind blew these cradles would rock ! A young man of the party observing this, pulled off a piece of bark and wrote off the above words, which is believed to be the first poetry written in America." Several have curious histories. Little Jack Horner Sat in a corner Eating his Christmas pie ; He put in his thumb And pulled out a })lum. And said. What a good boy am I ! Master Horner, it appears, was not a myth, but a real personage. Tradition tells that when Henry VIII. suppressed the monasteries, and drove the poor old monks from their nests, the title-deeds of the Abbey of RHYMES OF THK NL'KSKRV. \y, Mells, iiu'luding tlie .simi))tii()us oranoc l)iiilt hy Abbot Bellwood, were deniaiuled by the Conunissioiurs. The Abbot of Glastonbury determined instead that he would send them to London ; and, as the documents were very valuable, and the road was infested by thieves, to <ret them to the metropolis safely he ordered a ])ie to be made, as fine as ever smoked on a refeetory table, inside of whieh the })reeious documents were ])laeed, and this dainty he entrusted to a lad named Horner to carry uj) to London and deliver into the hands of the ])arty for whom it was intended. But the journey was lon^, the day was cold, the boy was hungry, the pie was temj)ting, and the chances of detection, the youth presumed, were small. So he broke the crust of the pie, and behold the parchment ! He pulled it forth innocently enough, wondering by what chance it could have reached there, and arrived in town. The parcel was delivered, but the title-deeds of Mells Abbey estate were missing. Jack had them in his pocket, and — now learning their value — he kept them there. These were the juiciest plums in the pie. Great was the rage of the Commis- sioners, heavy the vengeance they dealt out to the monks. But Jack kept his secret and the documents, and when peaceful times wxre restored he claimed the estates and received them. So goes the story ; and it may be true. But, then, in the light of its truth, whether Master Horner deserved the title of ''^ good boy " bestowed on him by the rhyme" will be more than doubtful. We all know the lines, Mary had a little lamb. Its fleece was white as snow ; And everywhere that Mary went. The lamb was sure to go. 14 RHYMES OF THE NURSERY. It followed her to school one day^ It was against the rule. And made the children laugh and play. To see a lamb at school. These verses were founded, it appears, on an actual circumstance, and the heroine Mary may be still living. Less than eighty years ago she was a little girl, the daughter of a farmer in Worcester County, Massachu- setts, U.S. One spring her father brought a feeble lamb into the house, and Mary adopted it as her especial pet. It became so fond of her that it would follow her everywhere. One day it followed her to the village school, and, not knowing well what to do with it there, the girl put it under her desk and covered it over with her shawl. There it stayed until Mary was called up with her class to the teacher's desk to say her lesson ; but then the lamb went quietly after her, and the whole school burst out laughing. Soon after, John Rollstone, a fellow-student with Mary, wrote a little rhyme com- memorating the incident, and the verses went rapidly from lip to lip, giving the greatest delight to all. The lamb grew up to be a sheep, and lived many years ; and when it died Mary grieved so much that her mother took some of its wool, which was "■ white as snow," and knitted for her a pair of stockings to w^ear in remem- brance of her pet. Some years after, Mrs. Sarah Hall composed additional verses to those of John Rollstone, making the complete rhyme as we know it.^ Mary * The following are the added lines referred to : — i^nd so the teacher turned him out, But still he lingered near, And waited patiently about Tdl Mary did appear. RHYMES OF THE NURSERY. ir, took such good care of tlu- stockings made iVoiii her lamb's fleece that when she was a oto\vii-uj) vvoinaii she was able to give one of them to a cluirch bazaar in Boston. As soon as it became known tliat the stocking was from the fleece of " Mary's httle lamb/' every one wanted a ])iece of it. So the stocking was unravelled, and the yarn cut into short pieces. Each piece was fastened to a card on wiiich Mary wrote her full name, and those cards sold so well that the}- brought the hand- some sum of £28 to the Old South Church in Boston. Humpty-Dumpty sat on a wall, Humpty-Dum})ty had a great fall ; Not all the King's horses, nor all the Kin^j's men, Could set Hum])ty-Dum})ty uj) again '& Attempts have been made to show^ how that was suggested by the fall of a bold bad baron who lived in the days of King John ; but every child more than ten years old knows that the lines present a conundrum, the answer to which is — an t^p;. And yet, were it no conundrum, but onl}' a nonsense rhyme, its fascination for the budding intellect would be no less. It is enough when, with the jingle of rhyme, the imagination, is tickled, as in — And then^he ran to her, and laid His head upon her arm. As if he said, " I'm not afraid, You'll shield me from all harm." " What makes the lamb love Mary so ? " The eager children cry. ' Why, Mary loves the lamb, you know,' The teacher did reply. 16 RHYMES OF THE NURSERY. Hey diddle diir -on John, Went to his b< .xovwsers on ; One shoe off a i,ne other shoe on, Hey diddle dinxiT]»Tin', my son John ; or — Cripple Dick upon a stick. And Sandy on a soo. Ride away to Galloway To buy a pund o' w^oo' ; or yet again in^ Sing a sang o' saxpence, A baggie fu' o' rye, Four-and-twe^^ty blackbirds, Bakit in a pie. When the pie was opened The birds began to stng ; And wasna that a dainty dish To set before the King ? The King was in his counting-house Counting out his money. The Queen was in the parlour Eating bread and honey, The maid was in the garden Hanging out the clothes, When by came a blackbird And snapped afF her nose. For such supreme nonsense no historical origin need be sought, surely. Yet part of the latter has been at least applied to a historical personage in a way that is worth recalling. Dr. H. J. Pye, who w^as created Poet Laureate in succession to Thomas Warton, in 1790, was. I RHYMKS OF THK NURSERY. 17 as a poet, regularly made fw. , of. In his Xrir ) car Odes there were perpetual rc^ .rences to the coiuin^r spring: and, in the dearth oi} ,iore important toj)i(s, each tree and field-flower were described : and the lark, and every other bird that coul be brought into rhyme, were sure to appear ; and his poetical and patriotic olla podrida ultimately provoked the adaptation : When the Pye was opened, The birds began to sing, And was not that a dainty dish. To set before a king .^ But to take the rhymes only by themselves. Action rhymes^ by reason of their pra-^tical drollery, never fail to amuse. And among the very earliest practised is the following. The nurse, with the child on her knee, take^ ^'nle foot in cither hand, and, making them go merrily . ^ id down, she sings : — This is Willie W^alker, and that's Tarn Sim, He ca'd him to a feast, and he ca'd him ; He sticket him on the spit, and he sticket him ; And he owre him, and he owre him, And he owre him, and he owre him, etc. Then, to keep up the diversion, may follow in the same manner : — Twa little doggies gaed to the mill. This way and that way, and this way and that way ; They took a lick out o' this wife's poke. And a lick they took out o' that wife's poke, And a loup in the lade, and a dip in the dam, And hame they cam' wallopin', wallopin', wallopin', etc. 18 RHYMES OF THE NURSERY. Or:— Feetikin^ feetikin^ When will ye gang ? When the nights turn short. And the days turn lang, ril toddle and gang, toddle and gang. Should more active entertainment be demanded, the child will be set bold upright on one knee, and, suiting the action to the line, the rhyme will be : — This is the way the ladies ride. Jimp and sma', jimp and sma' ; This is the way the gentlemen ride. Trotting a', trotting a' ; This is the way the cadgers ride. Creels and a' ! creels and a' ! ! Creels and a' ! ! ! For variety's sake, on an easier swing, may follow : — A' the nicht owre and owre. And a' the nicht owre again ; A' the nicht owre and owre The peacock followed the hen. The hen's a hungry beast. The cock is hollow within ; But there's nae deceit in a puddin', A pie's a dainty thing. A' the nicht owre and owre. — Da Capo. Or, yet more to engage the intellect may come : — Poussie, poussie, baudrons, Whaur ha'e ye been ? Eve been to London Seeing the Queen. Or And: RHYMES OF THE NURSERY. 19 Poussie^ poussie^ baudrons. What gat ye there ? I gat a good fat mousikie, Rinning up a stair. Poussie^ poussie, baudrons. What did ye wi't ? I put it in my meal-poke To eat it wi' my bread. Hushie-ba^ birdie beeton^ Your mammie's gane to Seaton, For to buy a lammie's skin To row your bonnie boukie in. Bye baby^ buntin'^ Daddie's gane a-huntin' : — Mammie's gane to buy a skin. To row the baby buntin' in. East Coast mothers sing : — Ding dang^ bell rang, Cattie's in the well, man. Fa' dang her in, man ? Jean and Sandy Din, man. Fa' took her out, man ? Me and Willie Cout, man. A' them that kent her When she w^as alive, Come to the burialie Between four and five. 20 RHYMES OF THE NURSERY. Again : — Eezy ozy moolin's o' bread, Kens na whaur to lay her head, Atween the Kirkgate and the Cross There stands a bonnie white horse, It can gallop, it can trot. It can carry the mustard-pot. And yet again : — Willie Warstle, auld Carle, Dottered, dune, and doited bodie. Feeds his weans on calfs' lugs, Sowps o' brose, and draps o' crowdie. In Arbroath and district, mothers, indicating the various parts of the child's anatomy as they proceed, sing :— Brow o' knowledge. Eye o' life. Scent bottle. Penknife. Cheek cherry. Neck o' grace. Chin o' pluck — That's your face. Shoulder o' mutton. Breast o' fat. Vinegar-bottle, Mustard-pot — That's my laddie. Touching severally the various buttons on the child's dress during its repetition, this sort of fortune-telling rhyme is common : — RHYMES OF rili: NURSERY. i>i A laird, a lord, A rich man, a thief, A tailor, a driiinmer^ A stealer o' beef. Or supposing for the nonce that the child is a ])iece of cooper-work^ requiring- to be mended, the following, accompanied by the supposed process, may be sung : - Donald Cooper, Carle, quo' she. Can ye gird my coggie ? Couthie Carline, that I can. As weel as ony bodie. There's ane about the mou' o't. And ane about the body o't. And ane about the leggen o't. And that's a girded coggie ! The next is lilted as an accompaniment to a pretended game of thumj)s : — Bontin's man To the town ran ; He coffed and sold. And a penny down told ; The kirk was ane, and the choir was twa. And a great muckle thump doon aboon a', Doon aboon a', doon aboon a'. The following (as Dr. Chambers remarks) explains its own theatrical character : — I got a little manikin, I set him on my thoomiken ; I saddled him, I bridled him, I sent him to the tooniken : I coffed a pair o' garters to tie his little hosiken ; I coffed a pocket-na})kin to dight his little nosiken ; I sent hun to the garden to fetch a pimd o' sage And found Iiim in the kitchen-neuk kissing little Madge. 22 RHYMES OF THE NURSERY. While dandling the child on her knee the mother or nurse may sing : — I had a little pony, Its name was Dapple Grey : I lent it to a lady, To ride a mile away. She whipped it, she lashed it, She ca'd it owre the brae ; I winna lend my pony mair, Though a' the ladies pray. In the same manner the above may be followed by — Chick ! my naigie, Chick ! my naigie. How many miles to Aberdaigy ? Eight and eight, and other eight ; Try to win there by candlelight. Or:- Or Cam' ye by the kirk ? Cam' ye by the steeple ? Saw ye our gudeman. Riding on a ladle ? Foul fa' the bodie, Winna buy a saddle. Wearing a' his breeks. Riding on a ladle ! The cattie rade to Passelet, To Passelet, to Passelet, The cattie rade to Passelet, Upon a harrow-tine, O. I so as RHVMKS OF THK MRSKin'. 'Twas on a weetic Wt'(lius{la\ , Wednesday. Wednesday : 'Twas on a weetie Wednesday, I missed it aye sin syne^ (). Lighting' a stiek, and making it wave to and'fro/ to form a semi-eirele of red fire before the child's eves, the nurse will sing or croon : — Dingle, dingle doiisy, The cat's at the well. The dog's awa' to Miisselbro' To buy the bairn a bell. Greet, greet bairnie. And ye'se get a bell ; If ye dinna greet faster^ I'll keep it to mysel'. Or again, dandling the child, the entertainment may be what some Perthshire children know well : — Riding on a horsie, never standing still, Doun by St. Martins, and owre by Xewmill, In bv Guildtown and round by Cargill, Richt up Burstbane, and owre by Gallowhill, Yont by the Harelaw, and doun to Wolfhill, And that's the way to ride a horse and never stand still. Or the universal favourite may ensue : — Ride a Cock-Horse to Banbury Cross, To see an old woman ride on a white horse ; Rings on her fingers and bells on her toes, She shall have music wherever she goes. ^24 RHYMES OF THP: NURSERY. Or :— Hey diddle diddle, The cat and the fiddle. The cow jumped over the moon ; The little dog laughed. To see such sport, And the dish ran away with the spoon. In a reposeful attitude, such rhymes as follow may be employed : — Jack and Jill Went up the hill To fetch a pail of Avater ; Jack fell down And broke his crown. And Jill came tumbling after. Shoo shuggie, owre the glen, Mammie's pet, and daddie's hen. Baa, baa, black sheep, have you any wool ? Yes, sir, yes, sir, three bags full ; One for the master, one for the dame. One for the little boy that lives in the lane. Goosey, Goosey Gander, Where shall I wander ? Upstairs, downstairs, And in my lady's chamber. There I met an old man Who wouldn't say his prayers, I took him by the left leg. And threw him downstairs. RHYMES OF THE XURSKRV. Old Mother Hubbard, she went to tiie cupboard. To fetch her poor do<>oie a bone ; But when she got there, the cuj)])oard was bare. And so the })oor do<]foie got none. Little Polly Flinders Sat among the cinders. Warming her })retty little toes. Her mother came and caught her, And whi})ped her little daughter For spoiling her nice new clothes. Tom, Tom, the piper's son, Stole a pig and away he run ; Pig was eat, and Tom Avas beat. And Tom went roaring down the street. Little Betty Blue Has lost her holiday shoe. Give her another To match the other, And then she will walk in two. Three blind mice ; three blind mice ; See how they run : see how they run ; They all ran after the farmer's wife. Who cut off their tails with a carving knife, Did ever you see such fools in vour life ? Three blind mice ! Mary, Mary, Quite contrairy. How does your garden grow ? Silver bells. And cockle shells. And pretty-maids all in a row. 3 26 RHYMES OF THE NURSERY. Pat-a-cake^ pat-a-cake, baker's man ! Bake a cake as fast as you can ; Prick it, and pat it, and mark it with T, And put it in the oven for Tommy and me. Little Miss Muffet Sat on a tuffet, Eating her curds and whey ; There came a great spider And sat down beside her. And frightened Miss Muffet away. Jack Sprat could eat no fat. His wife could eat no lean ; And so, betwixt them both, you see, They licked the platter clean. Little Tom Tucker Sang for his supper. What shall we give him ? Brown bread and butter. How shall he cut it Without any a knife ? How shall he marry Without any wife ? See-saw, Margery Daw, Jenny shall have a new master ; She shall have but a penny a day, Because she can't work any faster. Roun', roun' rosie, cuppie, cuppie shell. The dog's awa' to Hamilton, to buy a new bell If you don't tak' it, I'll tak' it to mysel', Roun', roun' rosie, cuppie, cuppie shell. RHYMES OF THE NURSERY. 27 There was :i little man. and he had a little <riiM, And his bullets were made of lead, lead, lead ; He shot Johnnie T\vi<>- through the middle of his wig. And knocked it right off his head, head, head. Hickety, pickety, my black hen. Lays eggs for gentlemen. Whiles ana, w^hiles twa. Whiles a bonnie black craw. For slightly more matured wits will be provided : — There was an old woman who lived in a shoe. She had so many children, she didn't know what to do ; She gave them some broth, without any bread, And whipped them all soundly and put them to bed. Doctor Foster, went to Glo'ster In a shower of rain ; He stepped in a puddle. Up to the middle. And never went there again. This is another version of one that has been given earlier : — Ding, dong, bell. Pussy's in the well. Who put her in ? Little Tommy Thin. Who pulled her out } Little Tommy Stout. What a naughty boy was that, Thus to drown poor Pussy Cat. Little Boy Blue, come, blow your horn. The sheep's in the meadow, the cow's in the corn ; Where is the boy that looks after the sheep ? He's under the haycock, fast asleep ! 28 RHYiMES OF THE NURSERY. TafFy was a Welshman^ TafFy was a thief, TafFy came to my house, and stole a piece of beef; I went to Taffy's house, Taffy was not at home ; Taffy came to my house, and stole a marrow-bone. I went to Taffy's house, Taffy was in bed, I took up a broomstick and flung it at his head. The lion and the unicorn Fighting for the crown ; Up jumps a wee dog And knocks them both down. Some got white bread. And some got brown : But the lion beat the unicorn All round the town. There was a wee wifie row'd up in a blanket. Nineteen times as high as the moon ; And what she did there I canna declare, For in her oxter she bure the sun. Wee wifie, wee wifie, wee wifie, quo' I, O what are ye doin' up there so high ? Em blawin' the cauld clouds out o' the sky. Weel dune, weel dune, wee wifie, quo' I. What ca' they you } They ca' me Tam Taits ! What do ye do ? I feed sheep and gaits ! Where feed they ? Doun in yon bog ! What eat they ? Gerse and fog ! RHYMES OF THE NUKSl^KV. ':Hj What oic they ? Milk and wliey ! Wha Slips that ? Tarn Taits and I ! The laverock and the lintie, The robin and the wren ; Gin ye harry their nests^ Ye'll never thrive again. During a hail-storm country children sing : — Rainy^ rainy rattle-stanes, Dinna rain on me ; But rain on Johnnie Groat's House, Far owre the sea. Again, when snow is falling : — Snaw, snaw, flee awa' Ow^re the hills and far awa'. Towards the yellow-hammer, or yellow-yite — bird of beautiful plumage though it be — because it is the sub- ject of an unaccountable superstitious notion, which credits it with drinking a drop of the devil's blood every May morning, the children of Scotland cherish no inconsiderable contempt, which finds expression in the rhyme : — Half a puddock, half a taed. Half a yellow yorling ; Drinks a drap o' the deil's blood Every May morning. On the East Coast, when the seagulls fly inland in search of food, the children, not desiring their appear- 30 RHYMES OF THE NURSERY. ance — because probably of the old superstition that they are prone to pick out the eyes of people — cry to them : — Seamaw, seamaw, my mither's awa' For pouther an' lead^ to shoot ye dead — Pit-oo ! pit-oo ! pit-oo ! To the lark's song the young mind gives language, in a kindly way, thus : — Larikie, larikie, lee ! Wha'll gang up to heaven wi' me ? No the lout that lies in his bed. No the doolfu' that dreeps his head. Interpreting similarly the lapwing's cry, they retaliate with : — Peese-weep ! Peese-weep ! Harry my nest, and gar me greet ! Of the cuckoo they have this common rhyme : — The cuckoo is a bonnie bird, He sings as he flies ; He brings us good tidings ; He tells us no lies. He drinks the cold water To keep his voice clear ; And he'll come again In the Spring of the year. The lady-bird, or " Leddy Lanners," is a favourite insect with children, and is employed by them to dis- cover their future partners in life. When a boy or girl RHYMES OF THE NLRSKKV. 'M finds onC;, he, or she, as the case may be, })laces it on the pahii of his, or her, hand, and rej)eats, until it Hies off", the Hnes : — Leddy, Leddy Lanners, Leddy, Leddy Lanners, Tak' up yer cloak about yer head An' flee awa' to Flann'ers ; Flee ower firth, an' flee ower fell. Flee ower pool, an' rinnin' well. Flee ower hill, an' flee ower mead. Flee ower livin', flee ower dead. Flee ower corn, an' flee ower lea. Flee ower river, flee ower sea. Flee ye p].ast, or flee ye West, Flee to the ane that loves me best. The following rhyme, old and curious, and still not unknown to the young in Scotland and England alike, has many varieties : — Matthew, Mark, Luke, and John, Bless the bed that I lie on ; Four posties to my bed. Six angels are outspread : Two to bottom, two to head. One to watch me while I pray. One to bear my soul away. After the first two lines it goes sometimes : — Four corners to my bed. Four angels round my head ; One to read and one to write, Two to guard my bed at night. 32 RHYMES OF THE NURSERY. And often the closing lines run :— One to watch and two to pray^ One to keep all fears away. In an old MS. by Aubrey^ in the British Miiseinii^ he states that this was a prayer regularly used by people when they went to bed. Then Ody, in his Ccmdle in the Dark, l656, tells that it was frequently used by old people as a charm^ and was repeated three times before going to bed. Launcelot Sharpe^ in his Towneleij Mysteries, 1838^ relates that he had often^ when a boy, heard similar words used in Kent as a prayer. Since about the time of the Crimean War — and more immediately after then than now — the children of Glasgow have shouted in the streets : — Saw ye the Forty-Second } Saw ye them gaun awa' } Saw ye the Forty-Second Marching to the Broomielaw } Some o' them had boots an' stockin's, Some o' them had nane ava ; Some of them had tartan plaidieS;, Marching to the Broomlielaw. At an earlier period they had : — Wha saw the Cotton-spinners } Wha saw^ them gaun awa' } Wha saw the Cotton-spinners Sailing frae the Broomielaw } Some o' them had boots an' stockin's. Some o' them had nane ava ; Some o' them had umbrellas For to keep the rain awa'. RHYMES OF 'rHK NURSI^RY. .'i.'{ There are many similar entertainments wliich these suggest. But to follow in extent the out-door rhymes of the bairns would carry us beyond the prescribed limits of this cha})ter. No^ie have been cited, so far, that do not belong absolutely to the nursery ; and the collection of these even, though fairly ample, is not so full as it might be. We will conclude with a few, each of which forms a puzzle or conundrum — some of them, in all conscience^ gruesome enough, and full of terrible mystery — but^ individually, well calculated to awaken thought and stir imagination in any youthful circle. As I gaed owre the Brig o' Perth I met wi' George Bawhannan ; I took aff his head, and drank his bluid. And left his body stannin'. [A bottle of wine.] As I looked owre my window at ten o'clock at nicht, I saw^ the dead carrying the living. [A ship sailing.] Hair without and hair within, A' hair, and nae skin. [A hair ro})e.] Three feet up, cauld and dead, Twa feet doun, flesh and bluid ; The head o' the livin' in the mouth o' the dead : An auld man wi' a pot on his head. [Last line is the answer.] There was a man o' Adam's race, Wha had a certain dwellin' place ; It was neither in heaven, earth, nor hell. Tell me where this man did dwell. [Jonah in the whale's belly.] 34 RHYMES OF THE NURSERY. A ha'penny here, an' a ha'penny there, Fourpence-ha'penny and a ha'penny man ; A ha'penny weet, an' a ha'penny dry, Fourpence-ha'penny an' a ha'penny forby — How much is that ? [A shiUing.] There was a prophet on this earth, His age no man could tell ; He was at his greatest height Before e'en Adam fell. His wives are very numerous. Yet he maintaineth none ; And at the day of reckoning He bids them all begone. He wears his boots when he should sleep. His spurs are ever new ; There's no a shoemaker on a' the earth Can fit him wi' a shoe, [A cock.] Riddle me, riddle me, rot-tot-tot, A wee, wee man in a red, red coat ; A staff in his hand and a stane in his throat. Riddle me, riddle me, rot-tot-tot. [A cherry.] There was a man made a thing. And he that made it did it bring ; But he 'twas made for did not know Whether 'twas a thing or no. [A coffin.] RHYMES OF THE NURSERY. .sr> Pease-porridge het, ])ease-})orridge caiild, Pease-porridge in a pot ten days auld ; Spell me that in four letters. [t-h-a-t.] I sat wi' my love, and I drank \vi' my love, And my love she gave me light ; I'll give an}^ man a pint o' wine To read my riddle right. [He sat in a chair made of his mistress's bones, drank out of her skull, and was lighted by a candle made of the substance of her body.] Mouth o' horn, and beard o' leather ; Ye'll no guess that were ye hanged in a tether. [A cock.] Bonnie Katie Brannie stands at the wa', Gi'e her little, gi'e her muckle, she licks uj) a' : Gi'e her stanes, she eats them — but water, she'll dee. Come, tell this bonnie riddleum to me. [The fire.] Down in yon meadow There sails a boat ; And in that boat The King's son sat. I'm aye telling ye. But ye're no calling, Hoo they ca' the King's son In the boat sailing. [Hoo, or Hugh.] As I gaed owre Bottle-brig, Bottle-brig brak' ; Though ye guess a' day. Ye winna guess that. [The ice.] 36 RHYMES OF THE NURSERY. If Dick's father is John's son. What relation is Dick to John ? [His grandson.] The brown bull o' Baverton, Gaed owre the hill o' Haverton ; He dashed his head atween twa stanes And was brought milk-white hanie. [Corn sent to the mill and ground.] A beautiful lady in a garden was laid, Her beauty was fair as the sun ; In the first hour of her life she was made a man's wife, And she died before she was born. [Eve.] The minister, the dominie, and Mr. Andrew La, ^, Went to the garden where t^ree pears h-nig : Each one took a pear — how many pears then ? [Two : the three jiersons were one.] Mou'd like the mill-door, luggit like the cat ; Though ye guess a' day, ye'll no guess that. [An old-fashioned kail-pot.] There stands a tree at our house-end. It's a' clad owtc wi' leather bend : It'll fecht a bull, it'll fecht a bear. It'll fecht a thousand men o' wear. [Death. Lang man legless, Gaed to the door staffless : Goodwife, put up your deuks and hens ; For dogs and cats I carena. [A worm.] RHYMES OF THE XURSKRV. As I gaed to Falkland to a feast, I met me ^\l an ugly beast : Ten tails, a hunder nails^ And no a fit but ane. [A shi), As I cam' owre the tap o' Trine, I met a drove o' Highland swine : Some were black, and some were brawnet. Some o' them was yellow tappit. Sic a drove o' Highland swine Ne'er cam' owre the tap o' Trine. [A swarm of bees.] Infir taris, inoknonis ; Inmudeelis, inclaynonis. Canamaretots ? ['n fir tar is, lii oak none is ; In mad eel is, in clay none is. Can a mare eat oats ?] Wee man o' leather Gaed through the heather. Through a rock, through a reel. Through an auld spinning-wheel. Through a sheep-shank bane. Sic a man was never seen, Wha had he been ? [A beetle.] The robbers cam' to our house When we were a' in ; The house lap out at the windows. And we were a' ta'en. [Fish caught in a net.] COUNTING-OUT RHYMES. The use of doggerel rhymes by children in playing their out-of-door games^ to decide by the last word which of their number shall be ''Mt " or '' takkie/' in games like " Hide and Seek " and '^ I Spy/' must be familiar to every reader who has had any youth worthy of being so called. What is not Avell known^ however^ is the fact that some of them — the rhymes^ I mean — that very common one in particular^ beginning — " One- ery^ two-ery^ tickery_, seven/' and its fellow in like respect;, with the opening line — " Eeny^ meeny, manny^ mo " — have^ in almost identical form^ been in active use by the wee folks for hundreds of yearS;, as they are stilly in nearly every country of Europe^ Asia^ Africa, and America. That the pastime has been common among the children of civilized and semi-civilized races alike is certainly of curious interest, and yet investiga- tion has proved this to be the case. Not only so, but the form of use is nearly always identical. A leader, as a rule self-appointed, having engaged the attention of the boys and girls about to join in a proposed game, arranges them either in a row or in a circle around him. He then repeats the rhyme, fast or slow, as he is capable or disposed, pointing with the hand or fore- finger to each child in succession, not forgetting himself. COUNTING-OUT HH^MlvS. :i() and allottino- to eacli one word of tlie niysterioiis tonmila. It may be, for exani})le : — Eeny, meeny, manny, mo, Catch a nigger by the toe ; When he hollers, let him go, Eeny, meeny, manny, mo. Having completed the verse, the child on whom the last word falls is said to be " out," and steps aside. At each repetition one in like manner ste})s aside, and the one w^ho survives the ordeal until all the rest have been " chapped " or ^'^titted " out is declared ^Mt " or " takkie," and the game proceeds forthwith. Some- times the formula employed in certain parts of Scotland, as I recollect, was for each boy to insert his finger into the leader's cap, around which all the company stood. The master of the ceremonies then with his finger allotted a word to each '^finger in the pie." It might be:— Eenity, feenity, fickety, feg. El, del, domen, egg, Irky, birky, story, rock, Ann, Dan, Toosh, Jock. With the pronouncement of the word " Jock," the M.C.'s finger came down with a whack which made the one "chapped out" be withdrawn in a "hunder hurries." In some parts of America a peculiar method obtains. The alphabet is repeated by the leader, who assigns one letter to each child in the group, and when a letter falls to a child which is the same as the initial of his last name, that child falls out, and this is continued, ob- serving the same plan, until only one child remains, who is '^Mt." There are other forms, too, but none 40 COUNTING-OUT RHYMES. strikingly dissimilar. Where the little ones have been in haste to proceed with the game^, and in no mood to waste time in counting out each one to the last, they have taken the sharper process of saying — Red, white, yellow, blue. All out but you, and by the first reading fixed the relationship of parties. Now, a very important and interesting feature of these rhymes and their application, as I have said, is found in the fact that they prevail in a more or less identical form all over the world. When this is so, their common origin is placed almost beyond dis})ute. The question only, which perhaps no one can answer, is — Whence come they } It would not be hazarding too much to say, I think, that Abraham, Isaac, and Jacob in their turn as boys, with other boys of their time, each used a form of counting-out rh} me in the manner and for the purpose for which they are still in vogue by the boys and girls of the present day. Undoubtedly they found a precedent, if they did not actually themselves exercise a part, in the very ancient custom of casting lots, which prevailed among the heathen as well as among the chosen people of God in very early times. From sacred history we learn that lots were used to decide measures to be taken in battle; to select champions in individual contests ; to determine the partition of conquered or colonised lands ; in the divi- sion of spoil ; in the appointment of Magistrates and other functionaries ; in the assignment of priestly offices ; and in criminal investigations, when doubt existed as to the real culprit. Among the Israelites, indeed, the cast- ing of lots was divinely ordained as a method of ascer- taining the Holy will, and its use on many interesting COUNTING-OUT RHVMKS. 41 occasions is described in the Holy Scriptures. Tlur sini})licity of the process, and its unanswerable result, were appreciated by Solomon, who says : " The lot causeth contentions to cease, and })arteth between the mighty" (Prov. xviii. 18). In New Testament tinus, again, Matthias was chosen by lot to " take the place in this ministry and a})Ostleship from which Judas fell away " (Acts i. 24-26). The Babylonians, when about to wage war against another nation, were wont to determine w^hich city should be attacked first by casting lots in a ])eculiar manner. The names of the cities were written on arrows. These were shaken in a bag, and the one drawn decided the matter (see Ezekiel xxi. 21-22). A like method of divination, called belommiy, was current among the Arabians before Mahomet's rise, though it was afterwards prohibited by the Koran. By imitation of their elders, to which children are con- stantly prone — in the making of '' housies," in nursing of dolls, etc. etc. — doubtless there came the counting- out rhyme. What is not so easily understood is their existence in so many identical forms in so many widely distant lands. As an example of how cosmopolitan some of them are, let us track a familiar enough one for a fair distance and see how it a})pears in the national garb of the various countries in which it has found bed, board, and bidino-. All over Britain and America it goes : — One, two, buckle my shoe. Three, four, open the door, Five, six, pick up the sticks, Seven, eight, lay them straight, Nine, ten, a good fat hen. Eleven, twel', bake it well. 42 COUNTING-OUT RHYMES. Thirteen^ fourteen, maids a-coiirting, Fifteen, sixteen, maids a-kissing, Seventeen, eighteen, maids a-waiting. Nineteen, twenty, my stomach's empty. In Germany it is found in various forms, but one will suffice : — 1, 2, Polizei, 3, 4, Offizier, 5, 6, Alte Hex, 7, 8, Gute Nacht, 9, 1 0, Auf Wiedersehen, 11, 12, Junge Wolf, 13, 14, Blaue Schiirzen, 15, l6, Alte Hexen, 17, 18, Madle Wachsen, 19, 20, Gott Verdanzig. In France it also appears in various forms, and the children of Paris, not disposed to waste time and energy, cut it briefly, as follows : — "i L n, deux, trois, - Tu ne I'es pas, Quatre, cinq, six, Va t'en d'ici. In Italy a form goes : — Pan uno, pan duo. Pan tre, pan quattro. Pan cinque, pan sei. Pan sette, pan otto, Pancotto ! C()UNTIX(U)UT UHYMKS. i.s And versions, all revealing a common origin, might he quoted in the languages of many more countries, hut we can employ our space to hetter jiurpose. With regard to the rhyme already quoted, heginning, " Eenity, feenity, fickety, feg," it has heen asked whether the second line, " El, del, domen, egg," would not warrant the conclusion that it sprang into exist- ence on the streets, and among the children, of Ancient Rome. Perhaps it did ; for who may say it did not ? There is that very common one all over Scotland, which, it will be remembered, that wonder- ful child, Marjorie Fleming, played off on Sir Walter Scott :— One-ery, two-ery, tickery, sjeven. Alibi, crackaby, ten and eleven ; Pin,. pan, nmsky dan ; Twxedle-um, twoddle-um, twenty-one ; Eerie, orie, ourie. You are out ! A similar formula, only in slightly varying words, is found in the folk-lore of almost every country in the world. Commenting on the opening line, the late Mr. Charles G. Leland, author of the Hans Breitimmn ballads, and an acknowledged authority on the language and customs of the Eastern Gypsies, sets against it a Romany stanza, used as a spell, beginning :— Ekkeri, akai-ri, you kiar-an, and remarks that " Ekkeri, akai-ri," literally translated, just gives the familiar " One-ery, two-ery," which Jis etymologically analogous to " Hickory, dickory," in the all-pervading nursery rhyme : — 44 COUNTING-OUT RHYMES. Hickory^ dickory, dock^ The mouse ran iij) the clock ; The clock struck one, and down the mouse ran, Hickory, dickory, dock. An American yersion of which, by the bye, goes : — Hiddlety, diddlety, dumpty. The cat ran up the plum tree ; Half-a-crown to fetch her down, Hiddlety, diddlety, dum})ty. But still, before leaying the familiar chapping-out rhyme of Marjorie Fleming, let us see how it occurs again in Scotland and among the children of some of the other English-speaking nations, to go no further. Charles Taylor, in the Magpie; or Chattcrings of the Pica, published at Glasgow in 1 820, gives it thus : — Anery, twaery, duckery, seven, Alama, crack, ten am eleven ; Peem, pom, it must be done. Come teetle, come total, come twenty-one ; and remarks : — " This is reported to have originated with the Druids ; the total number of words is twenty- one, and it seems to be a mixture of words put into rhyme." In the streets and lanes and open spaces of Aberdeen it runs : — Enery, twa-ery, tuckery, taven, Halaba, crackery, ten or eleven ; Peen, pan, musky dan, Feedelam, Fadelam, twenty-one. COUNTIN(;-()UT UHVMKS. 45 Jn the county of Wexford, in Ireland, it ^roes : One-ery, two-ery, dickery, Davy, Hallabone, erackabone, tenery, Navy ; Disconie, dandy, merry-conie-tine, Humbledy, bimibledy, twenty-nine, O-U-T, out. You nuist i>o out ! In the Midlands of England :— One-ery, two-ery, dickery, dee, Halibo, crackibo, dandilee ; Pin, ])an, muskee dan, Twiddledum, twaddledum, twenty-one ; Black fish, wiiite trout, Eeny, meeny, yoii go out. In Massachusetts, U.S., America : — Ena, deena, dina, dust, Catler, wheeler, whiler, whust ; Spin, spon, must be done, Twiddleum, twaddleum, twenty-one. In the island of Guernsey : — Eena, deena, dina, duss, Catalaweena, wina, w^uss ; Tittle, tattle, what a rattle, O-U-T spells out ! Another Scotch version : — One-ery, two-ery, tickery, ten, Bobs of vinegar, gentlemen ; A bird in the air, a fish in the sea ; A bonnie wee lassie come singing to thee. One, two, three I 46 COUNTING-OUT RHYMES. Of the "Eeny^ feenity^ fickety^ feg " rhyme, we find these evident varieties. This, said to be used in the West of Scotland : — Zeeny, meeny, fickety, fick, Deal, doll, dominick ; Zanty-panty, on a rock, toosh ! This in Cumberland : — Eeny, pheeny, figger}^, fegg, Deely, dyly, ham and egg. Calico back, and stony rock, Arlum, barium, bash ! In the United States : — Inty, minty, tippity, fig, Dinah, donah, norma, nig, Oats, floats, country notes ; Dinah, donah, tiz, Hulla-ballop-bulloo, Out goes you ! This curious one in Edinburgh : — Inty, tinty, tethery, methery. Bank for over, Dover, ding, Aut, taut, toosh ; Up the Causey, down the Cross, There stands a bonnie white horse : It can gallop, it can trot. It can carry the mustard pot. One, two, three, out goes she ! COUx\TING-OUT RHYMES. i; Again^ in Scotland : — Inky, pinky, })eerie-winkie, Hi domin I. Arky, parky, tarry rope, Ann, tan, toozy Jock. This is truly American — the first line of which, by the bye, is derived from, or is borrowed by, the College song, " King of the Cannibal Islands " : — Hoky pok}^, win^y wum. How do you like your 'taters done } Snip, snap, snorum. High popolorum, Kate go scratch it. You are out I That this also is from beyond the " i)ond " is evident : — As I was walking down the lake, I met a little rattlesnake. I gave him so mucK jelly-cake. It made his little belly ache. One, two, three, out goes she ! In the West of Scotland they sometimes say : — Ease, ose, man's nose ; Cauld parritch, pease brose. Forfarshire bairns say : — Eemer-awmer, Kirsty Gawmer, Doon i' Carnoustie, merchant-dale. Leddy Celestie, Sandy Testie, Bonnie poppy-show. You — are — out ! 48 COUXTING-OUT RHYMES. And elsewhere, but still in Scotland : — Eatum^ peatum, potinn, pie, Babylonie, stickum, stie, Dog's tail, hog's snout, I'm in, you're out. Or Eerie, orie, owre the dam. Fill your poke and let us gang ; Black fish and white trout. Eerie, orie, you are out. Another goes : — A ha'penny puddin', a ha'penny pie, Stand you there, you're out by. The last apjiears in Chambers' Popular Ehipnes of Scotland, which interesting collection embraces also the next two. First :— My grandfather's man and me fell out, How will we bring the matter about } We'll bring it about as weel as we can. And a' for the sake o' my grandfather's man. Second Master Foster, very good man. Sweeps his college now and than. After that he takes a dance Up from London dow^n to France, With a black bonnet and a white snout, Stand you there, you are out. i COUNTIXG-OUT RHYMES. 4C> 111 (xlasgow^ I am told, the next one used to l)e coinmon : — As I gaed iij) tlie aj)})]e tree A' the ap})les fell on me ; Bake a puddin', bake a pie, Send it up to John Mackay ; John Mackay is no in, Send it up to the man i' the mune ; The man i' the mune's mendin' his shoon, Three bawbees and a farden in. Also this :- As I went up the apple tree. All the apples fell on me ; Bake a puddin', bake a pie, Did you ever tell a lie } Yes I did, and many times. O-U-T, out goes she Right in the middle of the deep blue sea. And this Eerie, orie, ickery, am. Pick ma nick, and slick ma slam. Oram, scoram, pick ma noram, Shee, show, sham, shutter. You — are — out I In f^ngland and Scotland alike this has been used, with slight variations, for at least a hundred years : — As I went up the brandy hill, I met my father, wi' gude will ; He had jewels, he had rings. He had monv braw things ; 50 COUNTING-OUT RHYMES. He'd a cat and nine tails^ He'd a hammer wantin' nails. Up Jock^ doim Tam^ Blaw the bellows, auld man. The auld man took a dance, First to London, then to France. Another : — Queen, Queen Caroline, Dipped her hair in turpentine ; Turpentine made it shine. Queen, Queen Caroline. And yet another : — Tit, tat, toe. Here I go. And if I miss, I pitch on this. The following have long been in active use all over Scotland, if not also elsewhere : — Zeenty, teenty, halligo lum, Pitchin' tawties doun the lum. Wha's there ? Johnnie Blair. What d'ye want ? A bottle o' beer. Where's your money ? In my purse. Where's your purse ? In my pocket. Where's your pocket ? I forgot it. Go down the stair, you silly blockhead. You — are — out. Zeenty, teenty, alligo, dan, Bobs o' vinegar, gentleman, Kiss, toss, mouse, fat, Bore a needle, bum a fiddle, COUXTlX(;-()LT KUVMKS. Jink ma jeerie, jink ma jvc, Stand you there, you're out bye. One, two, tlnee, four, Jenny at tlie eottage door, Eating eherries aff' a plate, Five, six, seven, eight. Zeenty, teenty, feggerie fell, Pompaleerie jig. Every man who has no hair Generally wears a wig. Mistress Mason broke a basin, How^ much will it be ? Half-a-crown. Lay it down. Out goes she ! One, two, three, four, five, six, seven, All good children go to heaven ; When they die their sin's forgiven. One, two, three, four, five, six, seven. One, two, three, four, five, six, seven. All good children go to heaven : A penny by the water. Tuppence by the sea. Threepence by the railway. Out goes she ! Me and the minister's wife coost out. Guess ye what it was about ? Black puddin', dish-clout, Eerie, orrie, vou are out ! 52 COUNTING-OUT RHYMES. Master Monday, how's your wife ? Very sick, and like to die. Can she eat ? O yes. As much as I can buy. She makes the porridge very thin, A pound of butter she puts in, Black puddin', white clout. Eerie, orrie, you are out ! Inky pinky, my black hen Lays eggs for gentlemen ; Whiles ane, whiles tw^a. Whiles a bonnie black craw. One — tw^o — three, You — are — out ! Eeny, meeny, clean peeny. If you want a piece and jeely. Just walk out ! John says to John, How much are your geese ? John says to John, Twenty cents a-piece. John says to John, That's too dear ; John says to John, Get out of here ! Ching, Ching, Chinaman, How do you sell your fish ? Ching, Ching, Chinaman, Six bits a dish. COUNTING-OUT RUVMKS. 53 Chiiio-, Chin«r. Chiiiainan, Oil ! that's too dear ; Chin<?, Ching, Chinaman, Clear out of here ! Lemons and oranges^ two for a ])enny, I'm a good scholar that counts so many. The rose is red^ the leaves are green, The days are ])ast that I have seen. I doot, I doot, My fire is out. And my little dog's not at home : I'll saddle my cat, and I'll bridle my dog, And send my little boy home. Home, home again, home ! Jenny, good spinner. Come down to your dinner. And taste the leg of a roasted frog ! I pray ye, good people. Look owre the kirk steeple. And see the cat play wi' the dog ! Matthew, Mark, Luke, John, Haud the horse till I win on ; Haud him siccar, haud him fair, Haud him by a pickle hair. One, two, three. You are out ! Around the house, arickity-rary, I hope ye'll meet the green canary : You say ay, I say no. Hold fast— let go ! 54 COUNTING-OUT RHYMES. Scottie Malottie, the king o' the Jews^ Sell't his wife for a pair o' shoes ; When the shoes began to wear Scottie Malottie began to swear. In Dundee these hnes are added to the " Eenity feenity " rhyme : — Jock out, Jock in^ Jock through a hickle-pin. Eetle-ottle^ black bottle ; Eetle-ottle, out ! ThiS;, more commonly used as a test of truth-telling (little fingers being linked while it is uttered)^ is also used on the East Coast as a counting-out rhyme : — I ring^ I ring, a pinky ! If I tell a lie I'll go to the bad place Whenever I die. White pan, black pan. Burn me to death, Tak' a muckle gully And cut my breath. Ten miles below the earth. Amen ! But these all, of course, as already stated, have been delivered and acted, as they are still, rather as a pre- lude to the more elaborate games designed to follow than as a part of them, and to afford designedly the opportunity of deciding emphatically who shall be "it" or " takkie." CHILDREN'S RHYME-GAMES. When by the aid of the " chappino-oiit " rhyme it has been decided who should be '' it," the game to follow may be " Single Tig/' " Cross Tig/' " Burly Bracks Round the Stacks/' " Pussie in the Corner/' " Bonnety," '' The Tod and the Hounds/' " I Spy/' " Smuggle the Keg/' "Booly Horn/' ^^Dock/' "Loup the Frog/' "Foot and a Half/' " Bools/' " Pitch and Toss/' or any one of another dozen^ all of which are essentially boys' games, and have no rhymes to enliven their action. But if it is to be a game in which both sexes may equally engage, or a game for girls alone, then almost certainly there is a rhpne with it. Somehow girls have always been more musical than boys, even as in their maturer years they are more frequently the subject of song than their confreres of the sterner sex. " Peever/' " Tig," and " Skipping Rope," are indeed^ so far as I can recall at the moment, about all of the girls' commoner games which are played without the musical accompaniment of line and verse. Their rhyme-games, on the other hand, are legion, and embrace " A Dis, a Dis, a Green Grass," "The Merry-Ma-Tanzie," "The Mulberry Bush," " Carry My Lady to London/' " I Dree I Dropj)it It," " Looby- Looby," and ever so many more. Like the counting-out rhpnes, the game-rhymes are found in only slightly differing forms in widely divided 56 CHILDREN'S RHYME-GAMES. countries and places. But ever alike^ they are never quite the same. The " Merry-Ma-Tanzie/' for instance, though always the same in name, will be found with varying lines in almost every town and village in Scot- land even. There are variants equally, I suppose, of all. " Merry-ma-Tanzie " is solely a girls' game, of which boys, however, may be interested spectators. The counting-out rhyme having put one in the centre, the rest join hands in a ring about her, and moving slowly round, they sing : — Here we go round the jingo-ring. The jingo-ring, the jingo-ring. Here we go round the jingo-ring. About the merrv-ma-tanzie. •f Twice about and then - fa'. Then we fa', then - fa'. Twice about and men we fa,',. About the merr3^-ma-tanzie. Choose your maidens all around. All around, all around. Choose your maidens all around. About the merry-ma-tanzie. Replying to this invitation, the one in the centre chooses two from the circle, and retires with them a short distance away. During their absence the ring- band jH'oceeds as before, and sing with imitating Sweep the house ere the bride comes in. The bride comes in, the bride comes in. Sweep the house ere the bride comes in. About the merry-ma-tanzie. CHILDREN'S RHYME-GAMES. -,? When those who left return, the one who was in tlie eentre takes up her original position, as also do tin* others^ and the ring- moves on again with : — Here's a bride new eome hanie^ New come liame^ new eome hame ; Here's a bride new come hame, About the merry-ma-tanzie. Then follows " Mary Anderson is her name," with the usual repeats, and " Guess ye wha is her true love," " A bottle o' wine to tell his name," " Andrew Wilson is his name," "Honey is sweet and so is he," (or '^Apples are sour and so is he,") " He's married her wi' a gay gold ring," " A gay gold ring's a cank'rous thing," " But now they'x-e married we wish them joy," " Father and mother they nii / obey," " Loving each other like sister and >rother," * "' ' ^ pray this couple may kiss together," all, uf course, sung with their re})eats as a^-'^vc ; and the game may be played until every little girl .. revealed her little sweetheart's name, which, to be sure, is the luotif of the i:>lay. '^^The Mulberry Bush," which goes to the same air as '' Merry-Ma-Tanzie," and is in some places called "The Mulberry Tree," and in others "The Gooseberry Bush," is yet more of an action game. The arrange- ment is again in a ring, and, moving round hand-in-hand, all sing : — Here we go round the mulberry bush. The mulberry bush, the mulberry bush ; Here we go round the mulberry bush. On a cold and frosty morning. 58 CHILDREN'S RHYME-GAMES. Stopping short with a curtsey at the conchision and disjoining hands, they stand, and imitating the process of hand-washing, they sing : — This is the way we wash our hands, Wash our hands, wash our hands. This is the w^ay we wash our hands. On a cold and frosty morning. All joining hands again, they go round as before, singing — " Here we go round the mulberr}^ bush," and so on, which is repeated regularly after each action- verse on to the end. The opening lines of the action- verses alone may be oiven here to suffffest the whole. They are : — " This is the way we lace our stays." '' This is the way we comb our hair." " This is the ^vay we walk to school." '' This is the way we return from school." " This is the way the ladies walk." " This is the way the gentlemen walk." "A Dis, A Dis, A Green Grass," is so simple it is a favourite generally with very little ladies. And there are different forms of the game, both in Scotland and England, if not also in other countries. The more common way, however, is for the children to stand all in a row, and, when the counting-out rhyme has been applied once and again, the two who have been " hit out " face u}) together hand-in-hand in front, and, advancing and retiring, sing : — A dis, a dis, a green grass, A dis, a dis, a dis ; Come all ye pretty fair maids. And dance along with us. CHILDREN'S RHYMJvCJAMlvS. .-,(> For we are goin<»- a-roving,, A-roving- o'er tlie land ; We'll take this })retty fair maid^ We'll take her by the hand. This sung-^ they select a girl from the grouj), who joins on either side^ as she is directed, and the song con- tinues, bearing now the comforting assurance to the one chosen : — Ye shall have a duck, my dear. And ye shall have a beau ; And ye shall have a young prince By chance to marry you. And if this young prince he should die, Then ye w^ll get another ; And the birds will sing and the bells will ring, And w^e'll all clap hands together. Having all joined in the last two verses, all claj) hands together. And the same process is repeated again and again until the last of the '^^ pretty fair maids " is taken over from the row, when the game is ended — though it may be but to begin again as the desire is expressed and supported. Some one, to be sure, may suggest " Looby-Looby," which has but to be named when all are ready and eager. A ring is formed, when all join hands and dance round singing : — Here we go looby-looby. Here we go looby light Here we go looby-looby Every Saturday night. 60 CHILDREN'S RHYME-GAMES. Why on Saturday nights only I don't know, and it would be futile, I suppose, to inquire. Anyway, with the expression of the last word they all instantly disjoin hands, and, standing each in her place, they sing the next verse, suiting the action to the word : — Put your right hand in. Take your right hand out ; Shake it, and shake it, and shake it. And turn yourself about. As the last line is being sung each one wheels rapidly round by herself, then hands are joined again, and they scurry round in a ring as before, singing : — Here we go looby-looby. Here we go looby light ; Here we go looby-looby Every Saturday night, and so on, the "looby-looby" coming in regularly between each of the action-verses, which are varied by "left hand in" and "out," and "right foot in" and "out," and "left foot in" and "out," "noses," "ears," etc., etc., the game finishing only when the anatomy of the players has been exhausted. " I Dree I Droppit It " calls for a mixture of the sexes, and when the numbers are even — ^or as nearly as chance affords — the players are ranged in a ring, a boy and girl alternately facing inwards with a space between each. The one who is "chapped out" — say it is a girl — goes tripping round the others' backs, with a handkerchief dangling in her hand, singing the while : — CHILD RflN'S RHYME-GAM KS. (ii I sent a letter to iiiy love, And by the way I {lropj)it it, I dree, I dree, I dro})j)it it, I dree, I dree, I drojipit it ; I sent a letter to my love. And by the way I dro})})it it. There's a wee, w^ee doggie in our eot-neuk, He'll no bite you, he'll no bite you ; There's a wee, wee doggie in our cot-neuk. He'll no bite you — nor you — nor you — nor you, and so forth, until at length she drops the handker- chief stealthily at the heel of one of the little boys, saying "but you," and bolts round this player, round that one, in here, out there, and away ! And the boy, who has first to pick up the handkerchief, gives chase, pursuing her exactly in the course which she may choose to take. If he makes a wrong turn, by that fact he is "out," and must take her place; but if he pursues her correctly and overtakes her, he may claim a kiss for his pains, for which heroism he will receive the applause of the crowd ; and the girl — suffused with blushes, as it may be — must try and try again — indeed, try until she proves herself more agile than her pursuer, whom, of course, she is always free to choose. When at length — as come it will some time — her effort is successful, she takes her victim's })lace in the ring, and he takes hers on the outside of it. And thus the play may go on — boy and girl about — as long as time and energy will permit. As for "Bab at the Bowster " (more generally pronouMced " Babbity Bowster"), I am not sure but that grown people have engaged in it more than wee 62 CHILDREN'S RHYME-GAMES. folks have. Indeed^ it is not improbable that the young borrowed this originally from the old, by observ- ation. Now-a-days, undoubtedly, we know it exclus- ively as a child's play. But yet, within the memory of living men, it was the regular custom in country places nearly over all Scotland to wind up every dancing-ball with " Bab at the Bowster." No wedding dance, no Handsel Monday ball, would have been esteemed complete without it ; and I have seen it performed at both, less than forty jxars ago. Per- formed by old or young, however, the mode is the same. The girls sit down on one side of the barn or square, the boys on the other. A boy takes a handker- chief — it is regularly a male who starts this play — and while dancing up and down before the girls, all sing : — Wha learned you to dance, Bab at the bowster, bab at the bowster ; Wha learned you to dance, Bab at the bowster brawly ? My minnie learned me to dance, Bab at the bowster, bab at the bowster ; My minnie learned me to dance, Bab at the bowster brawly. Wha ga'e you the keys to keep, Bab at the bowster, bab at the bowster ; Wha ga'e you the keys to keep, Bab at the bowster brawly ? My minnie ga'e me the keys to keep, Bab at the bowster, bab at the bowster ; My minnie ga'e me the keys to keej), Bab at the bowster brawly. CHILDREN'S UHVMK-(;A.M1:S. fj;} Kneel down and kiss tlie ground, Kiss the ground, kiss tlie orouiid ; Kneel down and kiss the ground. Kiss the bonnie wee lassie. By the time the last verse has been reached the boy has fixed on his partner, and at the eonnnand to " kneel down and kiss the ground " he spreads tile handkerchief on the floor at the girl's feet, on which both immediately kneel. A kiss ensues, even though it should be obtained after a struggle ; then the l)oy marches away round and round followed by the girl, while all again sing the song. By the time the last verse is again reached, the girl in turn has selected the next boy, but does not kneel down before him. She simply throws the handkerchief in his lap, and inmiediately joins her ow^n partner by taking his arm. If, however, she can be overtaken before she joins her partner, a penalty kiss may be enforced. Second boy selects second girl as the first did the first girl, and pair after jiair is formed in the same fashion until all are up and marching arm-in-arm round the room, or square, when the game is finished. At adult assem- blies, I should state, even as the company paired in this dance, they departed for home, " The Wadds " is another game in which grown folks no less than children may engage, and wliich, like " Bab at the Bowster," is essentially a house game. Its mode is for the players to be seated round the hearth, the lasses on one side and the lads on tlie other. One of the lads first chants : - O, it's hame, and its hame, it's hame, hame, hame, I think this nicht I maun gang hame. 64 childrp:n's RHYME-GAMES. To wliich one of the opposite party responds : — Ye had better hcht^ and bide a' nicht^ And I'll choose ye a partner bonnie and bricht. The first speaker again says : — Then wha wad ye choose an' I wad bide ? Answer : — The fairest and best in a' the countryside. At the same time })resenting a female and mentioning her name. If the choice is satisfactory, the male player will say : — I'll set her up on the bonnie pear tree. It's straucht and tall and sae is she ; I wad wauk a' nicht her love to be. If, however, the choice is not satisfactory, he may reply : — I'll set her up on the auld fael dyke. Where she may rot ere I be ripe ; The corbies her auld banes wadna j^yke. Or (if the maiden be of surly temper) : — I'll set her up on the high crab-tree, It's sour and dour, and sae is she ; She may gang to the mools unkissed for me. But he may decline civilly, by saying : — ■ She's for another, she's no for me, I thank ye for your courtesie. A similar ritual is gone through with respect to one of the gentler sex, where such rhymes as the following CHILDREN'S RHYMK-CiAM KS. (J:, are used. In the ease of a('ee\|)tancc the l;i(l\ will say : — I'll set him u]) at my table-head. And feed liim there wi' milk and hrrad. Whereas^, if the projiosal is not agreeable, her r())ly may be : — I'll put him on a riddle, and blaw him owrc the sea, Wha will buy [Jamie Paterson] for me ? Or:— I'll set him up on a high lum-heid, And blaw 'im in the air wi' })oother and lead. A refusal on either side must, of course, be atoned for by a "wadd/' or forfeit — which may consist of a ])iecc of money, a knife, a thimble, or any little article which the owner finds convenient for the })ur})Ose. Then, when a sufficient number of persons have made forfeits, tlie business of redeeming them commences, which may afford any amount of amusement. He, or she, as the case happens, may be ordered to " kiss the four corners of the room ; " " bite an inch off tlie poker ; " " kneel to the prettiest, bow to the wittiest, and kiss the one lie (or she) loves best," or any one of a dozen similarly silly ordeals, as the doomster jiroposes, may have to be gone through. When the forfeits have all been redeemed the game is ended. Similar to the foregoing, in some res])ects, is " The Wadds and the Wears," which John Mactaggart, the writer of The Gallovidian Km-i/clopa'dia, describes as (in his day) " the most celebrated anuisement of the ingle-ring " in the south-west of Scotland. As in the 66 CHILDREN'S RHYME-GAMES. " Wadds/' the players are seated round the hearth. One in the ring (says Mactaggart), speaks as follows : — I hae been awa' at the wadds and the wears^ These seven lang years ; And's come hame a piiir broken ploughman ; What will ye gie me to help me to my trade ? He may either say he's a '^ puir broken ploughman/' or any other trade ; but since he has chosen that trade, some of the articles belonging to it must always be given or offered, in order to recruit him. But the article he most w^ants he jn'ivately tells one of the party, who is not allowed, of course, to offer him any- thing, as he knows the thing, w^iich will throw the offerer in a wadd, and must be avoided as much as possible — for to be in a wadd is a very serious matter, as shall afterwards be explained. Now the one on the left hand of the poor ploughman makes the first offer, by way of answ^er to what above was said : "^ I'll gie ye a coidter to help ye to your trade." The ploughman answers, " I don't thank ye for your coulter, I hae ane already." Then another offers him another article belonging to the ploughman's business, such as the viool-hrod, but this also is refused ; another, perhaps, gives the sock, another the stilts, another the spattle, another the naigs, another the naig-graiik, and so on ; until one gives the soam, w^hich was the article he most wanted, and was the thing secretly told to one, and is the thing that throws the giver in a wadd, out of w hich he is relieved in the following manner : — The j)loughman says to the one in the wadd, " Whether will ye hae three questions and twa com- mands, or three commands and twa questions, to answer or gang on wi', sae that ye may win oot o' the wadd ? " n CHILDRKN'S KHVM IvCA.M I :s. f,7 For the one so fixed has always the choice whidi (.f these alternatives to take. Su})})osc he takes the first, two commands and three questions, then a s))eeiiiieii of these may run so : — "1 command ye to kiss the crook," savs the i)l()iii;h- man, which nuist be completely obeyed bv tlie one in the wadd — his naked lips must salute the .voo/// ini\|)K- ment. "Secondly," saith the ploughman, "I command ye to stand u]) in that neuk, and say — ' Here stan' I, as stiffs a stake^ Wha'll kiss me for pity's sake ? ' " Which must also be done ; in a corner of the house must he stand and repeat that couplet, till some tender- hearted lass relieves him. Now for the questions which are most deeply laid, or so touching to him, that he finds much difficulty to answer them. " Firstly, then, Suppose ye w ere sittin' aside Maggie Lowden and Jennie Logan, your twa great sweethearts, what ane o'm wad ye ding ower^ and what ane wad ye turn to and clap and cuddle } " He makes answer by choosing Maggie Lowden, perha})S, to the great mirth of the })arty. " Secondly, then, Su})pose \o\i were standin' oot i' the cauld, on the tap o' Cairnhattie, whether wad ye cry on Peggie Kirtle or Nell o' Killimingie to come wi' your plaid ? " He answers again in a similar maimer. " Lastly, then. Suppose you were in a boat wi' Tibbie Tait, Mary Kairnie, Sallie Snadrap, and Kate o' Min- nieive, and it was to cowp wi' ye, what ane o'm wad ye sink ? what ane wad ye soom ? wha wad ye bring to Ian' ? and wha wad ye marry } " Then he answers 68 CHILDRI:N'S RHYME-GAMES. again^ to the fiiii of the company^ jjerhaps^ in this way, " I wad sink Mary Kairnie, soom Tibbie Tait, bring; Sallie Snadrap aneath my oxter to Ian', and marry sweet Kate o' Minnieive." And so ends that bout at the wadds and the wears. But the games engaged in exchisively by the " wee folks " are the really delightsome ones. Such is " The Widow of Babylon," the ritual of which, less elaborate, resembles that of " Merry-Ma-Tanzie," though the rhymes are different. Girls only play here. One is chosen for the centre. The others, with hands joined, form a ring about her, and move round briskly, sing- ing :— Here's a poor widow from Babylon, With six poor children all alone ; One can bake, and one can brew. One can shape, and one can sew. One can sit at the fire and spin. One can bake a cake for the king ; Come choose you east, come choose you west, Come choose the one that you love best. The girl in the middle chooses one from the ring, naming her, and sings : — I choose the fairest that I do see, [Jeanie Anderson] come to me. The girl chosen enters the ring, communicating the name of her sweetheart, when those in the ring resume their lightsome motion, and sing : — Now they are married, I wish them joy, P^very year a girl or boy ; Loving each other like sister and brother, I pray this couple may kiss together. CHILDREN'S UHYMK-CAMIvS. (i\|) Tlie girls within tlu- rino- kiss. Tlic one who (irst occupied the circle then joins the rino-, while the last to come in enacts the ])art of mistress; and so on the oame aoes until all liave had their turn. " London Bridgp: " is a well-known and widely played game, though here and there with slightly differing rhymes. Two children — the tallest and strongest;, as a rule — standing face to face, hold up their hands, making the form of an arch. The others form a long line by holding on to eacli other's dresses, and run under. Those running sing the first verse, while the ones forming the arch sing the second, and alternate verses, of the following rhyme : — London bridge is fallen down, Fallen down, fallen down ; London bridge is fallen down. My fair lady. Question. — What will it take to build it up? (With repeats.) Answer. — Needles and })reens will build it u)). Question. — Needles and preens will rust and bend. Answer. — Silver and gold will build it up. Question. — Silver and gold will be stolen away. Answer. — Build it u}) with penny loaves. Question. — Penny loaves will tumble down. Answer. — Bricks and mortar will build it uj). Question. — Bricks and mortar will w^ash away. Answer. — We will set a dog to bark. Question. — Here's a prisoner we have got. At the words " a prisoner," the two forming the areh apprehend the passing one in the line. and. holding her fast, the dialogue resumes : — 70 CHILDREN'S RHYME-GAMES. Answer. — Here's a prisoner we have got. Question. — What's the prisoner done to you ? Answer. — Stole my watcli and broke my chain. Question. — What will you take to set him free } Answer. — A hundred pounds will set him free. Question. — A hundred pounds I have not got. Answer. — Then off to prison you must go. Following this declaration, the prisoner is led a dis- tance away from the rest by her jailers^ where the questions are put to her^ whether she will choose " a gold watch/' or "a diamond necklace." As she decides she goes to the one side or the other. When, in like manner, all in the line have chosen, a tug-of-war ensues, and the game is ended. " The Jolly Miller." — In this the players take partners — all except the miller, who takes his stand in the middle, while his companions walk round him in couples, singing : — There was a jolly miller, who lived by himself. As the wheel w^ent round he made his wealth ; One hand in the hopper, and the other in the bag. As the wheel went round he made his grab. At the word "grab," every one must change partners. The miller then has the opj^ortunity of seizing one : and if he succeeds in so doing, the one necessarily left alone must take his place, and so on. "Willie Wastle " is essentially a boy's game. One standing on a hillock or large boulder, from wliich he defies the efforts of his companions to dislodge him, exclaims, by w^ay of challenge : — cHiLDRKX's rhvmk-c;amks. n I, Willie Wastle, Stand on my castle, And a' the dogs o' your toim, Will no ding Willie Wastle doiiii. The boy who succeeds in dislodoini) him takes his place, and so on. "Oats and Beans and Barley," a simple but ])retty game, is played all over England, as well as in most parts of Scotland, with varying rhymes. In Perthshire the lines run : — Oats and beans and barlev ffrows, Oats and beans and barlev grows ; But you nor I nor nobody knows How oats and beans and barley grows. First the farmer sows his seeds. Then he stands and takes his ease ; Stamps his feet, and claps his hands^ Then turns around to view his lands. Waiting for a })artner. Waiting for a partner ; Open the ring and take one in. And kiss her in the centre. The players form a ring by joining hands. One child — usually a boy — stands in the middle. The ring moving round, sing the first four lines. These ct)m- pleted, the ring stands, and still singing, each })layer gives suitable action to the succeeding words ; showing how the "farmer sows his seeds," and how he "stands and takes his ease/' etc. At the tenth line all wheel round. They then re-join hands, still singing, and at 72 CHILDREN'S RHYME-GAMES. the words^ '' Open the ring and take one in/' the child in the middle chooses from the ring a partner (a girl, of course), whom he leads to the centre and kisses as requested. The two stand there together, while the ring, moving again, sing the marriage formula : — Xow you're married, you must obey. Must be true to all you say ; You must be kind, you must be good. And help your wife to chop the wood. " HoRNiE Holes" is a boys' game in which four play, a })rincipal and assistant on either side. A stands with his assistant at one hole, and throws what is called a "cat" (a piece of stick, or a sheep's horn), with the design of making it alight into another hole at some distance, at which B stands, with his assistant, to drive it aside with his rod resembling a walking-stick. The following unintelligible rhyme is repeated by a player on the one side, while they on the other are gathering in the "cats." This is attested by old people as of great antiquity : — Jock, S})eak, and Sandy, Wi' a' their lousie train. Round about by Edinbro', Will never meet again. Gae head 'im, gae hang 'im, Gae lay him in the sea ; A' the birds o' the air Will bear 'im companie. With a nig-nag, widdy — (or worry) bag. And an e'endown trail, trail. Quo' he. CHILDRFA'S HHVM K-CAMKS. T.S The Craw admits of a good deal ol" li\(l\ exercise, involving, as Dr. Chambers remarks, no more tliaii a reasonable portion of violence. One boy is selected to be craw. He sits down n])on the ground, and he and another boy then lay hold of the two ends of a long stra}) or twisted handkerchief. The latter also takes into his right hand another hard-twisted handkerchief, called the Coui, and runs round the craw, and with the cout defends him against the attack of tiie other bovs, who, with similar couts^ use all their agility to get a slap at the craw. But, before beginning, the guard of the craw must er}' out : — Ane, twa, three — my eraw's free. And the first whom he strikes becomes craw, the former craw then becoming guard. When the guard w ants respite, he must cry : — Ane, twa, three — my craw's no free. " Neevie-neevie-nick-nack," — A lottery game, and confined to boys, is of simple movement, but convenient in this — that only two jilayers are required. They stand facing each other, the leader whirling his two closed fists, one containing a prize, the other empty, Avhile he cajoles his opponent with the rhyme^ Neevie-neevie-nick-nack, Whilk hand will ye tak' — The richt ane or the wTang, I'll beguile ye gin I can } If he guesses correctly, he gains the })rize. If he misses, he has to equal the stake. Until success falls to the second, the original j)layer continues the lead. / 6 ' 74 CHILDREN'S RHYME-GAMP:S. •^•^ Blind Man's Buff/' though not a rhyme-game, is yet so well known it is worth mentioning for the mere purpose of telling its story. Like many more such — if we only knew how — it is based on fact. It is of French origin, and of very great antiquity, having been intro- duced into Britain in the train of the Norman con- querors. Its French name, " Colin Maillard," was that of a brave warrior, the memory of whose exploits still lives in the chronicles of the Middle Ages. In the year 999 Liege reckoned among its valiant chiefs one Jean Colin. He acquired the name Maillard from his chosen weapon being a mallet, wherewith in battle he used literally to crush his oj)ponents. In one of the feuds which were of jjerpetual recurrence in those times, he encountered the Count de Lourain in a pitched battle, and — so runs the story — in the first onset Colin Maillard lost both his eyes. He ordered his esquire to take him into the thickest of the fight, and, furiously brandishing his mallet, did such fearful execution that victory soon declared itself for him. When Robert of France heard of these feats of arms, he lavished favour and honours upon Colin, and so great was the fame of the exploit that it was com- memorated in the pantomimic representations that formed part of the rude dramatic performances of the age. By degrees the children learned to act it for themselves, and it took the form of a familiar sport. The blindfold })ursuer, as with bandaged eyes and extended hands he gropes for a victim to jjounce upon, seems in some degree to repeat the action of Colin Maillard, the tradition of which is also traceable in the name, "blind man's buff." CHILDKKXS HHV.Mi:-(;AMi:s. 7:, "Water Wallflower." — All slioiild know tins game^ which is more commonly played by very small misses. Formiii;- a rin<j-^ all join hands and dance, or move slowly round, sinoino; : — Water, water wallflower, growing- uj) so high, We are all maidens, and we must all die, Excepting [Nellie Newton], the youngest of us all, She can dance and she can sing, and she can knock us all down. Here all claj) hands, with the exception of the one named, who stands looking abashed, while the others sing : — Fie, fie, fie, for shame. Turn your back to the wall again. At the command, she who has been named turns, so that she faces outwards now, with her back to the centre of the ring ; though she still clas])S hands with those on either side, and continues in the moyement, singing with the others. When all in like manner have been chapped out, and are facing the oi)en, the srame is finished. " The E,mperor Napoleon " is a little game which affords, inyariably, a good deal of fun. Again, as so commonly, the form is in a ring, and all go round, singing; : — The Emperor Napoleon has a hundred thousand men. The Emperor Napoleon has a hundred thousand men, The Emperor Napoleon has a hundred thousand men. As he goes marching along. 76 CHILDREN'S RHYME-GAMES. In each successive singing of the verse, one syllable after another in the main line, beginning at the far end, is left out — or at least is not spoken — the blank, or blanks, as it happens latterly, having to be indicated merely by nods of the head. As each player makes a mistake, by speaking, instead of nodding, or vice versa, she pays a forfeit and drops out. The play goes on till all have fallen. "A' THE Birdies i' the Air," purely Scotch, is a simpler form merely of '' London Bridge." Two players, facing each other, hold up their hands to form an arch, and call the formula : — A' the birdies i' the air Tick-to to my tail. The others, who may be running about indiiferently, decide in time which side they will favour, and when each and all have chosen which cham])ion they will support, and have taken their places at her back, a tug-of-war ensues. Afterwards the victors chase the vanquished, calling, " Rotten eggs ! rotten eggs ! " and the game is ended ; to be followed perhaps by "Through the Needle-e'e, Boys," played also to some extent in the form of " London Bridge," and much resembling "Barley Break," a i)astime of high- born lords and ladies in the time of Sir Philip Sydney, who describes it in his Arcadia. The boys first choose sides. The two chosen leaders join both hands, and raising them high enough to let the others pass through below, they sing : — CHILDHFA'S HIIVMIvCA.MI'.S. 77 Brotlier [.loliii], it' vf'll he uiiiic, I'll gie you a olass o' wiiR- : A olass o' wine is good and fint-, Throiigii the nt'edlc-e'e, hoys. Letting their arms fall, they enelose a boy, and ask him to which side he will belong, and he is disposed according to his own decision. The ])arties being at length formed, are separated by a real or iniaginary line, and place at some distance behind them, in a heap, their jackets, caps, etc. They stand opj)osite to each other^ the object being to make a successful incursion over the line into the enemy's country, and bring off ])art or w^hole of the heap of clothes. It requires address and swiftness of foot to do so without being taken prisoner by the foe. The winning of the game is decided by which })arty first loses all its men or all its proj)erty. At Hawick, where this legendary mimicry of old Border warfare peculiarly flourishes, the boys are accustomed to use the following lines of defiance : — King Covenanter, come out if ye daur venture ! Set your feet on Scots ground, P'.nglish, if ye daur I " King Henry " somewhat resembles " I dree I droppit it ; " only, instead of standing, the girls forming the ring sit, or rather crouch in a sort of working-tailor attitude. One girl, occuj)ying the centre, is " it." A second girl is on the outside. Immediately the ring begins singing the rhyme : — King Henry^ King Henry, Run, boys, run ; You, with the red coat. Follow with the drum^ 78 CHILDREN'S RHYME-GAMES. the one on the outside is pursued by the girl from the centre. The rhyme may be repeated as often as the ring decides ; but the object of the one who is " it " is to overtake and "tig" the other before the singing ceases. Otherwise she remains unreheved, and must try^ and try, until she succeeds in getting out, and putting another in her place ; and so on. "The Blue Bird/' played by very small children, is rather pretty. The rhyme is : — Here comes a [blue] bird through the window, Here comes a [blue] bird through the door ; Here comes a [blue] bird through the window, Hey, diddle, hi dum, day. Take a little dance and a hop in the corner. Take a little dance and a hop in the floor ; Take a little dance and a hop in the corner. Hey, diddle, hi dum, day. The players dance round in a ring. One previously, by the process of a chapping-out rhyme, being made ^^it," goes first outside, then into the centre. Her business now is to decide who shall succeed her ; and according as the colour-word in the rhyme — red, blue, green, or yellow, etc. — corresponds with the dress of all the individual players in the successive singing, the ones spotted successively take their place in the centre, and the process goes on, of course, until all have shared alike in the game. "When I was a Young Thing," of simple though pretty action, has had a w ide vogue. Its rhyme goes : — When I was a young thing, A young thing, a young thing ; CHILDRF.X'S RHYMK-(;AM1:s. Tf, When I was a youiio- thiiio. How liap])y was 1. 'Twas this way, and tliat way, And this way, and tliat way ; When I was a young thing. Oh, this way went I. When I w^as a school-girl, etc. When I was a teacher, etc. • When I had a sweetheart, etc. When I had a husband, etc. When I had a baby, etc. When I had a donkey, etc. When I took in washing, etc. When my baby died, oh died, etc. When my husband died, etc. The players, joining hands, form a ring, and dance or walk round singing the words, and kee})ing tlie ring form until the end of the fourth line in each successive verse, when they unclasp, and stand still. Each child then takes hold of her skirt and dances individually to the right and left^ making two or three steps. Then all walk round singly, singing the second four lines, and making suitable action to the words as thev sing and go : the same form being continued throughout. Still simpler is "Carry mv Lady to London." In this game two children cross hands gras))ing each other's wrists and their own as well — thus forming a seat, on which a third child can be carried. When hoisted and in order, the bearers stc]) out singing : — 80 CHILDREN'S RHYME-GAMES. Gie me a needle to stick i' my thoom To carry my lady to London ; London Bridge is broken down. And I must let my lady down. Each child is thus carried in turn. "ABC" is a spirited game, admirably adapted for indoor practice on a wet day, w^hich is played by child- ren seated round a table, or at the fireside. One sings a solo — a verse of some nursery rhyme. For instance : Hey, diddle, diddle. The cat and the fiddle. The cow jumped over the moon ; The little dog laughed To see such sport. And the dish ran away with the spoon. The chorus of voices takes up the tune, and the solo is repeated ; after which the alphabet is sung through, and the last letter, Z, is sustained and repeated again and again, to bother the next child, whose turn it now is to sing the next solo. The new solo must be a nursery rhyme not hitherto sung by any of the com- pany. If unable to supply a fresh rhyme wdthin a fixed limit, the player stands out of the game and pays a forfeit. Less brain-taxing entertainments often engage adult wits. "My Theerie and my Thorie," with a political significance, is a game widely played. In one place it is known as " Cam a teerie arrie ma torry ; " in another, "Come a theory, oary mathorie ; " in yet another, "Come a theerie. Come a thorie ; " or it may be, as in Perthshire, " My theerie and my thorie." And even as CHILDRFA'S RHV.MK-CAMI'.S. si the refrain varies^ so do tlu- rliynu's. lint the action is generally the same. The ])layers divide into two sides of about equal number, in lines faeino- each other. Moving forwards and baekwards the sides sin<. xcrse about of the following rhvme : — Qi(es/i()fL — Have you any bread and wine, Bread and wine, bread and wine ; Have you any bread and wine. My theerie and my thorie ? Answer. — Yes, we have some bread and wine^ Bread and wine, bread and wine, Yes, we have some bread and wine. My theerie and my thorie. Question. — We shall have one glass of it, ete. A7isfrer. — One glass of it you shall not get, ete. Question. — We are all King George's men, ete. Answer. — What care we for King George's men, etc. Question. — How many miles to Glasgow Lee } etc. Answer. — Sixty, seventy, eighty-three, etc. Question. — Will I be there gin candle-lieht ? etc-. Answer. — Just if your feet be clean and slicht, etc. Question. — Open your gates and let me through, etc. Answer. — Not without a beck and a boo. Rep/i/.- — There's a beck and there's a boo. Open your gates and let me through. A struggle ensues to break throuoh each other's lines, and reach a fixed goa arrive being the victors. and reach a fixed goal on either side — the first to & " Glasgow Ships " is a simjile but })retty game. .Ml join hands, forming a ring, and, moving round, sing : 82 CHILDREN'S RHYME-GAMES. Glasgow ships come sailing in, Come sailing in, come sailing in ; Glasgow ships come sailing in On a fine summer morning. You daurna set your fit upon. Your fit uj)on. your fit upon ; You daurna set your fit upon. Or Gentle John will kiss you. Three times will kiss you ; Four times will bless you ; Five times butter and bread Upon a silver salver. Who shall we send it to ? Send it to, send it to ; Who shall we send it to ? To Mrs. [Thomson's] daughter Take her by the lily-white hand. Lead her o'er the water ; Give her kisses, one, two, three, She's the favourite daughter. Braw news is come to town, Braw news is carried ; Braw news is come to town, [Maggie Thomson's] married. First she got the kail-}3ot. Syne she got the ladle ; Syne she got a dainty wean. And syne she got a cradle. CHILDRKN'S UHVMIvCAMllS. s:{ The girl named turns her hack to the ceiilrc of tin rino-, and the game is resumed. When all in like manner have been named and have turned, the "soo's race " ensues : a liurry-seurry round which continues until some one falls, and the game ends by all tumbling in a eonfused heap. '' Airlie's Green/' played by boys and girls alike, has })erhaps had its greatest vogue in Strathmore. A space is set apart for the " green," u])on whieii he, or she, who is " Airlie " takes his, or her, stand. Tlie plav begins by the crowd encroaching on the " green/' wlien all but '' Airlie " sing : — I set my fit on Airlie's green, And Airlie canna tak' me : I canna get time to steer my brose For Airlie trying to catch me. '^'^ Airlie's " object is to '^tig ' one within the boundary. The player touched takes his, or her, place, and the game may proceed thus as long as desired. •• Het Rowes and Butter Cakes/' in some places called '' Hickety, Bickety/' is a purely boy s game. One stands with his eyes bandaged, and his hands against a wall or post, with his head resting uj)on tliem. One after another his fellows come up unnamed behind him, laying hands on his back ; and the rhyme is repeated by all in chorus : — Launchman, launchman, lo. Where shall this poor Scotchman go ? Will he gang east, or will he gang west. Or will he gang to the hoodiecraw's nest ? 84 CHILDRENVS RHYME-GAMES. The '' hoodiecraw's nest " is the space between the bhndfolded one's feet and the wall. When all have been sent to different places around^ he w ho is " it " removes the bandage from his eyes ; and when all are ready he gives the call — " Het rowes and butter cakes ! " when all rush back to the spot whence despatched. The last to arrive is " it ; "' and the game goes on as before. Where played as " Hickety, Bickety/' the rhyme is : — Hickety^ bickety, pease scone^ Where shall this poor Scotchman gang } Will he gang east;, or will he gang w^est ; Or will he jjanij; to the craw's nest } " Queen Mary." In this game the rhyme goes : — Queen Mary^ Queen Mary^ my age is sixteen, My father's a farmer on yonder green, With plenty of money to dress me fu' braw;, But nae bonnie laddie will tak' me awa'. One morning I rose, and I looked in the glass, Says I to myself I'm a handsome young lass ; My hands by my side and I gave a ha ! ha ! Yeb there's nae bonnie laddie will tak' me awa'. It is played by girls only, who stand in a row, with one in front alone to begin with, who sings the verses, and chooses another from the line. The two then join hands and advance and retire, rei)eating together the verses, with suitable action, as the one had done before alone. At the close they select a third from the line ; and the game proceeds thus until all are taken over. CHILDRKN'S RIIVMK-C.AMKS. s:, "^WiiriM'm' Scoorie/' thoug'h a ij,ainc peculiar lu Lanark, and to the boys of Lanark, and j)lav('d oidv once a year, is yet worth nientionin<>-. Its ori«rin, likr so many of the Lanark celebrations, is lost in tlic mists of antiquity, nevertheless, it is still re<i;u]arly ))laycd, and creates a sensation on its annual recurrence, affect - ino- the old scarcely less than the youni- in tlie c(»m- niunitv. P'rom the month of October till the month of February, inclusive, the bells in the Parish Church steejile there cease to ring at six o'clock in the evening, but resume on the first day of March. At the first peal of the bell then the children start and march three times round the church, after which a rush is made for the Wellgate Head, where they engage in a stand-up fight with the youth of Xew Lanark (who come that length to meet them), the weajwns used being their bonnets attached to a long string. The fight over, the victors (generally the boys of the Old Town) return, marching in order, headed by one carrying a huge stick in exalted attitude, with a flag or handkerchief attached to it ; and thus arranged, they parade the principal streets, singing, as their fathers and grand- fathers sang before them : — Hooray, boys, hooray, For we have won the day ; We've met the bold New Lanark boys. And chased them doun the brae ! In Chambers's Popular Hhipnes of Scot la fid there is a description of " Hinkumboobv," which I have never seen played. It is, however, only an extended version of " Looby-Looby." The party form a circle (says the 86 CHILDREN'S RHYME-GAMES. writer)^ taking hold of each other's hands. One sings, and the rest join, to the tune of LuUibero : Fal de ral la, fal de ral la ; while doing so they move a little sideways and back again, beating the time (which is slow) with their feet. As soon as the line is concluded, each claps his hands and wheels grotesquely round, singing at the same time the second line of the verse : — Hinkumbooby, round about. Then they sing, with the appropriate gesture — that is, throwing their right hand into the circle and the left out : — Right hands in, and left hands out, still beating the time ; then add as before, wiiile wheeling round, with a clap of the hands : — Hinkumbooby, round about, Fal de ral la, fal de ral la ; [gloving sidenrti/s as before, hand in hand.^ Hinkumbooby, round about, [ Wheeling round as before, with a chip of the hands.] Left hands in and right hands out, Hinkumbooby, round about, Fal de ral la, fal de ral la, Hinkumbooby, round about. Right foot in, and left foot out, [Bight feet set into the eentre.] Hinkumbooby, round about, Fal de ral la, fal de ral la, Hinkumbooby, round about. CHILDRKN'S RIIYM i:-(i AMKS. s7 Left foot in, ;ind riglit foot out, Hinkmnboobyj, round about, Fal de ral ia, fal dc ral la, vie. Heads in, and backs out, Hinkumbooby, round about, Fal de ral la, etc. Backs in, and heads out, Hinkumbooby, round about, Fal de ral la, etc. A' feet in, and nae feet out, [On this occasion all sit don'u. n-ith their feel stretched into the centre of the ring ; and it is a great point to rise tij) proinpth/ enough to he ready for the wheel round. ^ Hinkumbooby, round about, Fal de ral la, etc. Shake hands a', shake hands a', Hinkumbooby, round about, Fal de ral la, etc. Good-night a', good-night a', [The hoys honing and the misses curtseifmg in an affected formal manner.^ Hinkumbooby, round about, Fal de ral la, fal de ral la, Hinkumbooby, round about. More generally played — and not in Scotland only is " Three Brethren come from Spain." The j)layers stand in two lines, slightly apart, facing each other — 88 CHILDREN'S RHYMP:-GAMES. the boys on one side^ the girls on the other. The boys advance dancing, and singing the first verse. The girls remain motionless, and only she who repre- sents the mother speaks. We are three brethren come from Spain, All in French garlands ; We are come to court your daughter, Jane, And adieu to you, my darlings. As they recede, the mother replies : — My daughter Jane she is too young. All in French garlands ; She cannot bide your flattering tongue, And adieu to you, my darlings. The boys advance again, singing : — Be she young, or be she old. All in French garlands. It's for a bride she must be sold, And adieu to you, my darlings. Answer A bride, a bride, she shall not be. All in French garlands, Till she go through the world with me. And adieu to you, my darlings. Address :- Then fare ye well, my lady gay. All in French garlands ; We'll come again some other day. And adieu to you, my darlings. I CHILDUKX'S RHVMK-(;AMKS. sf) Answer : — Come back, come back, you scornful kni<::lit. All in French <Jarlands ; Clear up your spurs, and make them bright, And adieu to you, my darlinos. Address :— Of my s})urs take you no thouglit. All in French garlands ; For in this town they were not bought, And adieu to you, my darlings. Answer : — Smell my lilies, smell my roses, All in French garlands : Which of my daughters do you choose ? And adieu to you, my darlings. Address : — Are all A^our daughters safe and sound ? All in French garlands : Are all your daughters safe and sound ? And adieu to you, my darlings. Answer : — In every pocket a thousand pounds, All in French garlands ; On every finger a gay, gold ring. And adieu to you, my darlings. The formula is repeated as above until every boy has chosen a lady-mate, when all march round arm-in-arm in pairs, and the game is ended. 7 90 CHILDREN'S RHYME-GAMES. " Here Comes a Poor Sailor from Botany Bay." This is played as a preliminary game to decide who shall join^ and which side they will take^ in a coming tiig-of-war. The chief delight derived is in putting and answering questions. Two principals, standing as rival chiefs, and acting together as catechists, begin the play ; and all are warned before replying : — You must say neither " Yes/' "No," nor "Nay," "Black," "White," nor Grey." Then, as each child approaches, the formula pro- ceeds : — Here comes a poor sailor from Botany Bay ; Pray, what are you going to give him to-day ? A pair of boots [may be the answer]. What colour are they ? Brown. Have you anything else to give him } I think so. What colour is it } Red. What is it made of t Cloth. And what colour ? Blue. Have you anything else to give him ? I don't think so. Would you like a sweet ? Yes. Now he is trapped. He has given one of the fatal replies ; and the child who answered " Yes " goes to a den. After all have gone through a similar form, the youngsters are divided into two classes — those who CHILDREN'S RHYMK-CiAMI-.S. ()i avoided an8werin<v in tlu- prohibited tenns, and tlic little culprits in the den, or })rison, who had tailed in the examination. The tug-of-war now l)e<i;ins, the one class being pitted against the other. No rope is used ; but arms are entwined round waists, or skirts, or coat- tails are taken hold of ; and the victors crow over the vanquished. ^•^ Janet Jo," Avidely })layed, has for dramatis persona', a Father, a Mother, Janet, and a Lover. Janet lies stretched at full length behind the scenes. The father and mother stand revealed to receive the visits of the lover, who approaches singing, to an air somewhat like " The Merry Masons " : — I'm come to court Janet jo, Janet jo, Janet jo ; I'm come to court Janet jo — How is she the day ? Parents reply together : — She's up the stair washin', Washin', washin' ; She's up the stair washin' — Ye canna see her the day. The lover retires, and again, and yet again, advances with the same announcement of his object and purpose, to which he receives similar evasive answers from Janet's parents, who successively represent her as up the stair "bleaching," '^'^ drying," and "ironing clothes." At last they reply : — Janet jo's dead and gane. Dead and gane, dead and gane ; Janet jo's dead and gane — Ye'U see her face nae mae I 92 CHILDREN'S RHYME-GAMES. She is then carried off to be buried^ the lover and the rest weeping. Sometimes she revives (to their ojreat joy)^ and sometimes not, ad libitum — that is, as Janet herself chooses. A south-country version (Dr. Chambers tells) differs a little, and represents Janet as " at the Well," instead of upstairs, and afterwards '^at the Mill," and so on. A Glasgow edition gives the whole in good west- country prose, and the lover begins : '' I'm come to court your dochter, Kate Mackleister ! " In the Stewartry of Kirkcudbright, " Janet Jo " used to be a dramatic entertainment amongst young rustics. Suppose a party have met on a winter evening round a good peat fire, writes Chambers, and is resolved to have ^'^ Janet Jo" performed. Two undertake to per- sonate a goodman and a goodwife ; the rest a family of marriageable daughters. One of the lads — the best singer of the party — retires, and equips himself in a dress proper for representing an old bachelor in search of a wife. He comes in, bonnet in hand, bowing, and sings : — Gude e'en to ye, maidens a', Maidens a', maidens a' ; Gude e'en to ye, maidens a'. Be ye or no. I've come to court Janet jo, Janet jo, Janet jo ; I've come to court Janet jo, Janet, my jo. Gudewife sings : — What'll ye gie for Janet jo, Janet jo, Janet jo ; What'll ye gie for Janet jo, Janet, my jo ? CHILDREN'S RHYM1:-(;ANI1:S. ():; The wooer replies : — I'll gie ye a peck o' siller, A peek o' siller, j)eek o' siller ; I'll gie ye a peek o' siller For Janet, my jo. (nidewife exclaims, " Gae awa', ye auld carle I " tluii sings : — Ye'se never get Janet jo, Janet jo^ Janet jo ; Ye'se never get Janet jo, Janet, my jo. The wooer hereupon retires, singing a verse expressive of mortification, but soon re-enters with a re-assured air^ singing : — I'll gie ye a peck o' gowd, A peck o' gowd, peck o' gowd ; I'll gie ye a peck o' gowd. For Janet, my jo. The matron gives him a rebuff as before, and he again enters, singing an offer of " twa pecks o' gowd," which, however, is also refused. At his next entry he offers "three pecks o' gowd," at which the gudewife brightens up, and sings : — Come ben beside Janet Jo, Janet jo, Janet jo ; Y'e're welcome to Janet jo, Janet, my jo. The suitor then advances gaily to his sweetheart, and the affair ends in a scramble for kisses. 94 CHILDREN'S RHYME-GAMES. "The Goloshans." This is a Hogmanay play^, and not confined to children alone, which for that, as well as other reasons, will not inaptly close this chapter. In some parts it was called '^'^ The Galatians," to be sure, I say was, because one never sees it now-a-days, though fifty years ago, under the one designation or the other, it was played annually by the Hogmanay guizards, who, dressed for the occasion, set it forth with delici- ously unsophisticated swagger and bluster in every house they visited that had a kitchen floor broad and wide enough for the operation. It formed the material of a chap-book which was regularly on sale at the '^'^ Johnnie-a'-thing " shops in the middle of last century, though now, I suppose, a copy could scarcely be had for love or money. Sir Walter Scott, who delighted to keep up old customs, and could condescend to simple things without losing genuine dignity, invariably had a set of guizards to perform the play before his family both at Ashestiel and at Abbotsford. The dramatis personce of "The Goloshans," after the character in the title-role — who was inevitable on all occasions — differed somewhat in the various districts. Chambers gives a fairly adequate version in his Popular Bkymes of Scot- land ; but the fullest and best I have seen is contained in Proverbs and Proverbial Expressions, edited by "Andrew Cheviot," and recently published by Mr. Alexander Gardner, of Paisley, and which I take the liberty of quoting mainly, though j)art also is taken from Cham- bers's version. The characters are Sir Alexander ; Farmer's Son ; Goloshan ; Wallace ; Dr. Brown ; and Beelzebub. Enter Sir Alexander, and speaks : — Haud away rocks, and baud away reels, Haud aw ay stocks and spinning-wheels ; CHILDRKX'S RHV.MK-CAMKS. ().; Redd room for (jorlaiid, and ^ie us room to sin^-, And I will show you the j)rettiest thiiitr That ever was seen in Christmas time. Muokle-head and Little-wit stand ahint the door : But sic a set as we are ne'er were seen before. Enter next Farmer's Son : — Here come I, the farmer's son, Althouofh I be but vounor, sir, I've got a spirit brave, And I'll freely risk my life. My country for to save. Goloshan ajijiears : — Here come I, Goloshan — Goloshan is my name. With sword and pistol by my side, I hope to win the game. Farmer's Son : — The game, sir, the game, sir I it is not in your power, I'll cut you into inches in less than half-an-hour. My head is made of iron, my heart is made of steel. My sword is a Ferrara that can do its duty weel. Goloshan : — My body is like rock, sir, my head is like a stone, And I will be Goloshan when you are dead and gone. Enter Wallace : — Here come I, Sir William Wallace, wight, Who shed his blood for Scotland's right ; Without a right, without a reason. Here I draw my bloody wea})on. ( Fight .s with Cn)loshan — the latter falls.) 96 CHILDREN'S RHYME-GAMES. Farmer's Son : — Now that young man is dead^ sir^ and on the ground is laid^ And you shall suffer for it^ I'm very much afraid. Wallace : — It was not me that did the deed^ nor me that did the crime^ 'Twas this young man behind me who drew his sw^ord so fine. Sir Alexander : — Oh^ you artful villain^ to lay the blame on me ! For my two eyes were shut, sir, when this young man did dee. Wallace : — How could your eyes be shut, sir, when you were looking on } How could your eyes be shut, sir, when both the swords were drawn ? Farmer's Son (to Wallace) : — How can you thus deny the deed ? As I stood looking on. You drew your sword from out its sheath, and slashed his body down. Wallace :— li I have slain Goloshan, Goloshan I will cure. And I will make him rise and sing in less than half-an- hour ; Round the kitchen, round the town. Haste and bring me Dr. Brown. CHILDREN'S RHYMK-(;AMKS. ()7 Dr. l?n>wn enters : — Here come I, old Dr. Brown, the foremost doctor in the town. Wallace :— What makes you so good^ sir ? Doctor : — Why^ my travels. Wallace : — And where have you travelled ? Doctor : — From Hickerty-pickerty-hedgehog, three times round the W^est Indies, and back to old Scotland. Wallace : — Is that all ? Doctor : — No sir. I have travelled from fireside to chairside, from chairside to stoolside, from stoolside to table- side, from tableside to bedside, from bedside to press-side, and got many a lump of bread and butter from my mother ; and that's the way my belly's so big. Wallace : — Well, what can you cure ? Doctor : — I can cure the rurvy-scurvy, and the rumble-gum})tion of a man who has been seven years dead or more, and can make an old woman of sixty look like a girl of sixteen. 98 CHILDREN'S RHYMP:-GAMES. Wallace : — How much would you take to cure this dead man ? Would five pounds do ? Doctor (turning away) : — Five pounds ! No^ five pounds would not get a good kit of brose. Wallace : — Would ten pounds do ? Doctor : — Yes, perhaps ten pounds would do — that^ and a pint of wine. I have a bottle of inky-pinkie in my pocket. (Approaches Goloshan.) By the hocus- pocus and the magical touch of my little finger ; heigh ho ! start up. Jack, and sing ! Goloshan (rises and sings) : — Oh, once I was dead, sir, but now I am alive. And blessed be the doctor that made me revive ; We'll all join hands, and never fight no more. We'll all be good fellows, as we have been before. All four :— We'll all shake hands and agree, and never fight no more. We'll all be like brothers, as we were once before ; God bless the master of this house, the mistress fair likewise, And all the pretty children that round the table rise. Go down into your cellar and see what you can find. Your barrels being not empty, we hope you will prove kind : CHILDRKX'S UHVMK-(;AMKS. })}) We hope vou will j)rove kind, with whisky aiui with beer, We wish you a Merry Christinas, likewise a o(^oci New Year. Enter Beelzebub (for the collection) : — Here come I^ Old Beelzebub^ over my shoulder I carry a club, And in my hand a frying-pan. Am not I a jolly old man ? It's money I want, and money I crave. If ye don't give me money I'll sweep ye to your grave. Old Beelzebub's appeal not being resisted (for who might dare to resist such ?), the picturesque players retire, and proceed from thence merrily to occupy another stage. Mr. Sandys, it may be noted, in his elegant volume of Christmas Carols (1833), transcribes a play called " St. George," which still is, or used to be, acted at the New Year in Cornw^all, exactly after the manner of our Scottish play of " Goloshan," which it resembles as much as various versions of " Goloshan " in Scotland resemble each other. The leading characters, besides St. George himself and the Dragon, which is twice killed, are a Turkish knight and the King of Kgy])t. It is curious thus, as Dr. Chambers remarks, to find one play, with unimportant variations, preserved tradi- tionally by the common })eo})le in parts of the island so distant from each other, and in many respects so different. It is curious further, and of much interest to note, that in these singing-games, if nowhere else, the 100 CHILDREN'S RHYME-GAMES. country and the city child, the children of the mansion and the children of the alley, meet all, beautifully, on common ground. And, how the out-door ones lie dor- mant for spaces, and spring simultaneously into action in widel}^ separated parts — town and country alike — is a problem which may not be easily solved. It seems to us that, like the songs of birds, they belong to certain seasons, and are suggested, each in its turn, or class by class, by the feeling in the air. But mark, I say only seems, for who may dogmatize on such matters ! CHILDREN'S SONGS AND BALLADS, '^ff/yy/y/y^ff^t Not the more exalted songs of child life here — not "Willie Winkie/' and ''' Cuddle Doon/' and "^Castles in the Air/' and all that widely esteemed band, which, collectively, would themselves tax the limits of a large volume — but some of the ruder ditties only which the children for many generations have delighted to sing, and been no less charmed by hearing sung, and which of late have not been so frequently seen in print. These rude old favourites, too, with slight comment — little being required. And of such, surely '^ Cock Robin " may well be awarded the place of honour — a song which, together with the more elaborate tale of " The Babes in the Wood," has done more to make its })ert and dapper red-waistcoated subject the general favourite he is w^ith old and young, than any virtue that may be claimed for the little tyrant himself COCK ROBIN. Who killed Cock Robin } I, said the Sparrow, With my bow and arrow, I killed Cock Robin. 02 CHILDREN'S SONGS AND BALLADS. Who saw him die ? I, said the Fly, With my httle eye^ I saw him die. Who caught his blood ? I, said the Fish^ With my httle dish, I caught his blood. Who'll make his shroud ? I^ said the Beetle^ With my thread and needle^ ril make his shroud. Who'll carry him to his grave ? I, said the Kite, If it's not in the night, I'll carry him to his grave. Who'll dig his grave ? I, said the Owl, With my spade and shovel, I'll dig his grave. Who'll carry the link ? 1, said the Linnet, I'll fetch it in a minute, I'll carry the link. Who'll be chief mourner } I, said the Dove, I'll mourn for my love, I'll be chief mourner. CHILDREN'S SONGS AND IJALLADS. lo.H Who'll sing the psalm ? I, said the Thrush, As he sat on a bush, I'll sing the psalm. Who'll be the ])ars()n ? I, said the Rook, With my little book, I'll be the parson. Who'll be the clerk } I, said the Lark, If it's not in the dark, I'll be the clerk. Who'll toll the bell ? I, said the Bull, Because I can pull, I'll toll the bell. And all the little birds Fell a-sighing and a-sobbing. When they heard the bell toll For poor Cock Robin. And of Cock Robin again, no less captivating has been the ballad celebrating his wedding with little Jenny Wren. Though why with a lady of the Wren family, must always strike naturalists as an absurdity ; and, I suj)})ose, we may not ask how it was the banns were not forbidden, since the Messrs. Wren, with the children, and the whole creation of birds — with the single exception of a blackguard cuckoo— have jubilantly acquiesced in the nuptials. 104 CHILDREN'S SONGS AND BALLADS. THE MARRIAGE OF COCK ROBIN AND JENNY WREN. It was a merry time. When Jenny Wren was young. So neatly as she dressed, And so sweetly as she sung. Robm Redbreast lost his heart. He was a gallant bird ; He doffed his hat to Jenny, And thus to her he said : " My dearest Jenny Wren, If you will but be mine, You shall dine on cherry pie And drink nice currant wine. " I'll dress you like a goldfinch. Or like a peacock gay ; So, if you'll have me, Jenny, Let us appoint the day." Jenny blushed behind her fan. And thus declared her mind : " Then let it be to-morrow. Bob — I take your offer kind. " Cherry pie is very good. So is currant wine ; But I'll wear my russet gown And never dress too fine." CHILDREN'S SONGS AM) BALLADS. lo; Robin rose up early, At the break of day ; He flew to Jenny Wren's liouse To sing' a roundelay. He met the Cock and Hen, And bade the Cock declare This was his wedding- day With Jenny Wren the fair. The Cock then blew his horn, To let the neighbours know This was Robin's wedding day, And they might see the show. Then followed him the Lark, For he could sweetly sing. And he Avas to be the clerk At Cock Robin's wedding. He sang of Robin's love For little Jenny Wren ; And when he came unto the end, Then he began again. At first came Parson Rook, With his spectacles and band ; And one of Mother Hubbard's books He held within his hand. The Goldfinch came on next, To give away the bride ; The Linnet, being bridesmaid, Walked by Jenny's side ; 106 CHILDRf:X'S SONGS AND BALLADS. And as she was a-walking, Said, " Upon my word, I think that your Cock Robin Is a very pretty bird." The Blackbird and the Thrush, And charming Nightingale, Whose sweet songs sweetly echo Through every grove and dale ; The Sparrow and the Tomtit, And many more were there ; All came to see the wedding Of Jenny Wren the fair. The Bullfinch walked by Robin, And thus to him did say : " Pray mark, friend Robin Redbreast, That Goldfinch dressed so gay ; " That though her gay apparel Becomes her very well. Yet Jenny's modest dress and look Must bear away the bell." Then came the bride and bridegroom ; Quite plainly was she dressed, And blushed so much, her cheeks were As red as Robin's breast. But Robin cheered her up ; '^'^My pretty Jen," says he, " We're going to be married. And happy we shall be." CHILDREN'S SONGS AM) liALI.ADS. lo' "Oh," then says Parson Rook, "Who gives this maid away ? " "I do/' says the Goldfincli, "And her fortune I will pa}- : " Here's a bag of grain of many sorts. And other things beside ; Now happy be the bridegroom, And hap})y be the bride ! " " And you will have her, Robin, To be your wedded w4fe ? " "Yes, I will," ssLjs Robin, " And love her all my life ! " " And you will have him Jenny, Your husband now to be ? " "Yes, I will," says Jenny, "And love him heartily." Then on her finger fair Cock Robin put the ring ; " You're married now," says Parson Rook, While the lark aloud did sing : " Happy be the bridegroom. And happy be the bride ! And may not man, nor bird, nor beast. This happy pair divide ! " The birds were asked to dine ; Not Jenny's friends alone. But every pretty songster That had Cock Robin known. 108 CHILDREN'S SONGS AND BALLADS They had a cherry pie, Besides some currant wine. And every guest brought something. That sumptuous they might dine. Now they all sat or stood, To eat and to drink ; And every one said what He happened to think. They each took a bumper. And drank to the pair ; Cock Robin the bridegroom. And Jenny the fair. The dinner-things removed. They all began to sing ; And soon they made the place For a mile around to ring. The concert it was fine, And every birdie tried Who best should sing for Robin And Jenny Wren the bride. When in came the Cuckoo, And made a great rout ; He caught hold of Jenny, And pulled her about. Cock Robin was angry. And so was the Sparrow, Who fetched in a hurry His bow and his arrow. I CHILDREN'S SONGS AND BALLADS. loj) His aim tlien lie took, Hut he took it not right. His skill was not good. Or he shot in a fright ; For the Cuekot) he missed. But Coek Robin he killed ! — And all the birds mourned That his blood was so sj^illed. Yet another song of the Robin which has moistened the eyes of many a youthful vocalist. I don't know that it ever had a title, but we will call it THE NORTH WIND. The North wind doth blow. And we shall have snow. And what will the Robin do then, poor thing ? He will sit in the barn. And keej) himself warm. With his little head under his wing, poor thing ! It is not claimed for these pieces that they belong to any high order of verse — though really, in more senses than one, they belong to the very first. In point of popularity alone, they are not surpassed by " Paradise Lost," nor by the plays of Shakespeare, or the songs of Burns. Then, they have so thoroughly commanded the interest and engaged the affections of the wee folks, that, with old and young alike — for the young so soon grow into the old, alas ! — there are no compositions in no CHILDREN'S SONGS AND BALLADS. the world better secured for the honour and glory of immortal fame. They have not been very often printed, I have said — not often in recent years, at least — and the reason, I suppose, is because it was not deemed necessary to set out in print what everybody knows so well by heart. It must be refreshing for the eye, however, to scan what is so familiar to the ear, and I make no apology — yea, I hope to be thanked for their a})j)earance in this little book for bairns and big folk. Let the next be LITTLE BO-PEEP. Little Bo-peep has lost her sheep. And doesn't know where to find them ; Let them alone, and they'll come home. Bringing their tails behind them. Little Bo-peep fell fast asleep. And dreamt she heard them bleating ; But when she awoke, slie found it a joke. For still they all were fleeting. Then up she took her little crook. Determined for to find them ; She found them indeed, but it made her heart bleed. For they'd left their tails behind them. It happen' d one day, as Bo-peep did stray Under a meadow hard by, That she espied their tails, side by side. All hung on a tree to dry. I CHILDREN'S SONGS AND BALLADS. Ill She heaved a sigh, and wiped lier eye, And over the liillocks went .stinn))-() ; And tried as she eould, as a she])herdess should. To taek again each to its runip-o. The ballad lacks sadly in \|)articulars, to be sure. How the tails of the entire flock disajjpeared in one fell swoop — whether by malice aforethought, at the instance of a lurking enemy, or in a miraculous accident, whilst the young shepherdess slept at her charge — has never been told, though thousands of wondering pows, multi- })lied by ten, have wanted to know. Perhaps it is better not explained. Mystery is so often just another word for charm. We will now have the curious tale of " The House that Jack Built." In no sense a curious house, perhaps, but famous because of the fortuitous events w^hich issued in regular sequence from the simple fact of the builder having stored a quantity of malt within its walls. It is told best with the accompaniment of pictorial illustrations, but here these are not available. THE HOUSE THAT JACK BUILT. This is the house that Jack built. This is the malt That lay in the house That Jack built. This is the rat That ate the malt That lay in the house That Jack built. 112 CHILDREN'S SONGS AND BALLADS. , This is the cat That killed the rat That ate the malt That lay in the house That Jack built. This is the dog That worried the cat That killed the rat That ate the malt That lay in the house That Jack built. This is the cow with the crumpled horn That tossed the dog- That worried the cat That killed the rat That ate the malt That lay in the house That Jack built. This is the maiden all forlorn That milked the cow with the crumpled horn That tossed the dog That worried the cat That killed the rat That ate the malt That lay in the house That Jack built This is the man all tattered and torn That kissed the maiden all forlorn That milked the cow with the crumpled horn That tossed the dog CHILDREN'S SOXCIS AM) BALLADS. ll;j That worried the cat That killed the rat That ate the malt That lay in the house That Jack built. This is the })riest all shaven and shorn That married the man all tattered and torn That kissed the maiden all forlorn That milked the cow with the crumpled horn That tossed the dog That worried the cat That killed the rat That ate the malt That lay in the house That Jack built. This is the cock that crowed in the morn And waked the priest all shaven and shorn That married the man all tattered and torn That kissed the maiden all forlorn That milked the cow with the crumpled horn That tossed the dog That worried the cat That killed the rat That ate the malt That lay in the house That Jack built. It has been a satisfaction to many a little boy. I am sure, to feel tliat he was not, by many miles, so simple as that most abject of all simpletons, familiar to him as — lU CHILDREN'S SONGS AND BALLADS. SIMPLE SIMON. Simple Simon met a jiie-maii;, Going to the fair ; Said Simple Simon to the pie-man, " Let me taste your ware." Says the pie-man, " Simple Simon, Show me first your penny ; " Said Simple Simon to the pie-man, '• Indeed, I have not any." Simple Simon went a-fishing. For to catch a whale ; All the water he had got Was in his mother's pail ! Some may follow without comment. OLD MOTHER HUBBARD. Old Mother Hubbard, she went to the cupboard. To get her poor doggie a bone ; When she got there, the cupboard was bare. And so the poor doggie had none. She went to the baker's to buy him some bread. But when she came back the poor doggie was dead. She went to the undertaker's to buy him a coffin. And when she came back the doggie was laughing. She went to the butcher's to get him some tripe. And when she came back he was smoking a pipe. CHILDRFA'S SOXCiS AM) iiALLADS. lir, She went to the fish-sliop to buy liiin some fish, And when she eanie back he was washing the dish. She went to the tavern for white wine and red, And when she came back doggie stood on his head. She went to the hatter's to buy him a hat^ And when she came back he was feeding the cat. She went to the tailor's to buy him a coat^ And wlien she came back he was riding the goat. vShe went to the barber's to buy him a wig, And when she came back he was dancing a jig. She went to the draper's to buy him some hnen. And when she came back the good dog was spinning. She went to the hosier's to buy him some hose. And when she came back he was dressed in liis clothes. The dame made a curtsey, the dog made a bow. The dame said, " Your servant," the dog said, " Bow- wow." OLD mothp:r goosp:. Old Mother Goose, when She wanted to wander, Would ride through the air On a very fine gander. 116 CHILDREN'S SONGS AND BALLADS. Mother Goose had a house, 'Twas built in a wood. Where an owl at the door For a sentinel stood. She had a son Jack, A plain -looking lad, Not very good, Nor yet very bad. She sent him to market, A live goose he bought, " Here, mother," says he, " It won't go for nought." Jack's goose and the gander Grew very fond, They'd both eat together, Or swim in one pond. Jack found, one fine morning. As I have been told, His goose had laid him An egg of pure gold. Jack rode to his mother The news for to tell ; She called him a good boy, And said it was well. Jack sold his gold ^gg To a rascally Jew% Who cheated him out of The half of his due. CHILDREN'S SOXCiS AM) BALLADS. II Tlien Jack went a-coiirtin''- A lady so gay, As fair as the lily. And sweet as the May. The Jew and the Squire Came behind his back And began to belabour The sides of jx)or Jack. And then the gold agg Was thrown in the sea, When Jack he jumped in And got it })resently. The Jew got the goose, Which he vowed he would kill, Resolving at once His pockets to fill. Jack's mother came in And caught the goose soon. And mounting its back. Flew up to the moon. THE OLD WOMAN AND HER PIG. An old woman was sweeping her house, and she found a little crooked sixpence. '^'^Wliat," she said, " shall I do with this little sixpence ? I will go to market and buy a little pig." As she was coming home she came to a stile. The piggy would not go over the stile. She went a little farther, and she met a dog, so she said to the dog : — 118 CHILDREN'S SONGS AND BALLADS. " Dog, dog, bite pig ; Piggy won't get over the stile, And I shan't get home to-night ! " But the dog would not. She went a little farther, and she met a stick. So she said : — " Stick, stick, beat dog ; Dog won't bite pig ; Piggy won't get over the stile. And I shan't get home to-night ! " But the stick would not. She went a little farther, and she met a fire. So she said : — " Fire, fire, burn stick ; Stick won't beat dog ; Dog won't bite pig ; Piggy won't get over the stile ; And I shan't get home to-night ! " But the fire would not. She went a little farther, and she met some water. So she said : — " Water, water, quench fire ; Fire won't burn stick ; Stick won't beat dog ; Dog won't bite pig ; Piggy won't get over the stile. And I shan't get home to-night ! " But the water would not. CHILDUFA'S SONCiS AND BALLADS. l\|(> She went a little farther, and she met an ox. So slie said : — " Ox, ox, drink water ; Water won't qiieneh fire ; Fire won't burn stiek ; Stiek won't beat do<>- ; Dog won't bite ])ig ; Piggy won't get over the stile, And I shan't get home to-night I " But the ox would not. She went a little farther, and she met a butcher. So she said : — " Butcher^ butcher, kill ox ; Ox won't drink water ; Water won't quench fire ; Fire won't burn stick ; Stick won't beat dog ; Dog won't bite pig ; Piggy won't get over the stile, And I shan't get home to-night ! " But the butcher would not. She went a little farther, and she met a rope. So she said : — " Rope, rope, hang butcher ; Butcher won't kill ox ; Ox won't drink water ; Water won't quench fire ; Fire won't burn stick ; Stick won't beat dog ; 120 CHILDREN'S SONGS AND BALLADS. Dog won't bite pig ; Piggy won't get over the stile. And I shan't get home to-night ! " But the rope would not. She went a little farther, and she met a rat. So she said : — " Rat, rat, gnaw rope ; Rope won't hang butcher ; Butcher won't kill ox ; Ox won't drink water ; Water Mon't quench fire ; Fire won't burn stick ; Stick won't beat dog ; Dog won't bite pig ; Piggy won't get over the stile. And I shan't get home to-night ! " But the rat would not. She went a little farther, and she met a cat. So she .said : — " Cat, cat, kill rat ; Rat won't gnaw ro})e ; Rope won't hang butcher ; Butcher won't kill ox ; Ox won't drink water ; Water won't quench fire ; Fire won't burn stick ; Stick won't beat bog ; Dog won't bite pig ; Piggy won't get over the stile, And I shan't get home to-night ! " CHILDRKX'S SOXCiS AM) JJALLADS. I'JI But the cat said to her, " If you will ^o to yonder cow, and fetcli me a saucer of milk, I will kill the rat." So away went the old woman to the cow, and said : — '' Cow, cow, give me a saucer of milk ; Cat M'on't kill rat ; Rat won't ij^naw ro})e : Rope won't hantj- butcher ; Butcher won't kill ox ; Ox won't drink water ; Water won't quench fire ; Fire won't burn stick ; Stick won't beat dog ; Dog won't bite pig ; Piggy won't get over the stile. And I shan't get home to-night ! " But the cow said to her, " If you will go to yonder haymakers, and fetch me a wisp of hay, I'll give you the milk." So away went the old woman to the hay- makers, and said : — "^ Haymakers, give me a wisp of hay ; Cow won't give milk ; Cat won't kill rat ; Rat won't gnaw rope ; Rope won't hang butcher ; Butcher won't kill ox ; Ox won't drink water ; Water won't quench fire ; Fire won't burn stick ; Stick won't beat dog ; Dog won't bite pig ; Piggy won't get over the stile, And I shan't get home to-night ! " 9 122 CHILDREN'S SONGS AND BALLADS. But the haymakers said to her, " If you will go to yonder stream, and fetch us a bucket of water, we'll give you the hay." So away the old woman went. But when she got to the stream, she found the bucket was full of holes. So she covered the bottom with pebbles, and then filled the bucket with water, and she went back with it to the haymakers, and they gave her a wisp of hay. As soon as the cow had eaten the hay, she gave the old woman the milk ; and away she went with it in a saucer to the cat. As soon as the cat had lapped up the milk — The cat began to kill the rat ; The rat began to gnaw the rope ; The rope began to hang the butcher ; The butcher began to kill the ox ; The ox began to drink the water ; The water began to quench the fire ; The fire began to burn the stick ; The stick began to beat the dog ; The dog began to bite the pig ; The little pig in a fright jumped over the stile ; So the old woman got home that night ! A FROG HE WOULD A-WOOING GO. A Frog he would a-wooing go, Heigho, says Roly ! Whether his mother would let him or no. With a roly-poly, gammon and spinach, Heigho, says Anthony Roly ! CHILDRKX'S S()X(;S AND BALLADS. 12.3 So oft" lie set in his coat and hat, Heigho^ says Roly ! And on the way he met a Rat, With a roly-poly, gammon and s])inach, Heigho, says Anthony Roly ! " Please, Mr. Rat, will you go with me ? " Heigho, says Roly ! " Good Mrs. Moiisie for to see ? " With a roly-j)oly, gammon and spinach, Heigho, says Anthony Roly ! When they came to the door of Mousie's hole, Heigho, says Roly ! They gave a loud knock, and they gave a loud call. With a roly-poly, gammon and spinach, Heigho, says Anthony Roly ! " Please, Mrs. Mouse, are you within t " Heigho, says Roly ! " Oh yes, dear sirs, I am sitting to spin," With a roly-})oly, gammon and spinach, Heigho, says Anthony Roly ! "Please, Mrs. Mouse, will you give us some beer?" Heigho, says Roly ! " For Froggy and I are fond of good cheer," With a roly-poly, gammon and spinach, Heigho, says Anthony Roly ! "Please, Mr. Frog, will you give us a song .^ " Heigho, says Roly ! "But let it be something that's not very long," With a roly-poly, gammon and spinach, Heigho, says Anthony Roly ! [04 CHILDREN'S SONGS AND BALLADS. But while they were making a terrible din, Heigho, says Roly ! The cat and her kittens came tumbling in, With a roly-poly, gammon and spinach, Heigho, says Anthony Roly ! The cat she seized Mr. Rat by the crown, Heigho, says Roly ! The kittens they pulled Mrs. Mousie down. With a roly-poly, gammon and spinach, Heigho, says Anthony Roly ! This })ut Mr. Frog in a terrible fright, Heigho, says Roly I He took up his hat and he wished them good-night. With a roly-poly, gammon and spinach, Heigho, says Anthony Roly ! But as Froggy was crossing over a brook, Heigho, says Roly ! A lily-white duck came and swallowed him up. With a roly-poly, gammon and spinach, Heigho, says Anthony Roly ! There are various versions of the above narrative of a sadly disastrous expedition, in English and in Scotch alike. The Ballad Book, a curious collection, of which thirty copies only were printed, in 1824, embraces one beginning : — There lived a Puddy in a well. Cuddy alone. Cuddy alone ; There lived a Puddy in a well. Cuddy alone and L I CHILDRKX'S SONGS AM) BALLADS. IJ.", TIk'Iv lived a Piiddy in a well, And a Mousie in a mill ; Kickmaleerie, cowden down, Cuddy alone and L Piiddy he'd a-wooin' ride, Cuddy alone. Cuddy alone ; Sword and pistol by his side. Cuddy alone and L Puddy came to the Mousie's home ; "Mistress Mouse, are you within ? " Kickmaleerie, cowden down, Cuddy alone and L And which goes forward narrating the almost iden- tically same story : which story, homely and simple as it appears, is of surprising antiquity. In 1580, the Stationers' Comjjany licensed " a ballad of a most strange wedding of the frogge and the mouse ; " and that same ballad Dr. Robert Chambers printed from a small quarto manuscript of poems formerly in the possession of Sir Walter Scott, dated 1 630. This very old version begins : — Itt was ye frog in ye wall, Humble doune, humble doune ; And ye mirrie mouse in ye mill, Tweidle, tweidle, twino. And the closing lines tell that Quhen ye supper they war at. The frog, mouse, and evin ye ratt. There com in Gib our cat. And chaught ye mouse evin by ye back. 126 CHILDREN'S SONGS AND BALLADS. Then did they all seperat^ And ye frog lap on ye floor so flat. Then in com Dick our drack^ And drew ye frog evin to ye lack. Ye rat ran up ye wall^ A goodlie companie^ ye devall goe with all. Of meaner antiquity, perhaps, but no less a favourite with the young, is the amusing ditty of THE CARRION CROW. A Carrion Crow sat on an oak, Fol de riddle, lol de riddle, eye ding do. Watching a tailor shape his coat ; Sing he, sing ho, the old carrion crow, Fol de riddle, lol de riddle, eye ding do ! Wife, bring me my old bent bow, Fol de riddle, lol de riddle, eye ding do. That I may shoot yon carrion crow ; Sing he, sing ho, the old carrion crow, Fol de riddle, lol de riddle, eye ding do ! The tailor shot, and missed his mark, Fol de riddle, lol de riddle, eye ding do. But shot the pig right through the heart ; Sing he, sing ho, the old carrion crow, Fol de riddle, lol de riddle, eye ding do. The next, though it has engaged the attention of tlie adult population, is a prime old-time favourite with the children as well. I CHILDRKN'S SOXGS AND JJALLADS. 127 MY prp:tty maid. " Where are you going to^ my pretty maid ? " " I am going a-milking, sir," she said. " May I go with you, my pretty maid ? " " You're kindly welcome, sir," she said. " What is your father, my pretty maid ? " " My father's a farmer, sir," she said. " What is your fortune, my pretty maid } " " My face is my fortune, sir," she said. " Then I won't marry you, my pretty maid." " Nobody asked you, sir," she said. The original of the following, which has delighted particularly the children of Scotland for many genera- tions, appears with its pleasing air in Johnson's Musical Museum : — CAN YOU SEW CUSHIONS.? O can ye sew cushions ? Or can ye sew sheets ? An' can ye sing ba-la-loo When the bairnie greets } An' hee an' ba, birdie. An' hee an' ba, lamb. Ah' hee an' ba, birdie. My bonnie wee man. Hee O, wee O, what'll I do wi' ye ? Black is the life that I lead wi' ye ; Owre mony o' ye, little to gie ye, Hee O, wee O, what'll I do wi' ye } I I / 128 CHILDREN'S SONGS AND BALLADS. Now hush-a-ba, lammie. An' hiish-a-ba^ dear ; Now hush-a-ba, lammie^ Thy minnie is here^ The wild wind is ravin', Thy minnie's heart's sair ; The wild wind is ravin'^ An' ye dinna care. Hee O, wee O, etc. Sing ba-la-loo^ lamniie, Sing bo-la-loo, dear ; Does wee lammie ken That his daddie's no here } Ye're rockin' fii' sweetly On mammie's warm knee. But daddie's a-rockin' Upon the saiit sea. Hee O, wee O, etc. O I hung thy cradle On yon holly top, An' aye as the wind blew Thy cradle did rock. An' hush-a-ba, baby, O ba-lilly-loo ; An' hee an' ba, birdie. My bonnie wee doo ! Hee O, wee O, etc. We see continually how dear to the songs of child- Kfe are the mention of birds and all things sweet in the round of everyday life. Here now CHILDRKN'S SOXCiS AND liALI.ADS. It'f) HUSH-A-15A IMRDIK, CROON. Hush-a-ba birdie, croon, croon, Hush-a-ba birdie, croon ; The sheep are gane to the silver wood, And the coos are gane to the broom, broom, And the coos are gane to the broom. And its braw milking- the kye, kye. It's braw milking the kye ; The birds are singing, the bells are ringing. The wild deer come galloping by, by. The wild deer come galloping by. And hush-a-ba birdie, croon, croon, Hush-a-ba birdie, croon ; The gaits are gane to the mountain hie. And they 11 no be hame till noon. And they'll no be hame till noon. A prime favourite — none excelling it — has been dancp: to your daddie. Dance to your daddie. My bonnie laddie. Dance to your daddie, my bonnie lamb ; And ye'll get a fishie. In a little dishie, Ye'll get a fishie when the boat comes hame I Dance to your daddie. My bonnie laddie. Dance to your daddie, my bonnie lamb ! 130 CHILDREN'S SONGS AND BALLADS. And ye'll ^et a coatie^ And a pair o' breekies — Ye'll get a whippie and a supple Tarn ! By the bye^ as touching the lullaby order of these songs^ it is interesting to note that, no matter of what age or nation they may be, they are all but regularly made uj) on }:)recisely the same plan. There is first the appeal to the child to slumber, or to rest and be happy ; then comes the statement that the father is away fol- lowing some toilsome occupation ; and the promise succeeds that he will soon return laden with the fruits of his labour, and all will be well. We have been seeing, and will see again, how the Scottish go. The Norwegian mother sings : — Row, row to Baltnarock, How^ many fish caught in the net ? One for father and one for mother. One for sister and one for brother. Even the Hottentot mother promises her child that its '^'^ dusky sire" shall bring it "^shells from yonder shore," where he has probably been occupied in turning turtles over on their broad backs. The Breton song goes : — Fais dado, pauvre, p'tit Pierrot, Papa est sur I'eau Qui fait des bateaux Pour le p'tit Pierrot. The Swedish cradle song follows the almost universal custom. It runs (in ILnglish) : — CHILDRKN'S SONCJS AM) 15ALLADS. I'll Hush, hush, baby mine ! Pussy cHmbs the big- green })ine;, Ma turns the mill stone. Pa to kill the jHg has gone. The Danish does not prove an exception : — Lullaby, sweet baby mine ! Mother s{)ins the thread so fine ; Father o'er the bridge has gone, Shoes he'll buy for little John. The North German cradle song is : — Schlaf Kindchen, schlaf ! Dein Vater hut't die schaf ; Dein Mutter schuttelts Baumelien, Da fallt herab ein Tramelein, Schlaf, Kindchen, schlaf ! Which, being done into English, runs : — Sleep, baby, sleep ! Thy father guards the sheep ; The mother shakes the dreamland tree. And from it falls sweet dreams for thee. Sleep, baby, sleep. The simplest and crudest of these, we may be sure, has lulled millions to sleej), and by virtue of that association is worth more than many quartos of recent verse deliberately composed with the view of engaging the attention of the nursery circle. How many volumes of the newer wares, for instance, might be accepted in exchange for 132 CHILDREN'S SONGS AND BALLADS. KATIE BEARDIE. Katie Beardie had a coo^ Black and white about the mou' ; Wasna that a dentie coo ? Dance, Katie Beardie ! Katie Beardie had a hen, Cackled but an' cackled ben ; Wasna that a dentie hen ? Dance, Katie Beardie ! Katie Beardie had a cock That could s})in a gude tow rock ; Wasna that a dentie cock ? Dance, Katie Beardie ! Katie Beardie had a grice, It could skate upon the ice ; Wasna that a dentie grice ? Dance, Katie Beardie ! Katie Beardie had a wean. That was a' her lovin' ain ; Wasna that a dentie wean ? Dance, Katie Beardie ! Yet, there is tolerable proof extant that the above dates from at least the beginning of the seventeenth century. " Katherine Beardie," anyway, is the name affixed to an air in a manuscript musical collection w^hich be- longed to the Scottish poet. Sir William Mure, of Rowallan, written, presumably, between the years 1612 and 1628. The same tune, under the name of CHILDKKX'S SONCiS AM) BALLADS. I'.VA " Kette Bairdie," also appears in a similar collection \vhich belonged to Sir John Skene of Hallyards, siip- ])osed to have been written about 1 (vif). Further, so well did Sir Walter Seott know that this was a ))0})ular dance during the reign of King James V'L, as Mr. Dawney points out, that he introduces it in the Fortunes of yigel, with this difference, that it is there called " Chrichty Bairdie," a name not precisely identical with that here given ; but as Kit is a diminu- tive of Christopher, it is not difficult to perceive how the two came to be confounded. Old as it certainly is — and older by a deal it may be than these presents indicate — it maintains yet the charm of youth — delight- ing all with its lightly tripping numbers. No less does — THE MILLER'S DOCHTER. There was a miller's dochter, She wadna want a baby, O ; She took her father's grey hound An' row'd it in a plaidie, O. Singing, Hush-a-ba ! hush-a-ba ! Hush-a-ba, my baby, O ! An 'twere na for you lang beard, I wad kiss your gabbie, O I While bedding operations have been in progress no song, surely, has been more welcome and effective than HAP AND ROW. Haj) and row, hap and row, Haj) and row the feetie o't ; I never kent I had a bairn Until I heard the greetie o't. 134 CHILDREN'S SONGS AND BALLADS. The wife put on the wee pan To boil the bairn's meatie, O^ When down fell a cinder And biu-n't a' its feetie^ O. Hap and row, hap and row. Hap and row the feetie o't ; I never kent I had a bairn Until I heard the greetie o't. Sandy's mither she came in As sune's she heard the greetie o't, She took the mutcli frae aff her head And rowed it round the feetie o't. Hap and row, hap and row, etc. In about equal favour stands HOW DAN, DILLY DOW. How dan, dilly dow. Hey dow, dan, Weel were ye're minnie. An' ye were a man. Ye wad liunt an' hawk, An' baud her o' game. An' water your daddie's horse When he cam' hame. How dan, dilly dow, Hey dan, floors, Ye'se lie i' your bed Till eleven hours. CHILDREN'S SONGS AND HAI.LADS. 1.S5 If at eleven hours You list to rise, Ye'se hae your dinner dU^ht In a new guise. Laverocks' le^i^s, And titlins' taes. And a' sic dainties My niannie shall hae. A cheery and comfortinii^ lilt, indeed, with its promise of plenty. Much superior to the next, which bears in its bosom the hollow^ and unwelcome ring of a '' toom o'irnal " — a sound no child should ever know. It is yet a lilt familiar to the nursery : — CROWDIE. Oh, that I had ne'er been married, I wad never had nae care ; Now I've gotten wife and bairns. They cry Crowdie ! ever mair. Crowdie ance, crowdie twice. Three times crowdie in a day ; Gin ye crowdie ony mair, Ye'll crowdie a' my meal away. Quoting the stanzas as an old ballad in a letter to his friend, Mrs. Dunlop, in December, I79<>j, the poet Burns wrote : — " There had much need to be many pleasures annexed to the states of husband and father, for, God knows, they have many peculiar cares. I cannot describe to you the anxious, slee})less hours these ties frequently give me. I see a train of helpless 1'A6 CHILDREN'S SONGS AND BALLADS. little folks ; me and my exertions all their stay ; and on what a brittle thread does the life of man hang ! If I am nipt off at the command of Fate, even in all the vigour of manhood, as I am — such things happen e\ery dav — Gracious God ! what would become of my little flock? 'Tis here that I envy your jieople of fortune. A father on his death-bed, taking an ever- lasting leave of his children, has indeed woe enough ; but the man of competent fortune leaves his sons and daughters independency and friends ; while I — but I shall run distracted if I think any longer on the subject ! " So might we all. Then, away with it, and let us have a more lightsome spring. WHISTLE. WHISTLE, AULD WIFE. "Whistle, whistle, auld wife. An' ye'se get a hen." " I wadna whistle," quo' the wife, '' Though ye wad gi'e me ten." " Whistle, whistle, auld wife, An' ye'se get a cock." " I wadna whistle," quo' the wife, " Though ye'd gi'e me a flock." " Wliistle, whistle, auld wife. And ye'se get a goun." " I wadna whistle," quo' the wife, "^ For the best ane i' the toun." " Whistle, whistle, auld wife. An' ye'se get a coo." " I wadna whistle," quo' the wife, " Though ye wad gi'e me two." CHILDREN'S SONdS AM) IJALLADS. i;;7 '' Whistle, whistle, aiild wife, An' ye'se get a man." " JVhceplc-u'hauph' ,'' quo' the wife, '' I'll whistle as I can." Sung with vocal miniieiy, the above makes a strikingly effective entertainment. The sonji' of '' The Three Little Pi<>s " embraces a palpable moral, which not children alone w^ould be the better for taking to heart. I wish I could sing it for you, my reader, as I have heard Mr. Tom Hunt, the Avell-known animal painter, sing it in social circles in <jHasgow : — THE THREE LITTLE PIGS. A jolly old sow once lived in a sty. And three little piggies had she ; And she waddled about saying, " grumph ! grumph ! grumph ! " While the little ones said " wee ! wee ! " And she waddled about saying, '' grumph I grumph ! grumph I " While the little ones said " wee ! wee ! " " My dear little piggies," said one of the brats, " My dear little brothers," said he, ^^ Let us all for the future say, ' grumph ! grumph ! grumph ! * 'Tis so childish to say, '^wee ! w'ee ! ' " Let us all, etc. lo 138 CHILDREN'S SONGS AND BALLADS. These three Httle piggies grew skinny and lean^ And lean they might very well be^ For somehow they couldn't say '^grumph I grumph ! grumph ! " And they wouldn't say '' wee ! wee ! " For somehow^ etc. So after a time these little pigs died^ They all died of fe-lo-de-see^ From trying too hard to say ^' grumph ! grumph ! grumph ! " When they only could say "wee ! wee ! " From trying, etc. A moral there is to this little song, A moral that's easy to see : Don't try when you're young to say '^ grumph ! grumph ! grumph ! " When you only can say '^ wee ! wee ! " Don't try when you're young to say '^ grumph ! grumph ! grumph ! " When you onh^ can say "^ wee ! wee ! " Another delectable song for children — also of a subtly didactic character — is COWE THE NETTLE EARLY. Gin ye be for lang kail^ Cowe the nettle, stoo the nettle : Gin ye be for lang kail, Cowe the nettle earh'. CHILDREN'S SONGS AND BALLADS. L'J(> Cowe it laich, cowe it sune, Cowe it in the month o' June ; Stoo it ere it's in the bloom, Cowe tlie nettle early. Cowe it by the old wa's, Cowe it where the sun ne'er fa's, Stoo it when the day daws, Cowe the nettle early. Auld heuk wi' no ae tooth, Cowe the nettle, stoo the nettle ; Auld gluive wi' leather loof, Cow e the nettle early. The following- curious song, which Mrs. Burns, the wife of the poet, Avas fond of crooning to her children, is not yet without some vogue outwith the printed page — though mainly in this verse, the place of which, by the bye, would be difficult to fix in the song as printed by Herd : — The robin cam' to the wren's door. And keekit in, and keekit in : O, blessings on your bonnie pow. Wad ye be in, wad ye be in ? I wadna let you lie thereout. And I within, and I within. As lang's I hae a Avarm clout. To row ye in, to row ye in. To students of Burns it will ever be of prime interest from the fact that its air, as played by Miss Jessie Lewars to the poet only a few days before his death, supplied the hint for his most tender and touching 140 CHILDREN'S SONGS AND BALLADS. lyricj " O Wert thou in the Cauld Blast." Herd prints it thus : — THE WREN'S NEST. The wren scho lyes in care's bed. In care's bed, in care's bed : The wren scho lyes in care's bed, Wi' nieikle dule and pyne, O. Wlien in cam' Robin Redbreist, Redbreist, Redbreist : When in cam' Robin Redbreist^ Wi' succar-saps and wine, O. Now, maiden, will ye taste o' this. Taste o' this, taste o' this ; Now, maiden, will ye taste o' this, It's succar saps and wine, O ? Na, ne'er a drap, Robin, Robin, Robin : Na, ne'er a drap, Robin, Though it were ne'er sae fine, O. And where's the ring that I gied ye. That I gied ye, that I gied ye : And where's the ring that I gied ye. Ye little cutty-quean, O ? I gied it till an ox-ee. An ox-ee, an ox-ee ; I gied it till an ox-ee, A true sweetheart o' mine, O. I CHILDRKN'S SONGS AM) JiALLADS. ill We began with the robin in tliis, I liope, not wearisome but entertaining Melange of eliild-songs. VVe have never, indeed^ got at any time far away from the lively and interesting little fellow ; and^ that being so, perhaps no item et)uld more fittingly close the series than the very old song of ROBIN REDBREAST'S TESTAMENT. Chide-day now^ bonnie Robin^ How long have you been here ? I've been bird about this bush This mair than twenty year ! But now I am the sickest bird That ever sat on brier ; And I wad mak' my testament^ Gudeman, if ye wad hear. Gae tak' this bonnie neb o' mine^ That picks upon the corn ; And gie't to the Duke o' Hamilton To be a hunting-horn. Gae tak' these bonnie feathers o' mine. The feathers o' my neb ; And gi'e to the Lady o' Hamilton To fill a feather-bed. Gae tak' this gude richt leg o' mine^ And mend the brig o' Tay ; It will be a post and pillar gude- Will neither bow nor gae. 142 CHILDREN'S SONGS AND BALLADS. And tak' this other leg o' mine, And mend the brig o' Weir ; It will be a post and pillar gude — Will neither bow nor steer. Gae tak' thae bonnie feathers o' mine. The feathers o' my tail : And gie to the lads o' Hamilton To be a barn-flail. And tak' thae bonnie feathers o' mine^ The feathers o' my breast : And gie to ony bonnie lad Will bring to me a priest. Now in there came my Lady Wren Wi' mony a sigh and groan : ^ O what care I for a' the lads If my ain lad be gone ! Then Robin turned him roimdaboiit_, E'en like a little king ; Go, pack ye out o' my chamber-door. Ye little cutty quean ! Robin made his testament Upon a coll of hay ; And by cam' a greedy gled And snapt him a' away. CHILDREN'S HUMOUR AND QUAINT SAYINGS. -• The humours of little folks^ fresh and original^ and invariably of the unconscious variety^ and their quaint sayings^ unrehearsed and uttered regularh' without regard to effect — though with merciless honesty often -form a never-palling treat ; and every man and woman who has reared a family, or has had joy in the society of other people's children, has his and her own budget, comprising tit-bits at once interesting, startling, and amusing. When occasion has saved us from the foolishly doting parent who is everlastingly prosing about the very clever things his own little Johnnie has said or done, I have seldom found greater enjoyment of a mixed company than when the queer sayings of children went round the board, and we had " recollec- tions," by suggestion, of things which perhaps had been better left unsaid, as also of things which had been more agreeably expressed if differently worded ; 3^et all so honestly set forth that even the '' victims " could not help but enjoy them in some measure. Children accept all statements so implicitly, and, with their quick-working wits, they reason so straight- forwardly, that the apj^lication when voiced comes at times with a bang sufficient to take one's breath away. 144. CHILDREN'S HUMOUR. Given this and that, however, an appUcation is un- avoidable. As hef set fire behind powder in a gun and expect there will be no report. A mite of five, thus, will on occasion utter a syllogism that would not dis- credit a professor of logic, or will put a question to which a whole college of theologians might not venture an answer. A little lady of my acquaintance who had not yet seen her fourth birthday, was one morning told by her mother that she could not get out to play — the frost was too severe. " Who makes the frost, ma ? " w^as asked. "^ God, dear." " What does He make frost for.-^" '^^ To kill the worms." ^^ And why does He make worms, and has to make frost to kill them ? " This was a sufficient poser, but the mother continued, " The M orms have to be killed, else they would eat the roots of all the plants and flowers." The little lady reflected, then gravely asked, " But does God kill the wee chicky worms that never eated any roots } " The mother did not answer, but looked now even more grave than the child. The same little miss was listening one evening to a newspaper report being read, which told how a man in a storm of wind had been blown with a ladder from a house-top in Glasgow, and was killed. '^ Who makes the wind .^ " she asked sharply. She was told. '^And does God make the bad winds that kills the mans ? " was demanded. There was no reply ; but she read the silence as meaning ''yes," and turning to leave the room she muttered more to herself than otherwise, '' When I die and go to Heaven I'll not sit beside God." When repeating the Pater-noster one evening she stuck at the first sentence, and wanted to know '' If God is our Father in Heaven who is our Mother in Heaven } " But the mother was saved this time by the inter- I CHILDUKNS HLMOLU. 11.-; j)o.sition of the little one s elder brother, who, with stern emphasis, exelaimed, '" Stupid ! Ciod's wife, of eourse. " A little bov-relative of that girl retiiriu-d from school one day, while he was but a })upil in the infant department, and ste})pino- proudly up to where his father was seated, "■ Pa," he exclaimed, " I am the cleverest boy in the class." " Indeed," returned the parent, "^ I am proud to hear that ; but who said it ? " "• The teacher." " If the teacher said so, it surely must be true. What did she say, though } '' " She said, ' Stand up the cleverest boy in the class,' and I stood up." The same little fellow was on the way to school with a friend one morning, towards the end of December, when the two were attracted by the ap- pearance of a sweep on the chimney of a neighbouring building. '^ I ken what that man's doin' up there, ' he asserted ; "' he's sweepin' the lums for Santa Claus to get doon." And that recalls the story I once heard of a little man in the Carse of Gowrie. It happened on an evening towards the close of the year, as he was prej^aring for bed, and was sitting by the fire with his first liberated stocking in his hand, that he looked over to his mother, and '^ Mither,' he asked, " will I get a pair o' new stockin's before Christmas .^ " " Maybe, laddie ; but what gars ye speir ? " "^ Because " — and he spoke mournfully, as he stuck his fingers through a large hole in the toe — " if Santa Claus puts onything intil thir anes, it'll fa' oot." How cleverly they reason, you see ! '^' Bring me a drink o' water, Johnnie/' was the order delivered by a Perthshire farmer to his little son one day a good many years ago. The boy went to do as he was asked, but the water-stoup had been nearly empty, and, as he was aj^proaching his })arent with the liquid, he paused and peered doubtfully into 146 CHILDREN'S HUMOUR. the hand-vessel^ then, as if suddenly insph-ed by a happy tlionght, " Will I put meal in't, father ? " he asked. " No." '' Oh, weel, then " — and he turned to go back — " ye'll need to wait till somebody gangs to the well." But to return to children I have known for yet one or two more illustrations. I was at a tea-table one afternoon where the company was mostly composed of the smaller fry, and an incident, important to all, was mentioned, which had happened some seven or eight years before. Several of the older children declared, truthfully, that they remembered it quite well. "So do I mind o' it," asserted a little fellow about five. " How could you mind o' it ? " questioned scornfully an older brother; "you wasna born at the time." " I ken,'' as scornfully returned the younger theologian ; " I was dust at the time ; but I mind o' it weel enough." Here is the verbatim copy of a letter written since by the hand of that same boy — in a country village in Perthshire — where he has been staying continuously for several years, and addressed to his father in Glasgow : — " Dear Pa, The Rabbits is all dead. Worried with dogs. The gold fishes is dead. Died with the cold. The cat has had kittens, four of them, and the rest of us is all well." The remark of a prominent Scottish novelist who recently passed the epistle through his hands was — " That s style, the most cris}) and picturesque. And then — ' the rest of us ' — how beautifully innocent ! '' The little girl of a friend of mind — while still of very tender years — was first taken to church by her aunt. On the way home, and soon after leaving the portals of the sacred edifice, she looked up solemnly in her guardian's face, and, "Auntie," she asked, "was yon God on the mantel-piece ? " She referred doubtless to t I CHILDHFA'S HUMOUR. I l-T the minister in the })iil\|)it. Don't think of irreverence, my reader ! Tlie child, in its atnios})liere of perfect innocence, knows not tlie word. And Ixar tliat in mind further when 1 tell you of a little boy and <^irl both of whom I know well — who Avere having a walk with me one Sunday in early Autumn, when suddenly a railway train appeared in view. A train on Sunday ! They were staggered by the sight ; and the boy demanded to know why it should be there. " Oh, I know," exclaimed the girl, after some reflection ; " it'll be God coming back from his holidays." The question, "■' Can prayer be answered } " may be often discussed by grown-up minds. It is never raised by the children. No doubts trouble them in that relation. They are quite certain they will get what they ask for. I^erfect confidence in that alone could have made it possible for a certain little miss, who, when being put to bed in a tired condition, and asked to say her prayer, began : — " This night I lay me down to sleep, I pray the Lord '' then gave a long, loud yawn, and added, " Oh God, I am awfully sleepy — you know the rest ''— making thus, in her rude simplicity, a finely trustful and beautiful prayer. " Give us each day our daily bread," was the honest petition of a little fellow — who, however, recalling probably some recent violent ex- periences, immediately added — "^ but dinna let our Lizzie bake it." An elaborately-trained little fellow who had nightly to pray for blessings on '^ mamma, and })apa, grandpapa, and grandmamma," and all his uncles, his aunts, and his cousins, committing each by name, after exhausting the catalogue one evening, heaved a heavy sigh and exclaimed wearily, '" Oh, dear, I wish 148 CHILDREN'S HUxMOLR. these people would pray for themselves, for I am so tired of praying for them all I " A little oirl, whose baby brother had died, was told tliat he had gone to Heaven, and that night she refused to pray — " Take me to Heaven for Jesus' sake "— because, as she said, " I don't want to go to Heaven, I want to stay here, with ma, and pa, and dolly." Were all prayers as honest, many of them, I suspect, would be much shorter than they are. I have heard of a little boy who was continually being told that he should be good. " And if I am gooder, and gooder," he asked, '^ what will I be } " '' Oh, you will be a little angel. " '^ But I don't want to be an angel," he retorted ; " I want to be an engine-driver." They are never else than frank in their statements. A mother who suffers from severe headaches, said to her little girl about eight, one day not long ago, '' What would you do, Lottie dear, if your darling mother was taken away from you — if she died ? " '^' Well, mother," was the little one's startling answer, " I suppose we would cry at first — then we would bury you, and then we would come home and take all the money out of your pocket." Now, while it is possible that something else might also be done, it is almost certain — yea, it is certain, without doubt — that all these ceremonials, however reluctantly, would, in turn, be duly performed. From a story bearing on death to one relating to birth is a transition not so unnatural as may at the first blush appear. And births are affairs ever of prime interest to children. Not many years ago it happened in a village in Perthshire that twins arrived in a familv, and next day one of the little misses of the CHILDRFA'S HUMOL'K. I !<) ]i()use was out on the street j)layini2,\ when a neiiihl)oin-- ino- lady eanie up to where she was, and^ " So you've got two Httle babies at home, Bizzie," she remarked. '^'^Yes," resj)onded the httle one, very solemnly ; "^and do you know, my father Avas away at Edinburgh when the doetor brought them. But it was a good thing my mother was in ; for if she hadna, there would have been naebody in the house but me, and I wadna have kent w^hat to do wi' them." They tell this delightful story of the little daughter of Professor Van Dyke, of the Philadelphia University : — " Papa, where w ere you born ? " "In Boston, my dear." " Where was mamma born } " "In San Francisco." " And where was I born .^ " " In Philadelphia." " Well, pap, isn't it funny how we three people got together.^ " And that now recalls another which Mrs. Keeley, the actress, tells of a tradesman's little boy who was often taken to stay with his grandmother and grand- father — the latter a very feeble old man, bald and toothless. This little fellow was told that his fatiier and mother had "bought " a nice new baby brother for him. The little man was much interested by the news, and was taken to see the new^ arrival. He looked at it with astonishment for a few seconds, then remarked — " Why, he's got no hair, father ! " This was at once admitted. "And he's got no teeth," observed the boy again^ touching another fact which could not be denied. Then a long and thoughtful pause ensued, after which the little critic (who had probably been comparing the baby with his grandfather), observed confidentially — l.-)() CHILDREN'S HUMOUR. " I'll tell you what, father ; if they called hmi a new bab}^, they've taken you in — he's an old 'un ! " You cannot easily get round children. And it is almost impossible to suppress them. As touching this fact an excellent story is told of our present King and his sister, the late Empress of Germany, when they were boy and girl. Lord , who had a deformed foot, was invited to Osborne ; and before his arrival the Queen and Prince Albert debated whether it would be better to warn the Prince of Wales and the Princess Royal of his physical calamity, so as to avoid em- barrassing remarks, or to leave the matter to their own good feeling. The latter course was adopted. Lord duly arrived. The foot elicited no remark from the Royal children, and the visit passed off with perfect success. But next day the Princess Royal asked the Queen, " Where is Lord .^ " " He has gone back to London, dear." '' Oh, what a pity! He had pro- mised to show Berty and me his foot ! " The enfants terrible had wilily caught his lordship in the corridor, and made their own terms. There is pleasure in telling that story were it but for the revelation it affords of how the children of Kings and Queens are animated by the same curiosities, and may act at times so like the children of the com- monality. That Royalt}^ again may be moved by the action or word of a child of common birth we have many pleasing proofs. One is pat. A late King of Prussia, while visiting in one of the villages of his dominion, was welcomed by the school children. Their sponsor made a speech for them. The King thanked them. Then, taking an orange from a plate, he asked — ^^To what kingdom does this belong.?" ''The vegetable kingdom, sire," replied a little girl. CHILDRKXS HUMOUR. i:>l Tlie Kin<;' next took a gold coin from liis pocket, and, lioklino- it up, asked — " And to what king(k)ni does this belong ?" ^' To the mineral kingdom," was the reply. "And to what kingdom do I belong, then .^ " asked the King. The little girl coloured deeply ; for she did not like to say the '^'^ animal kingdom," as he thought she would, lest His Majesty should be offended. But just then it flashed upon her mind that "^^ (iod made man in His own image," and looking up with brightening eye, she said — ^^ To God's Kingdom, sire." The King was moved. A tear stood in his eye. He placed his hand on the child's head, and said, most devoutly — " God grant that I may be accounted w^orthy of that Kingdom." Thus did the words of a common child, you see, move the heart of a King. But, oh, we are all the same. It is only the environment that is- different. And the distinction there even is not so great as one, not knowing, may be disposed to imagine. In high and low life alike, anyway, the children, we know, are free ; and all alike are susceptible of eccen- tricity. What a fine confession of this the Princess of Wales made not long ago when, as Duchess of York, she was addressing a Girls' Society in London. As a school-girl, she said, she disliked geography ; of which, she added, she was very ignorant. Once she was set to draw an outline map of the world from memory. "^ On showing it to my governess," said the Princess, " she said in quite an alarmed manner — ' Why, you have left out China ! Don't you know where it is } ' ' Yes,' I replied, very stubbornly, but very loyally, ' I know where it should be, but I am not going to put it in my maj). The Queen is angry with China now, so it has no right to have a place in the world at all.' " The spirit of exclusiveness manifested by the little 152 CHILDREN'S HUMOUR. lady might readily be quarrelled with in some quarters ; but surely the act gives promise of a Queen who, like her to whom she was loyal, will, when her glory cometh — though, may it be far distant — prove the j^ride of every loyal Briton ! The somersaultic cleverness by which a child will get out of an awkward situation has been often revealed, but seldom with more humour than in the two succeeding illustrations. A minister returning from church towards the manse on a Sunday, came suddenly on a boy leaning earnestly over the parapet of a bridge with a short rod and a long string having a baited hook on the far end, by which he was trying his luck in the burn beneath. '^'^ Boy," he exclaimed severely, " is this a day on which you should be catching fish .^ " ^^ Wha's catchin' fish .^ " drawled the budding Isaac Walton ; '^ I'm juist tryin' to droon this worm." The next boy was yet cleverer — alike in fishing and in speech. He had several trout dangling from his hand by a string when he met the minister abruptly in a quick bend of the road. There was no chance of escape ; but his ready wit saved him. He walkfed boldly forward, and taking the first word as the two were about to meet, he dangled the trout-hand high, looked the minister square in the face, and ex- claimed, " That sorts them for snappin' at flees on the Sabbath ! " and passed hence, leaving his anticipated accuser flabbergasted. Ruskin says of children : " They are forced by nature to develop their powers of invention, as a bird its feathers of flight ; " and we might add, remarks another writer, " that the inventive faculty, like a bird, is apt, when fully grown, to fly away. Then, w^hen their own imaginative resources begin to fail them, one CHILDRKN'S HLMOLR. I :.,; observes children be^iii to read books of adventure witli avidity — at tlie age, say, of ten or twelve years. Before that, no Rover of the Andes or P],rling the Bold can equal tlie heroic achievements they evolve frf)ni their inner consciousness." Who, tor instance, could ho})e to " put a })atch '' on the experience of those two little boys who spent a snowy day during the Christmas holidays tiger-shooting in their father's dining-room ; and as one, making his cautious way among the legs of the dinner-table, for the nonce a pathless jungle, was hailed by the other with, "Any tigers there. Bill .^ " he answered gloriously : '" Tigers f I'm knee-deep in them ! " That excellent story recalls to me another, not unlike it. Also of a Christmas time. The children had asked permission to get up a play, and it had been granted on the condition that they did it all themselves without help or hint. As the eldest was only ten they accepted the condition with alacrity, for young children hate to be interfered with and hampered by their elders. When the evening came and the family and audience had collected, the curtain was drawn back and revealed the heroine (aged nine), who stated with impassioned sobs that her husband had been in South Africa for the past three years, but that she was expecting his return. Truly enough the hero (aged ten) entered, and pro- ceeded, after affectionate but hasty greetings, to give his wife an eloquent account of his doings, the battles he had fought, the Boers he had killed, and the honours he had won. When he at last paused for breath, his wife rose, and taking his hand led him to the back, where a short curtain covered a recess. 154 CHILDREN'S HUMOUR. " I, too, dear/' she said proudly, " have not been idle." And pulling back the curtain she displayed six cradles occupied by six large baby dolls ! And that again recalls another, quite in the same line. One day a gentleman walking down a street observed a little boy seated on a doorstep. Going up to him, he said, " Well, my little chap, how is it you are sitting outside on the doorstep, when I see through the window all the other young folks inside playing games and having a good time ? Why aren't you inside joining in the fun ? " '' 1 guess, stranger, that I'm in this game,'' replied the boy. " But hoAv can you be, when you are out on the doorstep, and the others are all inside?" "Oh, I'm in the show^ right enough. You see, we're playing at being married. I'm the baby, and I'm not born yet ! " The late Dr. Norman M^Leod — the great Norman — rejoiced in telling a story about two ragged children whom he found busy on the side of a country road one day, working with some stiffened mud, which they had carefully scraped together. " What's this you are making ? " he asked. One of the children replied that it M-as a kirk. " A kirk ! Ay, and where's the door } " "There it's." "And the pulpit.?" "That's it." " And the minister } " The little one hesitated, then replied, very innocently — " We hadna dirt enough left to mak' a minister." The minister, of course — and the w^eaker his char- acter he should be the more careful — must always approach children with caution if he hopes to come out of the interview with his rejjutation unscathed. I have heard or read of a member of the cloth — a supreme egoist — who was visiting at a house when CHILDREN'S HUMOUR. 1.5.3 but the mother and her little t!;irl--a mere child - were at home. As the self-esteemed great man was holding the mother in conversation^ he noticed with j)ride that the child, who reposed on the hearthrug with a school- slate tilted on her knee, was making furtive glances uj) at his face, and returning her attention regularly to the slate, on which she kej)t scrawling with a pencil. When at length she sto})j)ed and looked serious, '' Well, my dear," he exclaimed, " have you been trying to draw my })ortrait ? " She did not re})ly, " Come," he con- tinued, coaxingly, " you must let me see it." ^'^ Oh," interposed the proud mother, " she's awfu' clever at the drawin'." This made the minister still more eager to see the work, and he repeated his request for an ex- })osure ; but the child clutched the slate only more tightly to her breast and did not look up. '' She's aye sae shy, ye ken," interceded the mother, as she reached her hand to procure the work of art by main force. It was then the little one found her tongue, and she exclaimed — '' Oh, it wasna very like him, and I just })ut a tail till't, and ca'd it a doggie." The denouement leaves nothing to be desired. Dean Ramsay, to whom his country owes so much for the elucidation of its characteristics, tells humorously of the elder of a kirk having found a little boy and his sister playing marbles on Sunday, and put his reproof not at all in judicious form by exclaiming — '' Boy, do you know where children go who play marbles on the Sabbath-day } " Not in judicious form, truly, for the boy replied, " Ay, they gang doun to the field by the water below^ the brig." " No," roared out the elder, ^'^ they go to hell, and are burned." Worse than ever — for the elder — for the little fellow, reallv shocked. 156 CHILDREN'S HUMOUR. now called to his sister, " Come awa', Jeanie, here's a man swearin' awfu'." " Among the lower orders in Scotland humour is found, occasionally, very rich in mere children,' ob- serves the Dean, " and I recollect a remarkable illustration of this early native humour occurring in a family in Forfarshire, where I used in former days to be very intimate. A wretched woman, who used to traverse the country as a beggar or tramp, left a poor half-starved little girl by the road-side near the house of my friends. Always ready to assist the unfor- tunate, they took charge of the child, and as she grew a little older they began to give her some education, and taught her to read. She soon made some progress in reading the Bible, and the native odd humour of which we speak began soon to show itself. On reading the passage M'hich began ' Then David rose,' etc., the child stopped and looked up knowingly to say, ' I ken wha that was,' and being asked what she could mean, she confidently said, ' That's David Rowse the pleuch- man.' And again, reading the passage where the words occur, ' He took Paul's girdle,' the child said, with much confidence, ' I ken what he took that for ; ' and on being asked to explain, replied at once, ' To bake his bannocks on.' " Among less than a dozen examples in all of child humour, the good Dean has yet another worth telling, which he says, used to be narrated by an old Mr. Campbell of Jura, w^ho told the story of his own son. The boy, it seems, was much spoilt by indulgence. In fact, the parents were scarce able to refuse him any- thing he demanded. He was in the drawing-room on one occasion when dinner was announced, and on being ordered up to the nursery he insisted on going down to CHILDREN'S HUMOUR. 157 dinner with the company. His mother was for refusal, but the child persevered and kept sa3ing, '^'^ If I dinna gang, I'll tell yon." His father then, for peace sake, let him go. So he went, and sat at the table by his mother. When he found every one getting soup and himself omitted, he demanded soup, and repeated, " If I dinna get it, I'll tell yon." Well, soup was given, and various other things yielded to his importunities, to which he always added the usual threat of "^ telling yon." At last, when it came to wine, his mother stood firm, and positively refused, as '' a bad thing for little boys," and so on. He then became more vociferous than ever about '^' telling yon ; " and, as still he was refused, he declared, " Now I'll tell yon," and at last roared out — " Mij new brecks are made oot o' the aukl curtains ! "' That, however, is not the most delectable of child stories. We prefer the ideas of the little folks within the region of philoso})hy. When, for example, they want to know " Whaur div' a' the figures gang when they re rubbit oot t " and ask such questions as " Where does the dark go when the light comes t " " Was it not very wrong; of God not to make Cain good as well as Abel } " or, " If it be true that some of the stars are bigger than this earth, how do they not keep the rain off.? ' " I say, father,' asked a little fellow as he raised his eyes off his home lesson, " Who invented the multiph- cation table } " '' Oh, I don t know," he was answered ; " it was invented long ago ; why } " "Well, I was thinking if the gentleman that invented it didn't know it already, he must have had a tough job ; and if he did know it, what was the good of him inventing it at all } " 158 CHILDREN'S HUMOUR. It was a cloudy and moonless night when a little fellow was taken out by his mother^ who went to call for a friend. " Mamma/' he exclaimed, looking up, " I expect God's been very busy this evening, for I see He has forgotten to hang the stars out." She was a very small Miss who went to church alone one day, where an organ had recently been introduced. As she stood gazing about just within the door, an elder approached, and asked where she would prefer to sit. '^ Well," she said pertly, " if there's a monkey, I would like to be near the organ ; but if there's no' a monkey, I'll just sit ony place." A pretty good story is related of one of Governor Tilton s staff. It is said that when the individual referred to first presented himself en militaire to his wife and little daughter, the latter, after gazing at him for a few minutes, turned to her mother, and exclaimed: ^^ Why, Ma, that's not a real soldier — it's Pa!" Equally observant was another youngster, who was sent by his parent to take a letter to the post-office and pay the postage on it. The boy returned highly elated, and said : " Father, I seed a lot of men putting letters in a little place ; and when no one was looking, I slipped yours in for nothing. ' We hardly know whether the father would laugh or storm over this unconscious attempt to defraud the revenue. But no matter. Two little London girls who had been sent by the kindness of the vicar s wife to have " a happy day in the country," narrating their experiences on their re- turn, said, " Oh, yes, mum, we did ave a happy day. We saw two pigs killed and a gentleman buried." It is the rare that fascinates. Many years ago, I was living in a house where, on an evening, a little Miss was toiling over her school-lesson, and declaiming CHILDREN'S HUMOUR. 159 loudly, "The — sow — has — pigs." Being a city child, 1 wondered whether she knew of what she was reading, and asked, " Did you ever see a sow and pigs, Mary } " " No," she replied smartly, " but when I was going to the school the day, I saw a policeman getting his photo- graph taken." But speaking here of London children, reminds me of two London stories which should not be omitted. So here :— Two small boys walking down Tottenham Court Road, passed a tobacconist's shop. The bigger re- marked — " 1 say, Bill, Lve got a ha-penny, and if you've got one too, we'll have a penny smoke be- tween us." Bill produced his copper, and Tommy, diving into the shop, promptly re-appeared with a penny cigar in his mouth. The boys walked side by side for a few minutes, when the smaller mildly said, '' I say, Tom, when am I to have a puff.- The weed's half mine." " Oh, 3'ou shut up," was the business-like reply. " I'm the chairman of this company, and you are only a shareholder. You can spit." That is the first. The second, though less pre- cocious, is yet more enjoyable. Besides, we know it is true, while the other — well, it is not above suspicion. One day, when seeking a model. Miss Dorothy Tennant (now Mrs. H. M. Stanley) discovered a likely subject in the sha})e of a crossing-sweeper ; and, while conducting him to Richmond Terrace, she met her family's old friend, Mr. Gladstone. Greatly moved by her companion, he exclaimed : " Who's your friend } " U)0 CHILDREN'S HUMOUR. Then and there the crossing-sweeper, much to his dismay, was presented to the '' People's WiUiam.'' On entering the Tennant mansion, the urchin was tremendously impressed by the liveried servant who had opened the door, and, after looking back at him several times, whispered mysteriously to his kind hostess : " I say, miss, why does your big brother wear brass buttons ? " Always thoughtful, Miss Tennant first led her charge to the servants' hall, where she sat beside him as he played havoc with the well-filled dishes placed before him. At the conclusion of his repast. Miss Tennant asked the boy how he liked it. " Proper," replied the crossing-sweeper ; " yer mother do cook prime ! " London having yielded its quota, the " Second City " may be again drawn u})on. A little boy of tender years was sitting on the door- step of a house in Bridgeton, there, the other morning, crying bitterly, when a girl of about the same age accosted him, and the following conversation w^as over- heard : — " What are ye greetin' for, laddie } " she inquired, in sympathetic tones. " Did onybody hit ye } " " N-n-na," sobbed the boy. " Then, what is't ye're greetin' for } " the little damsel went on. " 'Cause my wee brither's gane to heaven," exclaimed the little fellow, bitterly, between his sobs. " Oh ! " ejaculated the girl ; and then, after a pause, " but ye shouldna greet like that — ma3'be he hasna." Another. Recently a little fellow came home from s'jhool crying bitterly, and altogether manifesting great sorrow. "What's the matter, Geordie," sympatheti- cally inquired his mother, " has onybody been hittin' CHILDREN'S HUMOUR. 161 ye ? " " N-n-11-0," answered the boy between his .s()l)s. "Then, what are you crying- about?" she went on. " Boo ! hoo ! wee Sammy Sloan's faither an' niithcr hae fitted to Coatbrig ! " " Tuts, laddie, dinna greet about that," she exclaimed, re-assuringly, " there's plenty mair laddies bidin' in the street besides Sammy Sloan that ye can play wi'. ' " I ken that, ' said Geordie, with another sob, " but he w^as the only yin I could lick." Children, really, as we have been revealing so fre- quently here, have the fresh and original notions of things, and are always frank enough to give them voice. A little boy was reading the stor}' of a missionary having been eaten by cannibals. " Papa," he asked, " will the missionary go to heaven } " " Yes, my son," replied the father. " And will the cannibals go there, too } " queried the youthful student. '' No," was the reply. After thinking the matter over for some time, the little fellow exclaimed — ^' Well, I don't see how the missionary can go to heaven if the cannibals don t, when he's inside the cannibals." One Sunday evening, while sitting on his mother's knee listening to the story of Jonah being swallowed by the whale, a little fellow looked up seriously into her face and asked, " Ma, did Jonah wear his slippers in the whale's belly } Because, if he didna, the tackets in his boots wad tear a' its puddin's." Dr. John Ker of Edinburgh, in his recently published volume of reminiscences — Memories Grave and Gaij — tells of how '^ in a Banffshire manse one Sunday even- ing, all the family were sitting quietly reading in the drawing-room, when the youngest boy, with a laudable thirst for knowledge, went up to his mother and asked 162 CHILDREN'S HUMOUR. a question, for the answer to Avhich she referred him to me. Coming up to me^, he said — " ' Mr. Ker^ is it true that the devil goes about like a roaring lion } ' " ' It must/ I replied^ ' be true^ for it is in the Bible.' " This was followed by another question which I did not attempt to answer— " ' Then, wha keeps his fire in when he's gaun aboot ? ' " " Do you know, mamma, I don t believe Solomon was so rich after all ? " observed a sharp boy to his mother, who prided herself on her orthodoxy. " My child ! " she exclaimed in pious horror, "^ what does the Bible say.'"' " That s just it,' he answered. "^^ It says that '^Solomon slept with his fathers.' Now, surely, if he had been rich he'd have had a bed to himself." A father once said to a little boy, not so obedient as might be desired, " Everything I say to you goes in at one ear and out at the other." "Is that what little boys has two ears for, daddy? " asked the child, quite innocently. Engaging his tender "hopeful" in the wonders of astronomy — " Men have learned the distances of the stars," observed the father; "and, with their spectro- scopes, found out what they are made of" "Yes," responded the boy admiringly ; " and isn't it strange, pa, how they found out their names too ! " SCHOOLROOM FACTS AND FANCIES. These are so numerous as to demand a separate chapter. Talkin^i^ of the serpent in the Garden of Eden, a lady teacher asked her class what a serpent was like, when a boy aptly replied, " It's like a lang rope furlin." On another occasion, in the some class, the question was, " What does the devil tempt little boys and oirls to do ? " when the comical answer came, " To chap at fouk's doors, mem.'' It has been often told, but is worth repeating, how a pupil teacher was doing his level best to make the children remember Samson's mighty deeds with the jawbone of an ass, and, recapitulating, he asked, " What did Samson slay ten thousand Philistines with } Eh ? " Xo reply came. Then, pointing to his jaw- bone, he asked, " What is this } " And at once the answer belched })roudly from half-a-dozen throats in unison, " The jawbone of an ass." In a country school the lesson was on " The Prodigal Son," and the question, " What were the husks that the swine did eat .^ " met with the prompt answer, " Tawtie peelin's." 164 SCHOOLROOM FACTS AND FANCIES. In a city seminary a teacher asked her class, " Who knows everything we say and do ? " when she received the unexpected reply, '' The foiik that bides next door to us." Expecting to get the answer " Carnivorous " (as it bore on the lesson), a teacher asked his class for an example of a bird of prey, and among other answers he got was "A yellow yite." The boy who responded so, on being asked to explain, continued, " Because it eats worms." "What do you call the bird or beast that feeds on both animal and vegetable foods ? " was the next question. The teacher anticipated " Omnivorous " this time, but it did not come. There was silence for a little. Then a boy, who evidently had been ruminat- ing, responded nonchalantly, " A gutsy brute, sir."' In examining the boys in the composition of sentences, a master began : " If I ask you," said he, "^ what have I in my hand } you must not say simply ' Chalk,' but make a full sentence of it, and say, ' You have chalk in your hand.' Now I will proceed. What have I on my feet } " The answer came immediately, "Boots." "Wrong; you haven't been observing my directions," he rebukingly replied. " Stockings," another heedlessly ventured to answ er. " Wrong again — worse than ever," wrathfully exclaimed the magister. " Well .? '' he continued interrogatively to a lad near him. " Please, sir," then he paused — perhaps he thought it might sound funny, but he felt it must be right, and so he recklessly gasped out — " Corns ! " But the answers are not always so stupid. " Why is it," asked a teacher, " the sun never sets on the British possessions ? " " Because," slowly responded an ingenuous youngster, " the British possessions are in SCHOOLROOM FACTS AND FAXCIKS. I(ir> the north, south, and east, and the sun always sets in the west." Durine: a reeent Seliool Hoard examination in the west of Seotland, the examiner asked a httle <i;irl to explain what was meant by the expression. He iras ampli/ rorardi'd. '"• Paid for't," was her instant reply. " No, no ; you are wrong. Su])pose you have to go into a baker s shoj) and buy a half-quarter loaf, and lay down fourpence, would you say you had amply rewarded the baker } " Unhesitatingly she replied " Yes." '" Why } ' " Because the loafs only twopence- three-farthings,' was the unlooked-for answer. Quite like that is the story of a small boy into whose head a teacher was one day labouring almost in vain to get, as he thought, even the faintest correct notion of the first rule in arithmetic. "^ Look here now, Johnnie," he said at length, " if I were to give you two rabbits and your father were to give you three rabbits, how^ many rabbits would you then have } " " Six." " No, no ; " and the teacher set out bits of chalk to show how^ he could only have five. '' Ah, but,' drawled out Johnnie, " I have a rabbit at hame already." It was a notion of multiplication that another teacher was endeavouring to get properly lodged within the skull of another boy, and by way of putting the effort to a practical test, he said : " Now, Peter, suppose 1 was a tailor who supplied your father with a suit of clothes for three pounds, which he promised to })ay me in weekly instalments of one shilling, how much would your father be due me at the end of a year .' " " Three pounds," replied Peter slowly. ■' Nonsense, Peter ; think again." Peter thought again, but again answered as before. " You don't know that sim})le 166 SCHOOLROOM FACTS AND FANCIES. sum ! " exclaimed the teacher in amazement. '' Ay, I ken it weel enough/' responded Peter, " but ye dinna ken my faither." '• Did any of you ever see an elephant's skin ? " asked the master of an infant school. " I have/' shouted a six-year-old at the foot of the class. '^' Where ? " " On the elephant." A little boy of my acquaintance, while yet a pupil in the infant department, was one day given a slate more to engage his attention than aught else. But he had some notion of drawing, and wiien the teacher came round she was astonished to find he had set down a fair picture of a bird on a bough. "• Ha I who drew this } " she asked. " Mysel'," was • the canny Scotch reply. '^'' And who's mysel' .^ " she queried. "^^ Oh, Fm fine," was the second response, not less Scotch than the first. The English reader, of course, won t fairly understand the w^ord '' fine " as spoken there ; but every Scotsman will, as also how " who's " may be mistaken for ''■' hows. ' There is another " fine " story. It was asked of a class, '' How did the Israelites get across the Red Sea ? " " Fine," exclaimed a youth with brightening eyes ; '^ 'twas the 'Gyptians was droond." " What do you mean by a temperate region ? " asked an inspector of a class, putting due emphasis on the word temperate. " The region, sir, ' responded a boy '^ where they drinks only temperants drinks." Not long ago a class of boys were being examined on the different kinds of wood ; and one little chap was asked to name the specimen (a j)iece of mahogany) which was held in the examiner's hand. He hesitated, and the inspector, by way of suggestion, remarked, " Why, don't you know the materials that your SCHOOLROOM FACTS AND FANCIES. iGl mother's drawers are made of?'' Tliis seemed to sim})lify the matter, and, amidst a roar of lau<2,liter, came the quick reply — " Flannelette ! " " Name anything friable," said a teacher. '• Ham,'' was the ready answer. " What is a papal bull ? " '^^ A golden calf" " What is ice f " '^'^ Water fast asleep." " What is a skeleton ? " " A man without any meat on it." A teacher was examining a class on the battle of Bannockburn, and asked, '' Who killed de Bohun ? " No one knew. He raised his arm in an attitude of striking, and yelled, with flashing eyes, " Who killed de Bohun, I say ? " A little fellow near him, who expected the blow, raised his arm in a defensive attitude, and whined, "• Oh, please, sir, it wasna me." "■ What is meant by faith .^ " was one day asked of a class. '' Faith," responded a thoughtful youth, ''' is the faculty which enables us to believe things that we know to be not true." In the lesson of a class of country boys not long ago, the words " above the average " occurred, and the lady teacher asked if any one could tell what the w^ord '' average " meant. There was no response for a time, and she passed the question from one to another until a more than average specimen eagerly responded, '' It's a thing that hens lay on." The teacher was dumb- founded, and asked for an explanation. " Well," drawled the budding Solomon, " my mother says that our hens lay each four eggs a week — on an average." It is a teacher's business to observe that his scholars are clean as well as clever, and the Rev. David Macrae, 168 SCHOOLROOM FACTS AND FANCIES. in his entertaining little book of Quaint Saijings of Children, tells how a teacher, after glancing round the class one day, said to a boy, "I'll let you off if you can find a hand in all the school as dirty as that one," indicating the boy's own grimy exposed paw. The youth promptly brought forth and showed his other fist, which was certainly dirtier still, and the master, in view of his pledge, had no resource but to let the offender go for that time any way. An old story, which has had a lively currency, tells of how a boy when he returned from school was always asked where he stood in his class, and whose invariable answer was, "I'm second dux." For the regular holding of this excellent position he re- ceived many fine things in the shape of sweets and biscuits, and pennies, etc., until at length it occurred to one of the family to ask him how many were in his class. It was then the gilt fell off" the ginger-bread. " Oh," said he, "there's just me and anither lassie." Dean Ramsay tells of a very practical answer given by a little girl who had been asked the meaning of " darkness," as it occurred in Scripture reading — "Just steek your een." In the same place, he says, on the question, " What is the pestilence that walketh in dark- ness ? " being put to a class, a little boy answered, after consideration, " Oh, its just bugs." Our friend. Dr. John Ker, has often told of an occasion when he was examining a class in mathe- matics, and put the question to a boy — " If a salmon weighed 1 6 lbs., and was to be sold at 2d. per lb., what would it be worth ? " — and how the lad, who was the son of a fishmonger, hastily replied — " It wadna be worth a curse ! " Salmon at that price, I should say, would nowhere in these days be esteemed above sus- SCHOOLROOM FACTS AND FANCIKS. 1()9 })ic'ion, anyway. And boys nill he frank, even altli()ij<^h their raphes at times a})j)ear more smart than res])eetfiih Onee a Coekney manufaeturer was takin<;- ])art in a school examination, and asked a boy pom})ously — " Wat's the capital of 'Olland ? " " H," was tlie mi- consciously smart re})ly <]jiven. And that recalls a good dialect story, under the early Board system, which tells how an English clergyman and a Lowland Scotsman entered one of the best schools in Aberdeen. The master received them kindly, and enquired — " Would you prefer that I should spier (question) the boys, or that you should spier them ? " The PLnglish clergyman desired the master to proceed. He did so with great success, and the boys answered satisfactorily numerous interrogatories as to the exodus of the Israelites from JLgypt. The clergyman then said he would be glad to '' spier the boys," and at once began — " How did Pharaoh die t " There was a dead silence. In his dilemma the Lowland gentleman interposed. " I think, sir, the boys are not accustomed to your English accent ; let me try what I can make of them." And he inquired in broad Scotch — " Hoo did Phawroah dee f " Again there was a dead silence, upon which the master said — - " Noo, boys, fat cam' to Phawroah at his hinner end ? " The boys with one voice answered — '^ He was drooned." And a smart little fellow added — " Ony lassie could hae tell't ye that." Not unlike the above is a story told by Dr. Ker. 170 SCHOOLROOM FACTS AND FANCIES. The venerable inspector was one day putting a class ^^through its facings/' and asked a boy where the River Dee was. The answer came correctly^ " In Aberdeen- shire." " Assuming quite a serious look (says Dr. Ker)^ I asked him if he was not mistaken^ adding that I thought the Dee was in Kirkcudbright, and flowed into the Solway Firth. He was a bashful boy, and made no reply. To give the class a needed fillip, I appealed to them to settle w^hether I or the boy w^as right. To give a verdict against the inspector was, of course, not to be thought of, and there was silence for a time ; but at last a boy put his hand to his mouth, and said to his neighbour in a stage whisper not meant for^ but which reached my ear — ' He disna ken there's twa Dees.' " Once by way of stimulant, the doctor asked a some- what sleepy history class which of the four Georges wore the largest hat t and a boy who had not till then o})ened his mouth, replied — " Him that had the biggest heid." In an Ayrshire town, immediately after the Whit- sunda}' term a year or two ago, a female teacher asked her class of little ones to be sure all of them and bring their new addresses to her on the morrow, as these were required for the re-adjustment of the register. " Please, mem," blurted out a wee fellow in })etticoats, " my mither says I'm no' to get ony mair dresses. She's gaun to mak' a suit for me oot o' my faith er's auld breeks." Sunday school stories are not inferior to those of the week-day seminary in their irresistible fun and drollery. A Sunday school teacher asked her scholars to learn an appropriate text to say as they gave in their pennies to the next collection. The first was — '^^ He that giveth SCHOOLROOM FACTS AND FANCIIvS. I 71 to the poor lendeth to the Lord ' ; and all went ri<;ht until it came to tlie last boy, who, reluctantly dropping- his ))enny into the box, said — to the oreat amazement of teachers and scholars — '' The fool and his money are soon parted ! " As an exam})le of the error of talkin<;- figuratively to those who do not a})preciate, and who are a])t to take everythino; literally, a story is worth telling. The re- s})ected superintendent of a Sunday school had told his boys that they should endeavour to bring their neigh- bours to the school, saying that they should be like a train — the scholar being the engine, and his converts the carriages. Judge of his surprise when, next Sun- day, the door opened during lessons, and a little boy, making a noise like an engine^ ran in, followed by half- a-dozen others in single file at his back ! He came to a halt before the superintendent, who asked the meaning of it all. The naive answer was — " Please, sir, Tm the engine, and them's the carriages." A Sabbath school teacher, at the finish of a lesson on " The Fall/' asked — " Now, children, what lesson can we learn from the story of Adam and F^ve } Well, Johnnie } " Johnnie — " Never believe what your wife sa^^s.' A lady asked one of the children in her class, " What was the sin of the Pharisees .^ " " Eating camels, ma'am,' was the re})ly. The little girl who answered had read that the Pharisees " strained at gnats and swallowed camels.'' " In what condition was the patri- arch Job at the end of his life } " questioned a teacher of a stolid-looking boy. " Dead," was the quiet response. " What is the outward and visible sign in baptism r " asked a lady. There was silence for some seconds, and 172 SCHOOLROOM FACTS AND FANCIES. then a girl broke in triumphantly with, " The baby, please, mem." The Rev. David Macrae tells that in a Brooklyn Sun- day school a small boy was asked the question, " Who was the first man } " and, with characteristic American cocksureness, he immediately replied, " General Wash- ington." The teacher smiled, then asked — '^^ Did you never hear of Adam?" '^^ Why, yes," responded the child, " I've heard of Adam ; but I didn't know you were counting foreigners." Recently, in a Sunday school in Scotland, a little boy, who had been transferred to a new class, was asked on arrival if he had had the Shorter Catechism. YoY a moment he looked })uzzled, and then replied — "^ I'm no sure, mem, until I ask my mither ; but I ken I've had the measles." Elsewhere, a teacher had been carefully explaining the parable of the Prodigal Son, and that done, she ])roceeded to put questions. All went w^ell until near the close, when she asked, •' Now, tell me who was not pleased to see the prodigal son when he came home," and to her consternation got the reply, '^'^ Please, ma'am, the fatted calf." In a Sunday school in Ayrshire, attended chiefly by miners' children, the lesson for the day had been the parable of the ten wise and ten foolish virgins, and the teacher asked — " Can any one of you tell me why the virgins' lamps went out .^ " "\ ken," immediately responded the dullest boy in the class ; '^' it was the wicks that was needin' pykin'." And the story is hoary with age of how a teacher, when the lesson had been read which bore on Jacob's dream, invited questions from the class, and how one little fellow asked — ''Why did the angels need a ladder f SCHOOLROOM FACTS AND FAXCIKS. My, for ascending and descending when they had wings and could flee ? " The teacher was nonphissed, but got out of tlie difficulty by saying — " Perhaps some of the other boys can answer." "■ I think I ken/' ventured a little fellow, whose father was a bird fancier, "^ maybe they wad be moultin' at the time." His solutions may be extraordinary, but nothing, you see, can baffle the young wit. It was again in a Sunday school that a teacher had been instructing a class in the relative positions of man and the lower animals in the scale of intelligence, and wishing to test how the lesson had been imbibed, she asked — " Now, what is next to man } " and got the answer promptly — "^ His shirt." " What is meant by a ' hireling ' .^ " was asked of a class in a day-school. "^ You are a hireling," responded a little fellow ; "you are hired to teach us." Giving a reading lesson to his class in the presence of an inspector, a teacher asked his boys what was meant by conscience — a word that had occurred in the course of the reading — and the class having been duly crammed for the occasion answered as one boy — "^ An inw^ard monitor." " But w^hat do you understand by an inward monitor.^" put in the inspector. To this further question, only one boy announced himself ready to respond, and his triumphantly given answer was — "A hironclad, sir." Their definitions are at all times interesting, if not constantly reliable. After a reading of Gray's " Elegy" by a fourth standard class, the boys were asked what was meant by "fretted vaults," and one youth replied — "The vaults in which these poor people were buried ; their friends came and fretted over them." Asked what he understood by " FLlegy,'' another bov in the 174 SCHOOLROOM FACTS AND FANCIES. same class answered — " Flegy is some poetry wrote out for schools to learn, like Gray's ' Elegy.' " Asked to describe a kitten^ a boy, after a moment's thought, replied — "^A kitten is remarkable for rushing like mad at nothing whatever, and stopping before it gets there." Another boy's definition of a lie was probably the fruit of good experience. "A lie," said he, '^^is an abomination in the eyes of the Lord, but a very present help in time of trouble." Asked to define the expression, '^ Sufficient unto the day is the evil thereof." " It just means," responded a little fellow, " that the evil committed at the present day is quite sufficient without any more." In a sixth standard examination, a vacuum was recently described as " an empty space without any- thing in it ; " and a compass, at the same time, was explained as " a tripod w ith a round or circular box surmounting it, which always points due north." A Government inspector not long ago gave the fol- lowing in a list of historical and other " facts," elicited from boys under examination : — " Of whom was it said ' He never smiled again ' } " '' William Rufus, and this after he was shot by the arrow." " My favourite character in English history is Henry VIII., because he had eight wives and killed them all." '^^The cause of the Peasants' Revolt was that a shilling poultice should be put on everybody over sixteen." " Henry VIII. was a very good king. He liked plenty of money, he had plenty of wives, and died of ulcers in the lees." SCHOOLROOM FACTS AXl) FANCllvS. IT.", " Kdward 111. would liave been kino- of France if" his mother liad been a man.'' " Doomsday Book. — A book si^nityino- that eaeJi man should have seven feet of land for a grave." '^Alexander the Great was born in the absence of his parents. ' " What followed the murder of IJecket t " " Henry II. received wacks with a birch.' " What is a waterslied t " " A shed for keej)ing water in. ' " A watershed is a house between two rivers so that a drop of water falling on one side of the roof runs into one river, and a drop on the other side goes into the other river.'' " The battle of Waterloo was fought off Caj)e Trafal- gar. Nelson led up one squadron and Collingwood the other. Wlien it was over, Wellington rode over the field by moonlight, and met Blucher, the French general, and they shook hands and were friends ever after." " The Feudal System lies between the Humber and the Thames." ''Caractacus was a Roman Emperor who had con- quered Britain. He had to abandon it shortly after- wards because it was overrun by the Picts and the Scots."' " The princi})al i)roducts of Kent are Archbishops at Canterbury." " The chief clause in Magna Charta was that no free man should be })ut to death or imprisoned without his own consent.'' " What and where are the Pyramids ? " '' The Pyramids is a kind of night-lights as is generally used in the bed-rooms, but you can get Clark's as w^ell." 176 SCHOOLROOM FACTS AND FANCIES. " Where were the Kings of England crowned ? " "On their heads." "^ What were the most important Feudal dues } " " Friendship, courtship, marriage." " What do you know of Dermot : " " Dermot's daughter married Magna Charta. Dermot himself married Strongbow." "■ What do you know of Dryden and Buckingham } " " Dryden and Buckingham were at first friends, but soon became contemporaries." "What is Milton's chief work.?" " Milton wrote a sensible poem called the '^Canterbury Tails.'" " The ffamut is a musical scale. The name is derived from gamut or catgut, the material from which the strings of musical instruments used to be made." " An optimist is a man who looks after your eyes, and a pessimist is a man who looks after your feet.' " A man who looks on the bright side of things is called an optimist, and one who looks on the dull side is called a pianist." Dr. Charles Wilson, in his general report on the Scottish Training Colleges, gives several curious answers which he had received from candidates and pupil- teachers. A young lady in commenting on the proverb, " Penny wise and pound foolish," wrote — " This pro- verb clearly shows that for every wise and good action a man does, he will commit two hundred and forty foolish bad ones." Under examination by Dr. John Ker, a boy wrote regarding Oliver Cromwell — " Oliver Cromwell's eyes were of a dark grey, his nose was very large and of a deep, red colour, but underneath it was a truly religious soul." SCHOOLROOM FACTS ANT) I A\CIi:S. 177 Another wrote '• iU the Declaration ot Iii(liil<>eiiee peoj)le were allowed to worship (Jod in their own way. Seven l^ishops refused to do so. They were aeeordin<i,l\' j)iit on their trial and found not guilty." Another declared that the Salic Law says — " No one can be made Kin;' who was descended from a woman." S})eakino; there of Oliver Cromwell, recalls the story of a boy's school essay which the late Mr. W. K. Olad- stone was fond of telling — albeit, the great Connnoner had no very lively sense of humour. The " G.O.M.'s " comically-mixed youthful historian wrote — '• Oliver Cromwell began his career by cutting off the head of his king, and when he was dying he said, " Had I served my God with half the zeal I have served my king, he would not in mine age have left me naked to mine enemies." I have exam})les of other boys' essays not less sur- prising and entertaining. '' The horse," wrote a youthful Cuvier, in an essay on the "friend of man," "is a useful creacher. It eats corn, it is a sort of square animal with a leg at each corner, and has a head at one end and a tail at the other." Here is a boy's essay on " Breath," well calculated to almost take any one's breath away — " Breath is made of air. We breathe with our lungs, our livers, and our kidneys. If it w^asn't for our lights and our breath we should die when we slept. Our breath keeps life agoing through the nose when we are asleej). Boys that stay in a room all day should not breathe. They should wait till they get outdoors. Boys in a room make carbonicide. Carbonicide is more poisonous than mad dogs. A heap of soldiers was in a black hole in India 178 SCHOOLROOM FACTS AND FANCIES. and carboiiicide got into that black hole and killed nearly every one afore morning. Girls kill the breath with corsets that squeeze the diagram. Girls can't run or holler like boys because their diagram is squeezed too much. If I was a girl, I'd rather be a bo}' so I can run and holler and have a good big diagram." The next looks rather knowing for a lad of eleven- and-a-half; but Dr. T. J. Macnamara, M.P., in an article on " Children's Witticisms," contributed to the Xcfv Liberal Review, vouches for its authenticity. The subject reveals itself in the w^ork : — " What I expect to do in my holidays is the greater part of the time to mind the baby. Two years and a half old. Just old enough to run into a puddle or to fall downstairs. Oh ! what a glorious occupation, my aunt or Sunday-school teacher would say. But it is all very well for them ; they ought to have a turn \^•ith him. I am going to have a game at tying doors, tying bundles of mud in paper, and then drop it on the })avement. I shall buy a bundle of wood and tie a piece of cord to it, and when some one goes to jnck it up, lo ! it has vanished — not lost, but gone before. I shall go butterfly-catching^ and catch some fish at Snob's Brighton (Lea Bridge). I shall finish up by having a whacking, tearing my breeches, giving a boy two black eyes, and then wake u}) on Monday morning refreshed and quite happy to make the acquaintance of Mr. s cane." Dr. M. quotes the following as well — the genuineness of which he also guarantees : — "■ Man goes fishing, takes his rod and enough tackle to make a telegraph wire, and starts on his piscatorial expedition. He arrives^ and happy man is he if he has not forgot something, a hook, his bait, or his float. He sits there, apparently contented ; he catches a froff or some other fine SCHOOLROOM FACTS AM) I ANCII.S. IT}) specimen of natural liistorv, and a cold, and a jolly g'ood roastini!; from his ])itter (.sic) half, when he arri\(s witli some mackerel wiiich lie had l)oii<;ht at the fisii- monger's. He, })()or man. did not know tliat they were sea-fish, hut his wife did. When juveniles go fishin<r, thev take a willow, their mas reel of best six cord, a pickle jar, and a few worms, and })roceed to the Xew River cpiite ha])])y. When they arrive they catch about fifty (a small thousand, they call it), and are thinking of returning home, when a gent, with N.R. 0:1 his hat, and a good ash stick in his hand, comes ii}), ' 'Ullo, there,' says he^ ' what are you doing there ? ' ' Fishing, sir/ answ er they meekly. The man then takes away their fish and rod, and gives them some whales instead (on their back). And they return home sadder but wiser boys." I can vouch myself for the genuineness of the next example, recently copied verbatim from the original manuscript in the possession of a friend in the teaching j)rofession in Glasgow\ The general subject had been ''Athletic Sports," and a boy wrote : — "Athletic sports is very useful football especially it strengthens the mussles all sports is good for the helth for some people I think the best game is rugby there is more fun in it than anything else I will give a description of football the Rangers have the best men that ever stood in the football ])ark there is one man I know and that is Chas. Raisback and he is center and a nother good })layer is Bobby M'Coll his wright wing and J. Drummond is a nother good })layer I think this is all about athletic sports I have got to say and I will never forget the good wee rangers the result was on Saturday Rangers 'i Morton 1. Good old Rangers." Isn t it beautiful.^ ISO SCHOOLROOM FACTS AND FANCIES. To the question, " With what weapon did Samson slay the PhiHstines ? " the correct answer has abeady been given, or extracted, here ; but I recall another, more ingenious, from a boy, who rephed, "With the a.re of the Apostles." "Wliatare you talking about there .^ " demanded a teacher, addressing himself to the loquacious son of a railway porter. But the teacher received no response, and was obliged to ask another lad w^io sat next the delinquent, "What was George talking about?" "Please, sir, he was saying as his father's trousers is sent down to Brighton when they gets old, and they's made into sugar there, and that's how 'tis sugar 's gone down." Home influences appeared in the answer of a child, whose father was a strong teetotaller, to the query, "Do you know the meaning of syntax ? " "Yes, syntax is the dooty upon spirits." In reply to the question, " Why do we cook our food ? " one child replied : " There are five ways of cooking potatoes. We should die if we eat our food raw." A second pupil wrote : "Food digested is when we put it into our mouths, our teeth chew^s it, and our mouth drops it down into our body. W^e should not eat so much bone-making food as flesh-making and warmth-giving foods, for, if we did, we should have too many bones, and that would make us look funny." In answer to the question, " Mention any occupations that are injurious to health.^" one child's reply was: " Occupations which are injurious to health are carbonic acid gas, which is impure blood." Another responded: "A stone-mason's work is injurious, because when he is chipping, he breathes in all the little chips, and they are taken into the lungs." A third advanced the SCHOOLROOM FACTS AM) FANCIKS. I si tlu'on- that "A hoot-niakcr's trade is \ rry injurious, because they press tlie l)()()ts against tlie thorax, and therefore it })res.ses the thorax in, and it touches the lieart, and if they do not die^ they are cripples for Hfe." Finally, here is an extract from an essay on "The Moon," which — in defiance of its title — affords some very interesting- olim})ses of sublunary home life : — "To look at the white moon shinin threw your winder at nii»ht, sitting on the edge of the bed, and lissin to your father and mothers knives and forks rattlin on their ])lates while they are getting their nice supj^ers, is the ))rittist site you ever seed. When its liver and hunyens there a having, you can smell it all the way upstairs. It looks very brite and nearly all white. Once when they was a having fried fish and potaters I crept out of my bed-room to the top of the stairs all in the dark, just so as to have a better hssen and a nearer smell. I forget whether there was a moon that night. I dont think as there was, cose I got to the top of the stares afore I knew I was there, and I tumbled right down to the bottom of the stares, a bursting open the door at the bottom, and rolling into the room nearly as far as the supper table. My father thote of giving me the stick for it, but he let my mother give me a bit of fish on some bread, and told me to skittle off to bed again. I am sure there was not no moon, else I should have seed there wasn't a top stare when I put my foot out so slow. I only skratted my left eye and ear a bit with that last bump at the bottom, witch was a hard one. Stares are steeper than girls think, speshilly where the corner is." CHILDREN'S STORIES, 'fff^y//^/^fff' The editor of a London literary journal was recently inviting men and women in. prominent j^ositions in public life to name for publication the books of their childhood. So far as I observed, none of the half- hundred or more who responded gave Blue Beard, Cinderella, Little Red Riding Hood, or any of the others in the same category that follow here. But I am none the less convinced that these old-time favourites, not yet unknown, though familiar to city children in the present generation mainly in tlieir variegated and fan- tastic Christmas })antomime form, were in Scotland and England alike in the last century more essentially the books of childhood than any others known and read beyond the w^alls of the school-room. The travelling- stationers and packmen carried them in their thousands, in chapbook form, into even the most remote parts of the country, where they were bartered for and explored with a\ddity. In many quarters, indeed, they were so familiar fifty years ago that the books on occasions could be dispensed with, and the elder members of families would recite the stories from memory for the delectation of the younger fry, when all foregathered in a crescent before the kitchen fire to wear out the long winter evenings. In this manner, under the dim- flickering light of an " oilie cruizie," in a straggling CHILDHKN'S STORIKS. is;; villaov ill PtTtlishiiH', (lid I Icani first of liliic Heard and Jack tlie Giant Kilk-r, and nianv anotlicr hero of cliap- hook literature. And my experience, 1 am sure, was by no means sinc^ular. Ratlier, I feel certain that while telling- thus my own, 1 am expressing- no less trui\- the experience of many thousands of men and women now beyond middle life who similarly were born and bred in any rural j^arish in Scotland. And, oh, the weird fascination of it all ! There was no doubtino- of IJlue Beard's reality ; no hesitation in acce})tino- as actual every extraordinary feat of Jack the Giant Killer. Both were as real in our innocent ima<yination as is now the personality of King Edward the Seventh. It never occurred to us then^ as it does now^, that the story of Blue Beard is only a gory and fantastic parodv of the history of Eden — a temj)tation, a fall, and a rescue. And we had no concern about authorship. We did not know then, as we do now^ — and as few are yet aware, perha})s — that Blue Beard, CindereUa, and Little Bed Biding Hood were all written by Charles Perrault, a celebrated French literateur and poet, who was born in Paris in l6'28, and died there in 1703. And to have been told, as we have recently been, on authority that Perrault's Blue Beard — the Comte Gilles de Rais — was no mere wife-killer (though he was such) but from his youth upwards, in the fifteenth centurv, a man of exquisite culture, and a soldier under Joan of Arc, would have made for disillusionment so emj^hatic as to have shred the tale of a serious amount of its blood- curdling charm. As I can still enjoy reading them, it is a real pleasure to embrace here these old-time examples of child literature. Such as follow — and all the more popular will be found in the list — are printed verbatim from the chapbooks now unobtainable, except 184 CHILDREN'S STORIES. at a ransom price — and without individual comment — none being required. BLUE BEARD. There was, some time ago^ a gentleman who was ex- tremely rich : he had elegant town and country houses ; his dishes and plates were of gold or silver ; his rooms were hung with damask ; his chairs and sofas were covered with the richest silks ; and his carriages were all magnificently gilt with gold. But, unfortunately^ this gentleman had a blue beard^ which made him so very frightful and ugly, that none of the ladies in the neighbourhood would venture to go into his company. It happened that a lady of quality, who lived very near him, had two daughters, who were both extremely beautiful. Blue Beard asked her to bestow one of them upon him in marriage, leaving to herself the choice which of the two it should be. They both, however, again and again refused to marry Blue Beard ; but to be as civil as possible, they each pretended that they refused because she would not deprive her sister of the opportunity of marrying so much to her advantage. But the truth was, they could not bear the thought of having a husband with a blue beard : and, besides, they had heard of his having already been married to several wives, and nobody could tell what had afterwards become of them. As Blue Beard wished very much to gain their favour, he invited the lady and her daughters, and some ladies who were on a visit at their housC;, to accompany him to one of his country seats, where they spent a whole week, during which nothing was thought CHILDREN'S STORIKS. IS", of but parties for hiintiii«>- and fishing, music, dancin«>-, collations^ and the most delightful entertainments. Xo one thought of going to bed, and the nights were passed in merriment of every kind. In short, the time had passed so agreeably, that the youngest of the two sisters began to think that the beard which had so much terrified her was not so very blue, and that the gentleman to whom it belonged was vastly civil and pleasing. Soon after they returned home, she told her mother that she had no longer any objection to accept Blue Beard as her husband ; and, accordingly, in a short time they were married. About a month after the marriage had taken place, Blue Beard told his wife that he should be obliged to leave her for a few weeks, as he had some business to do in the country. He desired her to be sure to procure herself every kind of amusement, to invite as many of her friends as she liked, and to treat them with all sorts of delicacies, that the time might pass agreeably during his absence. '^Here," said he, "are the keys of the two large wardrobes. This is the key of the great box that contains the best plate, which we use for company ; this belongs to my strong box, where I keep my money ; and this to the casket in which are all my jewels. Here also is a master key to all the apartments in my house — but this small key belongs to the closet at the end of the long gallery on the ground floor. I give you leave," continued he, " to open or do what you like with all the rest excepting this closet : this, my dear, you must not enter, nor even put the kep into the lock, for all the world. Should you disobey me, expect the most dread- ful of punishments." She promised to obey his orders in the most faithful 186 CHILDREN'S STORIES. manner ; and Blue Beard, after tenderly embracing her, stepped into his carriage and drove away. The friends of the bride did not, on this occasion, wait to be invited, so impatient were they to see all the riches and magnificence she had gained by marriage, for they had been prevented from paying their wedding visit by their aversion to the blue beard of the bride- groom. No sooner were they arrived than they impatiently ran from room to room, from cabinet to cabinet, and then from wardrobe to wardrobe, examining each with the utmost curiosity, and declaring that the last was still richer and more beautiful than what they had seen the moment before. At length they came to the drawing-rooms, where their admiration and astonish- ment were still increased by the costly splendour of the hangings, of the sofas, the chairs, carpets, tables, girandoles, and looking-glasses, the frames of which were silver gilt, most richly ornamented, and in which they saw themselves from head to foot. In short, nothing could exceed the magnificence of what they saw ; and the visitors did not cease to extol and envy the good fortune of their friend, who all this time was far from being amused by the fine compli- ments they paid her, so eagerly did she desire to see what was in the closet her husband had forbidden her to open. So great indeed was her curiosity, that, without recollecting how uncivil it would be to leave her guests, she descended a })rivate staircase that led to it, and in such a hurry, that she was two or three times in danger of breaking her neck. When she reached the door of the closet, she stopped for a few moments to think of the charge her husband had given her, and that he would not fail to keep his CHILDRHX'S STORIKS. 187 word ill punishing" lu-r \ cry stnercly, sliould slu- disohtv him. But she was so wvy curious to know what was in the inside, that she determined to venture in spit- of everything. She, according-ly, with a tremhlini;- liand, put the key into the lock, and the door immediately opened. The window shutters being- closed, she at first saw nothing ; but in a short time she perceived that the floor was covered with clotted blood, on which the bodies of several dead women were lying. These were all the wives whom Blue Beard had married and murdered, one after another. She was ready to sink with fear, and the key of the closet door, which she held in her hand, fell on the floor. When she had somewhat re- covered from her fright, she took it up, locked the door, and hastened to her own room, that she might have a little time to get into humour for amusing her visitors ; but this she found impossible, so greatly was she terrified by what she had seen. As she observed that the key of the closet had got stained with blood in falling on the floor, she wiped it two or three times over to clean it ; still, however, the blood remained the same as before ; she next washed it, but the blood did not stir at all ; she then scoured it with brickdust, and afterwards with sand, but notwith- standing all she could do the blood was still there, for the key w^as a fairy, who was Blue Beard's friend^ so that as fast as she got it off on one side, it appeared again on the other. Early in the evening Blue Beard returned home, say- ing he had not })roceeded far on his journey before he was met by a messenger who was coming to tell him that his business was ha})pily concluded without his being present, u})on which his wife said everything she 188 CHILDREN'S STORIES. could think of, to make him beheve she was transported with joy at his unexpected return. The next morning he asked for the keys : she gave them to him ; but as she could not help showing her fright, Blue Beard easily guessed what had happened. '■• How is it/' said he, '' that the key of the closet upon the ground floor is not here } " •' Is it not } Then I must have left it on my dressing- table," said she, and left the room in tears. " Be sure you give it to me by and by," cried Blue Beard. After going several times backwards and forwards^ ])retending to look for the key, she was at last obliged to give it to Blue Beard. He looked at it attentively, and then said, " How came the blood upon the key ? " '' I am sure I do not know," replied the lady, turning at the same time as pale as death. " You do not know," said Blue Beard sternly ; " but I know well enough. You have been in the closet on the ground floor. \>ry well, madam ; since you are so mightily fond of this closet, you shall certainly take your place among the ladies you saw there." His wife, almost dead with fear, fell upon her knees^ asked his ]:)ardon a thousand times for her disobedience, and entreated him to forgive her, looking; all the time so very sorrowful and loveh', that she would have melted any heart that was not harder than a rock. But Blue Beard answered, ^' Xo^ no, madam ; you shall die this very minute ! " " Alas ! " said the poor trembling creature, '■' if I must die, allow me, at least, a little time to say my prayers." '' I give you," replied the cruel Blue Beard, '• half a quarter of an hour ; not one moment longer." CHILDRKX'S STOKIKS. 189 When Blue Beard had left her to herself, she called her sister ; and after tellin*- her, as well as she eoiild for sobbing-, that she had but half a cjuarter of an hour to live : " Pr'ythee," said she, " sister Ann " (this was her sister's name), "run up to the top of the tower, and see if my brothers are yet in sight, for they j)romised to come and visit me to-day ; and if you see them make a sign for them to gallo]) as fast as })ossible." Her sister instantly did as she was desired, and the terrified lady every minute called out to lier, " Ann I sister Ann I do you see any one coming ? " And her sister answered, " I see nothing but the sun, which makes a dust, and the grass which looks green." In the meantime. Blue Beard, with a great scimitar in his hand, bawled as loud as he could to his wife, ''Come down instantly, or I will fetch you." '' One moment longer, I beseech you," re})lied she ; and again called softly to her sister, " Sister Ann, do you see any one coming ? " To which she answered, " I see nothing but the sun, which makes a dust, and the grass which looks green." Blue Beard now again bawled out, " Come down, I say, this very moment, or I shall come and fetch you." " I am coming ; indeed, I will come in one minute," sobbed his unhappy wife. Then she once more cried out, " Ann ! sister Ann ! do you see any one coming } " " I see," said her sister, " a cloud of dust a little to the left." " Do you think it is my brothers } " continued the wife. "■ Alas I no, dear sister," replied she ; ''it is only a flock of sheep." "Will you come down or not, madam .^ " cried Blue Beard, in the greatest rage imaginable. 190 CHILDREN'S STORIES. " Only one single moment more/' answered she. And then she called out for the last time, " Sister Ann ! do you see any one coming ? " " I see," replied her sister, " two men on horseback coming to the house ; but they are still at a great distance." '• God be })raised ! " cried she, " it is my brothers ; give them a sign to make what haste they can." x\t the same moment Blue Beard cried out so loud for her to come down, that his voice shook the whole house. The poor lady with her hair loose, and her eyes swimming in tears, instantly came down, and fell on her knees to Blue Beard, and was going to beg him to spare her life, but he interrupted her, saying, '^'^ All this is of no use at all, for you shall die ; " then seizing her with one hand by the hair, and raising the scimitar he held in the other, was going with one blow to strike off her head. The unfortunate creature turning towards him, de- sired to have a single moment allowed her to recollect herself. " No, no," said Blue Beard, " I will give you no more time, I am determined — you have had too much already ; " and again raised his arm Just at this instant a loud knocking was heard at the gates, which made Blue Beard wait for a moment to see who it was. The gates were opened, and two officers dressed in their regimentals entered, and, with their swords in their hands, ran instantly to Blue Beard, who, seeing they were his wife's brothers, endeavoured to escape from their presence ; but they pursued and seized him before he had gone twenty steps, and plunging their CHILDHKX'S Sr()l{IKS. I()l swortls into his hodw he iinnu'(liat(l\ fell down dead at their feet. Tlie ])oor wife, who was almost as dead as her husband, was unable at first to rise and embrace her brothers. She soon, however, recovered ; and as Jilue Beard had no heirs, she found herself tlie lawful pos- sessor of his great riches. She em})loyed a portion of her vast fortune in <)ivin<r a marriage dowry to her sister Ann, who soon after became the Mife of a young gentleman by whom she had long been beloved. Another part she em})loyed in buying captains' commissions for her two brothers ; and the rest she presented to a most worthy gentleman, whom she married soon after, and whose kind treat- ment soon made her forget Blue Beard's cruelty. JACK AND THK BEAN-STALK. In days of yore, there lived a widow who had a son named Jack. Being an only child, he was too much indulged, and became so extravagant and careless that he wasted the jiroperty which his mother possessed, until at last there remained only a cow, the chief support of her and her son. One day the })oor woman, with tears in her eyes, said to Jack — " O, }'ou wicked child, by your ungrateful course of life you have brought me to beggary in my old age ; cruel boy ! I have not money to buy even a bit of bread, and we must now sell the cow. I am grieved to part with her, but I cannot see you starve." Jack felt some remorse, but having less affection for the cow than his mother had, he drove her to the nearest market town, wiiere he met a butcher, who 192 CHILDREN'S STORIES. made a very curious offer for her. " Your com," said he, " you youn"' j^rodigal dog ! is worth nothing ; you liave starved her until she would disgrace the shambles ; and, as to milk, no wonder that you and your mother have been starving while you were depending upon that supply. One ill turn deserves another, and receives it just as surely as one good turn deserves another. But you shall not take back the cow to perish with hunger. I have got some beans in my pocket ; they are the oddest I ever saw, not one of them being, either in colour or shape, like another ; if you will take them in exchange for the cow, you may have them." The silly boy could not conceal the pleasure he felt at the offer. The bargain was struck, and the cow exchanged for a few })altry beans. Jack made the best of his way home, calling to his mother before he reached the house, thinking to surprise her. When she saw the beans and heard Jack's story, her patience quite forsook her ; she kicked the beans away in a passion ; they flew in all directions — some were scattered in the garden. Not having anything to eat, they both went supperless to bed. Jack awoke early in the morning, and, seeing some- thing uncommon in the garden^ soon discovered that some of the beans had taken root and sprung uj) sur- j^risingly ; the stalks were of great thickness, and had so entwined that they formed a ladder, nearly like a chain in appearance. Looking upwards, he could not discern the top ; it appeared to be lost in the clouds. He tried the bean- stalks, found them firm and not to be shaken. He (juickly formed the resolution of climbing to the top to seek his fortune, and ran to communicate his intention CHILDRKN'S STOHIKS. if);; to his inothcr. not donhtiin^- but she would he ((niallx- pleased with himself. She deelared he should not <;<» ; said it would break her lieart if he did — entreated and threatened, but all in vain. Jaek set out, and. after (•linibin^ for some hours, reaehed the toj) of the bean-stalk quite fatigued. Looking around, he found himself in a strange eountry. It appeared to be a desert, quite barren — not a tree, shrub, house, or living creature to be seen. Jack seated himself uj)on a stone, and thought of his mother; he reflected with sorrow on his disobedience in climbing the bean-stalk against her will, and concluded that he must die of hunger. However, he walked on, hoping to see a house where he might beg something to eat and drink. Presently a Jiandsome young woman a])peared at a distance. As she ap])roached. Jack could not help admiring how beautiful she looked ; she was dressed in the most elegant manner, and liad a white wand in her hand, on the top of which was a ])eacock of })ure gold. While Jack was looking with the greatest surjirise at this charming female, with a smile of the most bewitching- sweetness, she inquired how he came there ? Jack told how he had climbed up the bean-stalk. She asked him if he recollected his father } He answered that he did not ; and added that he had inquired of his mother who or where his father was, but that she avoided answering him, and even seemed afraid of speaking, as if there was some secret connected with his father's history. The lady replied, " I will reveal the whole story ; your mother must not. But, before I begin, I require a solemn promise, on your i)art, to do what I com- mand. I am a fairy, and if you do not ))erform exactly nn CHILDREN'S STORIES. what I desire, you will be destroyed." Jack promised to obey her injunctions^ and the fairy thus addressed him : — " Your father was a rich and benevolent man ; he was good to the poor^ and constantly relieving them ; he never let a day pass without doing good to some person. On one particular day in the wxek he kept open house, and invited those who were reduced and had lived well. He always sat at the table with them himself, and did all he could to render his guests com- fortable. The servants were all happy, and greatly attached to their master and mistress. Such a man was soon known and talked of. A giant lived a great many miles off, who was altogether as wicked as your father was good ; he was envious, covetous, and cruel, but had the art of concealing these vices. " Hearing your father spoken of, he formed the design of becoming acquainted with him, hoping to ingratiate himself into your father's favour. He removed quickly into your neighbourhood, caused it to be reported that he had lost all he possessed by an earthquake, and found it difficult to escape with his life ; his wife was with him. Your father believed his story, and pitied him ; he gave him apartments in his owm house, and caused him and his wife to be treated hospitably, little imagining that the giant was meditat- ing a horrid return for all his favours. "Things went on in this way for some time, the giant becoming daily more impatient to put his plan into execution. At last, an opportunity presented itself Your father's house was at some distance from the sea-shore, but the giant, standing on a hill one stormy day, observed some ships in distress off the rocks ; he hastened to your father, and requested that CHILDREN'S STOHIKS. l^r, he would st'iul ;ill the people he could s])are to relieve the niariiiers. '' While the servants were all ein])l(>yed upon this service, tlie <>iaiit despatched your father bv stahbiii"- him with a daooer. ^'ou were then only three months old, and your mother, upon discovering what had happened, fainted, but still clasping you in her arms. The giant, who intended to murder both of you, having found her in that state, for a short time repented of the dreadful crime he had committed^ and granted your mother and ypu your lives, but only upon condition that she should never inform 3'ou who your father w^as, nor answer any questions concerning him, assuring her that, if she did, he would certainly put both of you to death in the most cruel manner. Your mother took you in her arms, and fled as quickly as j)OSsible. Having gained your father's confidence, he knew where to find all his treasure. He and his wife soon carried o:T two large chests filled with gold, w hich they could not have done unless they had been giants, and, having set the house on fire in several places, when the servants returned it was burned quite down to the ground. " Your })oor mother wandered with you a great many miles from this scene of desolation ; fear added to her haste ; she settled in the cottage where you were brought u]), and it was entirely owing to her fear of the giant that she never mentioned your father to you. " I became your father's guardian at his birth ; but fairies have laws to which they are subject as well as mortals. A short time before the giant went to your father's, I transgressed ; my punishment was a sus})en- sion of power for a limited time — an unfortunate cir- cumstance, as it totally prevented my succouring your father. !()() CHILDREN'S STORIES. ''The day on which you met the butcher, as you went to sell your mother's cow, my power was restored; and, as I had l)een told by Oberon, the King of the Fairies, how dreadful were the consequences to your father of my single error, I resolved to take you under my protection, and to be more circumspect in future. It was I who secretly jirompted you to take the beans in exchange for the cow. "By my power the bean-stalk grew to so great a height, and formed a ladder. I need not add that I inspired you with a strong desire to ascend the ladder. " The giant now lives in this country ; you are the person ai)j)ointed to punish him for all his wickedness. You will have dangers and difficulties to encounter, but 3^ou must persevere in avenging the death of your father or you will not prosper in any of your undertak- ings, but be always miserable. "As to the giant's possessions, you may seize on all you can, for everything he has belongs either to you or to me ; for you must know that, not satisfied with the gold he carried off from your father, he broke into my house and stole the two greatest curiosities ever possessed even by a fairy, and would have killed me as he did your father, if it could have been possible to kill a fairy. One thing I desire — do not let your mother know^ you are acquainted with your father's history till you see me again. " Go along the direct road ; you will soon see the house where your cruel enemy lives. While you do as I order you, I will protect and guard you ; but, remem- ber, if you disobey my commands a most dreadful punishment awaits you." When the fairy had concluded, she disajipeared, leaving Jack to pursue his journey. He walked on till CHILDRKX'S STOHIKS. if)? at'tt-r sunset, wlu-ii, to his i>rcat joy, lu- i-spicd a l;ir;j,«' mansion. A \|)lain-lo()kin>; woman was at the door ; Ix- accosted lier, bcggin),- slic would <>ivc him a morsel ol" bread and a niiiht's lodi>in<;'. She exj)ressed the greatest surprise at seein<>- him. and said it was (juite uncommon to see a human heini;- near the house, tor it was well known that her husband was a lar<>e and ])owerful <i;iant, and that he would never eat anythini;- but human Hesh, if he })ossibly could <>et it ; that he did not think anythino- of walkino- Hfty miles to pro- cure it. This account greatly terrified Jack, but he still ho})ed to elude the giant, and therefore he again entreated the woman to take him in for one night only, and hide him where she thought })roj)er. The woman at last suffered herself to be })ersuaded, for although she had assisted in the murder of Jack's father and in stealing the gold, she was of a compassionate and generous disposition, and took him into the house. First they entered a fine large hall^ magnificently furnished ; they then passed through several spacious rooms^ all in the same style of grandeur. A long gallery was next ; it was very dark, just light enouffh to show that, instead of a wall on one side, o there was a grating of iron which parted off a dismal dungeon, whence issued the groans of those ])oor victims whom the cruel giant reserved in confinement for his own voracious appetite. Poor Jack was half dead with fear, and would have given the world to have been w ith his mother again, for he now^ began to fear that he should never see her more, and gave himself u]) for lost ; he even mistrusted the giant's wife^ and thought she had let him into the 198 CHILDREN'S STORIES. house for no other purpose than to lock him u}) among the unfortunate people in the dungeon. At the farther end of the gallery there was a spacious kitchen, and a fire was burning in the grate. The good woman bade Jack sit down^ and gave him plenty to eat and drink. Jack, not seeing anything here to make him uncomfortable^ soon forgot his fear, and was beginning to enjoy himself, when he was aroused by a loud knocking at the door, which made the whole house shake ; the giant's wife ran to secure him in the oven, and then went to let her husband in. Jack heard him accost her in a voice like thunder, saying — "Wife, I smell fresh meat." " Oh ! my dear," replied she, '' it is only the people in the dungeon." The giant appeared to believe her and walked into the kitchen, where poor Jack lay concealed, shaking with fear and trembling in every limb. At last, the monster seated himself by the fireside, whilst his wife prepared sup})er. By degrees Jack took courage to look at the giant through a small crevice ; he was quite astonished to see what an amazing quantity he devoured, and thought he never would have done eating and drinking. When supper was ended, the giant desired his wife to bring him his hen, wOiich was one of the curiosities he had stolen from the fairy. A very beautiful hen was brought, and placed on the table before him. Jack's curiosity was very great to see what would happen ; he observed that every time the giant said, '' Lay ! " the hen laid an e^^ of solid gold. The giant amused himself a long time with his hen ; meanwhile his wife went to bed. At length the giant CHILDREN'S STORIKS. i()() fell aslee}) by the fireside, and snored like tlie roariii;^- of a cannon. At daybreak. Jack, findino- the oiant still asleep, crept softly out of his hidin»-plaee, seized the hen^ and ran oti' with lur. He easily found the way to the bean-stalk, and descended it more quickly than he ex])ected. His mother was overjoyed to see him, for she concluded he had come to a shocking end. Jack was impatient to show his hen, and inform his mother how valuable it was. '* And now, mother/' said Jack, '' I have brought home that which w ill quickly make us rich ; and I ho})e to make you some amends for the affliction I have c:iused you through my idleness and extravagance." The hen produced as many golden eggs as they desired, and so they became possessed of immense riches. For some months. Jack and his mother lived very happily together : but he, recollecting the fairy's com- mands, and fearing that if he delayed to avenge his father's death, she would put her threats into execu- tion, longed to climb the bean-stalk again and pay the giant another visit. Jack w^as, however, afraid to men- tion it to his mother, being wxll assured that she would endeavour to prevent his going. How^ever, one day he told her boldly that he must take a journey up the bean-stalk. She begged and prayed him not to think of it ; she told him that the giant's wife would certainly know him again, and that the giant would desire nothing better than to get him into his power, that he might put him to a cruel death in order to be revenged for the loss of his hen. Jack resolved to go at all events ; for, being a very clever fellow, although a very idle one, he had no great 200 CHILDREN'S STORIES. dread of the giant, concluding that, although he was a cannibal, he must be a very stupid fellow not to have regained his hen, it being just as easy to come down the stupendous bean-stalk as to ascend it. Jack, there- fore, had a dress made, not exactly invisible, like that of his illustrious namesake, the Giant-killer, but one which so disguised him that even " The mother tliat him hore WoiiM not have known her ehihl." In a few mornings after this, he rose very early, changed his complexion, and, unperceived by any one, climbed the bean-stalk a second time. He was greatly fatigued when he reached the top, and very hungry, for, with his usual thoughtlessness, he forgot to take a piece of bread in his pocket. Here we are inclined to remark that, as he had neither bread nor bacon, lie must in his jjrogress have met with a good su})ply of beans ; but ])erhaps he never thought of this resource. Having rested some time, he jiursued his journey to the giant's mansion. He reached it late in the evening; the woman was at the door as before. Jack addressed her, telling a pitiful tale, and requesting that she w^ould give him some victuals and drink, and also a night's lodging. She told him (what he knew before verv well) about her husband's being a powerful and cruel giant ; and also that she one night admitted a poor, hungry, friend- less boy, who was half-dead with travelling ; that the little ungrateful fellow^ had stolen one of the giant's treasures, and ever since that her husband had used her very cruelly, and continually upbraided her with being the cause of his loss. But at last she consented and took him into the kitchen, w^here, after he had done CHILDRKN'S SrORIKS. joi eatiii<>' and (lnnkin<i\ slu- laid him in an old Imnlx r closet. TIh" <>iant returned at the usual time, and walked in so heavily that the house was shaken to the foundation. He seated himself bv the fire, and soon after exclaimed, " Wife, I smell fresh meat." The wife replied, '^ It was the crows which had brou<Jjht a piece of raw meat, and left it on the to]) of the house." The giant was very ill-tempered and impatient, con- tinually crying for his supper, like little Tom Tucker, and complaining of the loss of his wonderful hen, which we veril}^ believe he would have eaten, disregarding the treasures which she produced. Jack therefore rejoiced that he had not only got possession of the hen, but had in all })robability saved her precious life. The giant's Avife at last set suj)per on the table, and when he had eaten till he was satisfied, he said to her — " I must have something to amuse me, either my bags of money or my harp." Jack, as before, peeped out of his hiding-place, and presently his wife brought two bags into the room, one filled with gold and the other with silver. They were both })laced before the giant, who began reprimanding his wife for staying so long. She replied, trembling with fear, that the bags were so heavy that she could scarcely lift them, and adding that she had nearly fainted owing to their weight. The giant took his bags, and began to count their contents. First the bag which contained the silver was emptied, and the contents placed on the tabk . Jack view^ed the ghttering heaps with delight, and most heartil}^ wished the contents in his own possession. The giant (little thinking he was so narrowly watched) reckoned the silver over several times ; and, having 14 202 CHILDREN'S STORIES. satisfied himself that all was safe, put it into the bag again, which he made very secure. The other bag was opened next, and the gold pieces placed on the table. If Jack was pleased at the sight of the silver, how much more delighted must he have felt when he saw such a heap of glittering gold ? When the giant had counted over the gold till he was tired, he put it up, if possible, more secure than he had put up the silver before ; he then fell back on the chair by the fireside, and fell asleep. He snored so loud that Jack compared the noise to the roaring of the sea in a high wind, when the tide is coming in. At last. Jack, being certain that he was asleep, stole out of his hiding- place and approached the giant, in order to carr}' off the two bags of money ; but, just as he laid his hand upon one of the bags, a little dog, which he had not j)erceived before, started from under the giant's chair and barked at Jack most furiously, who now gave him- self up for lost. But Jack, recollecting that the giant had left the bones which he had picked at supper, threw" one to the dog, who instantly seized it, and took it into the lumber closet which Jack had just left. Finding himself delivered from a noisy and trouble- some enemy, and seeing the giant did not awake. Jack seized the bags, and, throwing them over his shoulders, ran out of the kitchen. He reached the door in safety, and found it quite daylight. Jack was overjoyed when he found himself near the bean-stalk ; although much incommoded with the weight of the money bags, he soon reached the bottom, and immediately ran to seek his mother. He was greatly shocked on finding her apparently dying, and could scarcely bear his own reflections, knowing himself to be the cause. On being informed of Jack's safe CHILDREN'S STORIES. jo.S return, his inotlicr iiradiially rccovrrt-d. Jack prcscnlcd her his two valuable ba^s, and they li\cd as Iiaj)j)il\' and comfortably as ever. For three years, notwithstandino- the comforts Jack enjoyed, his mind dwelt continually upon the bean- stalk ; for the fairy's menaces were ever ])resent to his mind, and ])revented him from bein;- haj)])y. It was in vain he endeavoured to amuse himself; he became thoughtful, and would rise at the dawn of day and view the bean-stalk for hours together. His inclination at length growing too ])owerful for him, he began to make secret preparations for his journey, and, on the longest day, arose as soon as it was light, ascended the bean-stalk, and reached the top. He arrived at the giant's mansion in the evening, and found his wife standing, as usual, at the door. Jack had disguised himself so completely that she did not appear to have the least recollection of him ; however, when he pleaded hunger and poverty in order to gain admittance, he found it very difficult indeed to persuade her. At last he prevailed, and was concealed in the oven. When the giant returned, he said, as upon the former occasions, "I smell fresh meat!" But Jack felt quite composed, as he had said so before, and had been soon satisfied ; however, the giant started uj) suddenly, and, notwithstanding all his wife could say, he searched all around the room. Jack was ready to die with fear, washing himself at home ; the giant approached the oven and put his hand into it ; Jack thought his death Avas certain. The giant at last gave up the search and ate a hearty supper. When he had finished, he commanded his wife to fetch doAvn his harp. Jack peeped as he 204 CHILDREN'S STORIES. had done before^ and saw the most beautiful harp that could be miagined ; it was placed by the giant on the table, who said, " Play ! " and it instantly played of its own accord without being touched. The music was ver}^ fine ; Jack was delighted, and felt more anxious to get the harp into his possession than either of the former treasures. The music soon lulled the giant into a sound sleep. This, therefore, was the time to carry off the harp. As the giant ap])eared to be in a more jn'ofound sleep than usual, Jack soon determined, got out of the oven, and seized the harp. The harp had also been stolen by the giant from the fairy. The giant suddenly awoke and tried to pursue him ; but he had drank so much that he could hardly stand. Jack ran as fast as he could ; in a little time the giant recovered sufficiently to walk slowly, or rather to reel after him. Had he been sober, he must have overtaken Jack instantly ; but, as he then was. Jack contrived to be first at the top of the bean-stalk. The giant called after him in a voice like thunder, and sometimes Avas very near him. The moment Jack got down the bean-stalk, he ran for a hatchet. Just at that instant the giant was be- ginning to descend, but Jack with his hatchet cut the bean-stalk close off at the root, wJiich made the giant fall headlong into the garden, and the fall killed him. At this instant the fairy appeared ; she charged Jack to be dutiful to his mother, and to follow his father's good example, which was the only way to be happy. She then disappeared, after recovering her hen and her harp, which Jack gave to her most thankfully, having acquired great riches and revenged the tragical death of his father. CHILDUKN'S ST()RIi:S. ^jo. THK BABKS IX TUK WOOD. A great many years ago, tlu-rc lived in tin- county of Norfolk a gentleman and his lady. Tlie gentleman was brave, generous^ and honourable ; and the lady gentle, beautiful, and virtuous ; they were beloved by all who knew them, and were blessed with tw^o children, a boy and a girl. The boy was only about three years old, and the girl not quite two^ when the gentleman was seized with a dangerous malady, and the lady, in attending her beloved husband, caught the contagion. Notwithstanding every medical assistance, their dis- order daily increased ; and, as they expected to be soon snatched away from their little babes, they sent for the gentleman's brother, and gave the darlings into his care. '^'^ Ah I brother," said the dying man, "you see I have but a short time to live ; yet neither death nor pain can pierce my heart with half so much anguish as what I feel at the thought of what these dear babes will do without a parent's care. Brother, they will have none but you to be kind to them, to see them clothed and fed, and to teach them to be good." '' Dear, dear brother," said the dying lady, '' you must be father, mother, and uncle too, to these dear innocent lambs. First, let William be taught to read ; and then he should be told how good his father was. And little Jane- -Oh ! brother, it wrings my heart to talk of her ; think of the gentle usage she will need, and take her fondly on your knee, brother, and she and William too will pay your care with love." " How it does grieve my heart to see you, my dear relatives, in this mournful condition," replied the 206 CHILDREN'S STORIES. uncle. " But be comforted, there may yet be hopes of your well-doing ; but should we have the misfortune to lose you, I will do all you can desire for your darling children. In me they shall find father, mother, and uncle ; but, dear brother, you have said nothing of your wealth." " H-e-r-e, h-e-r-e, brother/' replied he, "^"^ is my will, in which I have provided for my dearl)abes." The gentleman and his lady then kissed their children, and a short time after they both died. The uncle, after shedding a few tears, opened the will, in which he found that to William was bequeathed three hundred pounds a year when he became of age, and to little Jane five hundred pounds in gold on her marriage day. But if the children should chance to die before coming of age^ then all their wealth was to be enjoyed by their uncle. The will of the unfortunate gentleman next desired that he and his beloved wife should be buried side by side in the same grave. The two little innocents were now taken to the house of their uncle^ who, for some time, recollecting what their j)arents said so sorrowfully upon their death-bed, behaved to them with great kindness. But when he had kept them about a twelvemonth, he by degrees forgot to think both how their parents looked when they gave their children to his care, and the promises he made to be their father^ mother, and uncle, all in one. After a little more time had passed, the uncle could not help thinking that he wished the little boy and girl would die, for he should then have all their wealth for himself; and when he had begun to think this, he went on till he could not think scarcely of anything else ; and at last, says he to himself, " It will not be very difficult CHILDRKNS ST()Hli;S. 207 for me to kill tium^ as nobody knows an\ lliiiin- (»f the matter^, and then tlieir gold is mine." When the barbarous unele had once broii<;lil his mind to kill the helpless little creatures, he was not long in finding a way to execute his cruel i)uri)ose. He hired two sturdy ruffians, who had already killed many travellers in a dark, thick wood, at some distance, and then robbed them of their money. These two wicked creatures agreed, for a large reward, to do the blackest deed that ever yet was heard of; and the uncle began to })repare everything accordingly. He told an artful story to his wife, of what good it would be to put the children forward in their learning ; how he had a relation in London who would take the greatest care of them. He then said to the innocent children, " Should you not like, my pretty ones, to see the famous town of London, where you, William, can buy a fine wooden horse to ride upon all day long, and a whip to make him gallop, and a fine sword to wear by your side .^ And you, Jane, shall have pretty dolls and pretty pincushions, and a nice gilded coach shall be got to take you there." " Oh yes, I will go, uncle," said William. '^Oh yes, I will go, uncle," said Jane. And the uncle, with a heart of stone, soon got them ready for their journey. The unsus})ecting little creatures were a few days after put into a fine coach, and with them the two in- human butchers, who were soon to end their joyful prattle, and turn their smiles to tears. One of them served as coachman, and the other sat between little William and little Jane. When they had reached the entrance to the dark, thick wood, the two ruffians took them out of the 208 CHILDREN'S STORIES. coach^ telling- them they might now walk a little way and gather flowers ; and^ while the children were skipping about like lambs^ the ruffians turned their backs on them, and began to consult about what they had to do. " In good truth," says the one who had been sitting all the way between the children^ "■ now I have seen their cherub faces, and heard their pretty speech, I have no heart to do the bloody deed ; let us fling away the ugly knife, and send the children back to their uncle." " That I will not," says the other ; " what boots their })retty speech to us } And who will pay us for being so chicken-hearted } " At last the ruffians fell into so great a passion about butchering the innocent little creatures, that he who wished to spare their lives suddenly opened the great knife he had brought to kill them, and stabbed the other to the heart, so that he fell down dead. The one who had killed him was now greatly at a loss what to do with the children, for he wanted to get away as fast as he could, for fear of being found in the wood. He was not, however, long in determining that he must leave them in the wood, to the chance of some traveller passing by. " Look ye, my pretty ones," said he, '^'^you must each take hold and come along with me." The poor children each took a hand and went on, the tears bursting from their eyes, and their little limbs trembling with fear. Thus did he lead them about two miles further on in the wood, and told them to wait there till he came back with some cakes. William took his sister Jane by the hand, and they wandered fearfully up and down the wood. CHILDRFA'S S'rOKIl'.S. 'j()(> ''^ Will the straiiof man come with some cakes, Billy ?" says Jane. "Presently, dear Jane," says William. And soon aoain, '■'■ I wish I had some cakes. Hilly," said she. And it would have melted a heart of stone to see how sorrowfully they looked. After waitino- very long-, they tried to satisfy their hunger with blackberries, but they soon devoured all that were within their reach ; and night c-oming on, William, who had tried all he could to comfort his little sister, now wanted eomfort himself; so when Jane said once more, "How hungry I am, Billy, I b-e-1-i-e-v-e I cannot help crying," William burst out crying too ; and down they lay upon the cold earth, and ])utting their arms round each other's neck, there they starved, and there they died. Thus were these pretty little innocents murdered ; and as no one knew^ of their death, so no one sought to give them burial. The wicked uncle, su})posing they had been killed as he desired, told all who asked after them an artful tale of their having died in London of the smallpox, and accordingly took possession o})enly of their fortune. But all this did him very little service, for soon after his wife died ; and being very unha})py, and always thinking too that he saw" the bleeding innocents before his eyes, he neglected all his business ; so that, instead of growing richer, he every day grew ])oorer. His two sons, also, who had embarked for a foreign land, were both drowned at sea, and he became completely miser- able. W^hen thing's had gone on in this manner for vears, the ruffian who took pity on the children committed 'JIO CHILDREN'S STORIES. another robbery in the wood, and, being pursued by some men^ he was laid hold of and brought to prison^ and soon after was tried at the assizes, and found guilty — so that he was condemned to be hanged for the crime. As soon as he found what his unhappy end must be, he sent for the keeper of the prison, and confessed to him all the crimes he had been guilty of in his whole life, and thus declared the story of the pretty innocents, telling him at the same time in what })art of the wood he had left them to starve. The news of the discovery he had made soon reached the uncle's ears, who, being already broken-hearted by misfortunes that had befallen him, and unable to bear the load of public shame that could not but await him, lay down upon his bed and died that very day. No sooner were the tidings of the fate of the two children made public than proper persons were sent to search the wood ; when, after many fruitless endeavours, the pretty babes were at length found outstretched in each other's arms, with William's arm round the neck of Jane, his face turned close to her's, and his frock pulled over her body. They were covered all over with leaves, which in all that time never withered ; and on a bush near this cold grave a Robin-Redbreast watched and chirped — so that many gentle hearts still think that pretty bird did bring the leaves which made their grave. JACK THE GIANT KILLER. In the reign of King Arthur, near the Land's End of England, in the County of Cornwall, there lived a wealthy farmer, who had one only son, commonly CHILDREN'S STORIKS. till known by the name of Jack. He was brisk, and of a Hvelv ready wit ; so tliat whatever he could not ))cr- fonn by strength, he completed by wit and policy. Never was any person lieard of that could worst him ; nay^ the learned he baffled by his cunning and ready inventions. For instance, when he was no more than seven years of age, his father sent him into the field to look after his oxen ; a country vicar, by chance one day coming across the field, called Jack, and asked him several questions — in particular. How many commandments were there ? Jack told him there were nine. The Parson replied, " There are ten." "Nay/' quoth Jack, "Master Parson, you are out of that ; it is true there were ten, but you broke one of them with your own maid Margery." The Parson replied, " Thou art an arch wag. Jack." "Well, Master Parson," quoth Jack, "you have asked me one question, and I have answered it ; let me ask you another. Who made these oxen ? " The Parson replied, " God." "You are out again," quoth Jack, "for God made them bulls, but my father and his man Hobson made oxen of them." The Parson, finding himself fooled, trudged away, leaving Jack in a fit of laughter. In those days the mount of Cornwall was kejit by a huge and monstrous Giant, of twenty-seven feet high, and three yards in compass, of a grim countenance, to the terror of all the neighbouring towns. His habita- tion was a cave in the midst of the mount ; neither would he suffer any living creature near him ; his feed- ing was u})on other men's cattle ; for whensoever he had occasion for food, he would wade over to the main- 212 CHILDREN'S STORIES. land, where he would furnish liimself with whatever he could find. For the people at his approach would for- sake their habitations ; then he would take their cows and oxen, of which he would make nothing to carry over his back half-a-dozen at a time ; and as for sheep and hogs, he would tie them round his waist. This he had for many years practised in Cornwall. But one day Jack, coming to the Town Hall, when the Magistrates were sitting in consternation about the Giant, he asked what reward they would give to any person that would destroy him ? They answered, " He shall have all the Giant's treasure in recompense." Quoth Jack, " Then I myself will undertake the work." Jack furnished himself witli a horn, a shovel, and a pick-axe, and over to the mount he goes in the beginning: of a dark winter eveniniij, where he fell to work, and before morning had digged a pit twenty-two feet deep and as broad, and covered the same over with long sticks and straw ; then strewxd a li tie mould upon it, so that it appeared like the plain ground. This done. Jack places himself on the contrary side of the pit, just about the dawning of the day, when, putting his horn to his mouth, he then blew, Tan Ttrivie, tan twivie. Which unexpected noise roused the Giant, who came roaring towards Jack, crying out— -'^'^ You in- corrigible villain, are you come hither to break my rest ; you shall dearl}^ pay for it ; satisfaction 1 will have, and it shall be this : I will take you wholly and broil you for my breakfast." Which words were no sooner out of his mouth but he tumbled headlong into the deep pit, which heavy fall made the very foundation of the mount to shake. CHILDRI'A'S STOUIKS. Jl;; " Oh, (iiant ! wiicrc aiv you now ? Faith, you arc ^•()t into Lobh's Pond, \v hert' I shall plao-uc you for yom- thrt'at(.'nini>; words. What do you think now (»t" hroilino- nie for your breakfast ? Will no otlui" diet ser\c \()u but })oor Jack ? " Thus havinji' tantalized the (iiant for a while, he iiave him a most weighty knock on the crown of his head with his pick-axe, so that he immediately tumbled down, gave a most dreadful groan, and died. This done^ Jack threw the eartli in upon him, and so buried hmi ; then going and searching the cave, he found a great quantity of treasure. Now, w hen the Magistrates who employed him heard the work was over, they sent for him, declaring that he should be called Jack the Ciiant Killer. And in hcmour thereof, they presented him with a sword, together with a fine rich embroidered belt, on which these words were Mrought in letters of gold — '• Here's the right valiant Cornish man, Who slew the Giant Corrnilhin." The news of Jack's victory was soon spread ; when another huge Giant named Blunderboar, hearing of it, vowed to be revenged on Jack, if ever it was his fortune to light upon him. This Oiant ke})t an enchanted castle, situated in the midst of a lonesome wood. Now Jack, about four months after, walking- near the borders of the said wood on his journey towards Wales, grew weary, and therefore sat himself down by the side of a pleasant fountain, where a deep sleep suddenly seized on him, at which time the Oiant, coming for water, found him ; and, by the line on his belt, knew him to be Jack that killed his brother, and, 214 CHILDREN'S STORIES. without any words, threw him upon his slioulder to cany him to his enchanted castle. Now, as they passed through a thicket, the ruffling of the boughs awaked poor Jack, who, finding himself in the clutches of the Giant, was strangely surprised ; for, at the entering within the first walls of the castle, he beheld the ground all covered with bones and skulls of dead men, the Giant telling Jack that his bones would enlarge the number that he saw. This said, he brought him into a large parlour, where he beheld the bloody quarters of some who were lately slain, and in the next room were man}" hearts and livers, which the Giant, in order to terrify Jack, told him — " That men's hearts and livers were the choicest of his diet, for he commonly ate them with pepper and vinegar, and he did not question but his heart would make him a dainty bit." This said, he locks up poor Jack in an upper room, while he went to fetch another Giant living in the same wood, that he might partake in the destruction of poor Jack. Now, while he was gone, dreadful shrieks and cries affrighted poor Jack, especially a voice which con- tinually cried—- " Do what you can to get away, Or you'll become the Giant's prey ; He's gone to fetch his brother, who Will kill and likewise torture you." This dreadful noise so amazed poor Jack, he was ready to run distracted ; seeing from the window afar off the two Giants coming, " Now," quoth Jack to him- self, '^my death or deliverance is at hand." There were strong cords in tlie room by him, of which he takes two, at the end of which he makes a noose, and, while the Giant was unlocking the ^ate, he CHILDRf:N'S STORIES. ^2]r> threw the roj)es over eaeli of the ht-ads. and (hviwiiii;- tlie other end aeross the beam, he ])uHed with all his strength until he had tlirottled them ; and tlien fasten- ing the ro})e to the beam^ turning towards the window he beheld the two Giants to be black in their faces. Sliding down by the ro})e^ he came close to their heads, where the helpless Giants could not defend themsehes; and, drawing out his sword, slew them both, and delivered himself from their intended cruelty ; then taking out a bunch of keys, he unlocked the rooms, wdiere he found three fair ladies tied by the hair of their heads, almost starved to death, who told Jack that their husbands were slain by the Giant, and that they were kept many days without food, in order to force them to feed u])on the flesh of their husbands. " Sweet ladies," mioth Jack, "^ I have destroyed this -, « ♦ monster and his bru1,j^l} brother, by which I ha\e obtained your liberties." This said, he presented them with the keys of the castle, and so proceeded on his journey to Wales. Jack, having but very little monc};, thought it prudent to make, the best of his way by travelling as fast as he could ; but, losing his road, was benighted, and could not get a place of entertainment until he came to a valley placed between two hills, where stood a large house in a lonesome place. He took courage to knock at the gate, and to his great surprise rhere came forth a monstrous Giant, having two heads ; yet he did not seem so fiery as the others had been, for he was a Welsh Giant, and what he did was by secret malice ; for. Jack telling his condition, he bid him welcome, showing him a room with a bed in it, whereon he might take his night's repose ; therefore. Jack undressed himself, and, as the Giant was walking- 216 CHILDREN'S STORIES. to another apartment^ Jack heard him muttering forth these words to himself — " Though here you lodge with me this night, " You shall not see the morning light ; My club shall dash your brains out quite." "Sayest thou so," quoth Jack; "this is like your Welsh tricks, yet I hope to be cunning enough for you." Then, getting out of bed, he put a billet in his stead, and hid himself in a corner of the room ; and, m the dead time of the night, the Welsh Giant came with his great knotty club, and struck several blows upon the bed where Jack had laid the billet, and then returned to his own chamber, sup})Osing he had broken all the bones in his body. In the morning, Jack gave him hearty thanks for his lodging. The Giant said to him, " How have you rested } Did you not feel something in the night f ' " Nothing," quoth Jack, " but a rat which gave me three or four slaps with her tail." Soon after the Giant arose and went to breakfast with a bowl of hasty pudding, containing nearly four gallons, giving Jack the hke quantity, who, being loath to let the Giant know he could not eat with him, got a large leathern bag, jiutting it very artfully under his loose coat, into which he secretly conveyed his pudding, telling the Giant he could show him a trick ; then, taking a large knife, he ripped open the bag, which the Giant supposed to be his belly, when out came the hasty pudding, at which the Welsh Giant cried, " Cotplut, hur can do dat trick hurself " Then, taking his sharj) knife, he ripped up his own belly from the bottom to the to}), and out dro})ped his CHILDRKN'S STORIKS. till tripes and trolly bags, so that he fell down tor dead. Thus Jack outwitted the (Jiant, and \|)rocccdcd on his journey. About this tinu- King Arthur's son only desired ot" his father to t'urnisii him with a certain sum of money, that he niioht m) and seek his fortune in Wales, where ■f^""" ?-> a beautiful lady lived, whom he heard was ])ossessed with seven evil spirits; but tiie King, his father, advised him utterly against it, yet he would not be j)ersuaded of it ; so he granted what he requested, which was one horse loaded with money, and another for himself to ride on. Thus he went forth without any attendants. Now, after several days' travel, he came to a market town in Wales, where he beheld a large concourse of people gathered together; the Kings son demanded the reason of it, and was told that they had arrested a corpse for many large sums of money which the deceased owed when he died. The King's son replied, " It is a pity that creditors should be so cruel ; go bury the dead, and let his creditors come to my lodging, and their debts shall be discharged." Accordingly, they came in great numbers, so that he left himself moneyless. Now, Jack the Giant Killer being there and seeing the generosity of the King's son, he was taken with him, and desired to be his servant ; it was agreed upon the next morning, when riding out at the town-end, the King's son turning to Jack, said, " I cannot tell how I will subsist in my intended journev." " For that," quoth Jack, " take you no care ; let me alone, I warrant you we will not starve," Now Jack, having a spell in his pocket, which served at noon for a refreshment, when done they had not one penny left betwixt them. The afternoon thev spent in 15 218 CHILDREN'S STORIES. travel and discourse till the sun began to grow low^ at which time the King's son said^ '^' Jack^ since we have no money, where can we think to lodge this night ? " Jack replied, " We'll do well enough, for I have an uncle living within two miles of this ; he is a monstrous Giant with three heads ; he will fight five hundred men in armour, and make them to fly before him." "^ Alas I " saith the King's son, '' what shall we do there : he will certainly chop us both up at one mouthful ! " '• It is no mattter for that," quoth Jack ; " I will go before and prepare the way for you ; tarry here." He waits, and Jack rides full speed. When he came to the castle, he knocked with such a force that he made all the neighbouring hills to resound. The Giant, with a voice like thunder, roared out, " Who's there } " Jack answered, " None but your own cousin Jack, Dear uncle, heavy news, God wot." " Prithee, what heavy news can come to me } I am a Giant with three heads, and besides thou knowest I can fight five hundred men." " O I but," quoth Jack, " here's tlie King's son coming with one thousand men to kill you." " Oh ! Jack, this is heavy news indeed ; I have a large vault underground, where I will hide myself, and thou shalt lock, bolt, and bar me in, and keep the keys till the King's son is gone." Jack, having secured the Giant, he returned and fetched his master. They were both heartily merry with the wine and other dainties which were in the house ; so that night they rested in very pleasant lodgings, whilst the poor uncle, the Giant, lay trembling in the vault underground. Early in the morning. Jack furnished his master with CHILDRKX'S STORIKS. 2iy a supply of gold and silver, and set him three miles forward on his journey, eoneludino; he was then pretty well out of the smell of the Ciiant, and then returned to let his unele out of the hole, who asked Jack what he would give him in reward, since his castle was not demolished. '^' Why," quoth Jack, "' I desire nothing but the old Coat and Cap, together with the old rusty Sword and Slip})ers, which are at your bed-head." " Jack, thou shalt have them, and pray keep them for inv sake, for they are things of excellent use. The Coat will kee}) you invisible, the Cap will furnish you with knowledge, the Sword cuts asunder whatever you strike, and the Shoes are of extraordinary swiftness ; these may be serviceable to you, and therefore jiray take them with all my heart." Jack takes them, thanking his uncle, and follows his master. Jack, having overtaken his master, soon after arrived at the lady's house, who, finding the King's son to be a suitor, prepared a banquet for him, and, being ended, she wiped his mouth with her napkin, saying, '■' You must show this to-morrow or lose your head ; " and she put it safely into her bosom. The King's son went to bed sorrowful, but Jack's Cap of knowledge instructed him how to obtain it. In the middle of the nighty, she called upon her familiar spirit to carry her to Lucifer. Jack put on his Coat of darkness, with his Shoes of swiftness, and was there as soon as she ; by reason of his Coat they could not see him. When she entered the place, she gave the handkerchief to old Lucifer, who laid it carefully upon a shelf, from whence Jack brought it to his master, who showed it to the lady the next day. 220 CHILDREN'S STORIES. The next night she sahited the King's son, telhng him he must show her to-morrow morning the Hps that she kissed last this night, or lose his head. " Ah ! " replied he, " if you kiss none but mine I will." " It is neither here nor there," said she ; " if you do not, death's your portion." At midnight, she went as before, and was angry with Lucifer for letting the handkerchief go. " But now," said she, " I will be too hard for the King's son, for I will kiss thee, and he's to show thy lips." Jack, standing near him with his Sword of sharpness, cut off the devil's head, and brought it under his invisible Coat to his master, who was in bed, and laid it at the end of his bolster. In the morning when the lady came up, he pulled it out by the horns and showed her the devil's lips, which she kissed last. Thus, having answered her twice, the enchantment broke, and the evil spirits left her, at which time she appeared a beautiful and virtuous creature. They were married next morning in great pomp and solemnity, and returned with a numerous company to the Court of King Arthui-^where they were received with the greatest joy and loud acclamations. Jack, for the many and great exploits he had done for the good of his country, was made one of the Knights of the Round Table. Jack, having resolved not to be idle, humbly requested of the King to fit him with a horse and money to travel ; " for," said he, '' there are many Giants alive in the remotest parts of the kingdom, to the unspeakable damage of your Majesty's liege subjects ; wherefore, may it please your Majesty to CHILDREN'S STORIKS. ^j^2I <]^ive me encoiiraoemcnt to rid tlie realm of tliost- cnicl and devtmrino- monsters of nature, root and hraneh." Xow. when the King had heard tliese noble proposi- tions, and had duly eonsidered the misehievous praetiees of those bloodthirsty Giants, he immediately granted what Jaek requested ; and, being furnished with all neeessaries for his progress, he took his leave of King- Arthur, taking with him the Cap of knowledge. Sword of shar])ness. Shoes of swiftness, and likewise the invisible Coat, the better to perfeet and eomplete the dangerous enterprises that lay before him. Jaek travelled over vast hills and mountains, when at the end of three d-dys he came to a large and spacious wood, wliere on a sudden he heard dreadful shrieks and cries ; whereuj)on, casting his eyes around, he beheld a Giant rushing along with a worthy knight and his fair lady, whom he held by the hair of their heads in his hands ; wherefore he alighted from his horse, and then putting on his invisible Coat, under which he carried his Sword of sharpness, he came up to the Giant, and, though he made several passes at him, yet he could not reach the trunk of his body, by reason of his height, though he wounded his thighs in several places ; but at length, giving a swinging stroke, he cut off both his legs just below the knee, so that the trunk of his body made the ground to shake with the force of his fall, at which the knight and the lady escaped. Then had Jack time to talk with him, and, setting his foot upon his neck, said, " You savage and barbarous wretch, I am come to execute upon you the just reward of your villainy." And with that running him through and through, the monster sent forth a hideous groan, and yielded up his life, while the noble knight and 222 CHILDREN'S STORIES. virtuous lady were joyful spectators of his sudden downfall and their own dehverance. This being done, the courteous knight and his fair lady returned him hearty thanks for their deliverance, but also invited him home, there to refresh himself after the dreadful encounter, as likewise to receive ample reward, by way of gratitude for his good service. " No," quoth Jack, " 1 cannot be at ease till I find out the den which was this monster's habitation." The knight hearing this, waxed sorrowful, and replied, " Noble stranger, it is too much to run a second risk, for this monster lived in a den under yon mountain, with a brother of his, more fierce than him- self ; therefore, if you go thither and perish in the attempt, it will be the heartbreaking of both me and my lady. Eet me persuade you to go with us." " Nay," quoth Jack, " if there were twenty I would shed the last drop of my blood before one of them should escape my fury, but when I have finished this task, I will come and pay my respects to you." So, taking directions to their habitation, he mounted his horse, and went in pursuit of the deceased Giant's brother. Jack had not rode j)ast a mile before he came in sight of the cave's mouth, at the entrance of which he beheld the other Giant sitting upon a huge block of timber, with a knotty iron club by his side, waiting for his brother's return with his cruel prey ; his goggle eyes appeared like terrible flames of fire, his counten- ance grim and ugly, and his cheeks appeared like a couple of large flitches of bacon ; the bristles of his head seemed to resemble rods of iron wire ; his locks hung down on his broad shoulders like curled snakes. CHILDHKN'S STORIKS. jj.j Jack ali<>hted from his horse, and put him into a thicket; then with his Coat of darkness he came near to behold liis fi<;ure, and said, "Oil ! are you there ? It will not be lon<>- before I take you by the beard." The Giant could not see him by reason of his invisible Coat : so Jack fetchin<jf a blow at his head with his Sword of sharpness, and missinnf somewhat of his aim, cut off the (nant's nose, whose nostrils were wider than a })air of jack-boots ; the pain was terrible ; he put uj) his hand to feel for his nose, and when he could not find it he raved and roared louder than thunder ; and though he turned up his large eyes, he could not see from whence the blow came, nevertheless, he took up his iron-headed club and began to thrash about him like one stark mad. " Xay," quoth Jack, "if you be for that s])ort, then I will dispatch you quickly, for fear of an accidental blow." Then Jack makes no more to do, but runs his sword up to the hilt in the Giant's fundament, wdiere he left it sticking for a while, and stood himself laughing, to see the Giant caper and dance with the sword in his body, crying out, '"' I shall die with the gripping of my guts." Thus did the Giant continue raving for an hour or more, and at length fell down dead. This being done. Jack cut off both the Giants' heads, and sent them to King Arthur by a Maggoner, whom he hired for the pur})ose. Jack having dispatched these two monsters, resolved to enter the cave in search of the Giants' treasure. He passed through many turnings and windings, which led him at length to a room paved with freestone, at the upper end of which was a boiling caldron ; on the right 224 CHILDREN'S STORIES. hand stood a large table, where the Giants used to dine. Then he came to an iron gate, where was a window secured with bars of iron, through which he looked, and beheld a vast many captives, who, seeing Jack, said, "Young man, art thou come to be one among us in this miserable den f " " Najs" quoth Jack, " I hope I shall not tarry long here ; but what is the meaning of .your captivity ? " "Why," said one of them, " w^e have been taken by the Giants, and here we are kept till they have a feast, then the fattest among us is slaughtered for their devouring jaws. It is not long since they took three of us for the purpose." "Say you so," quoth Jack ; " well, I have given them both such a dinner that it will be long enough ere they need any more. You may believe me, for I have slain them both, and as for their monstrous heads, I sent them to the court of King Arthur, as trophies of my victory." Then leading them to the aforesaid room, he placed them round the table, and set before them two quarters of beef, also bread and wine, so that they feasted there very plentifully. Supper being ended, they searched the Giants' coffers, where, finding a vast store of gold. Jack divided it equally among them. They all returned him hearty thanks for their treasure and miraculous deliverance. That night they went to their rest, and in the morning they arose and departed, to their respective })laces of abode, and Jack to the knight's house. Jack mounted his horse, and by his direction he came to the knight's house, where he was received with all demonstrations of joy, by the knight and his lady, who, in respect to Jack, prepared a feast which CHILDKFA'S SrOHII'.S. ii^2r> lasted for many days, iinitiiii;- all tlic <j,ciilr\ in tlic adjacent })arts. He ])rescnte(l him with a rin<;- of i^old in which was engraven by curious art, the ))icture of the Giant draogino- a distressed knioht and liis fair lady by the liair of tlie head. Now^ there were five aged gentlemen who were fathers to some of those miserable captives whom Jack had set at liberty ; who innnediately paid him tlieir venerable respects. And the smiling bowl was passed round in honour of the victorious conqueror, but during their mirth, a dark cloud appeared, which daunted the assembly. A messenger brought the dismal tidings of the aj)- proach of one Thunderfold, a huge Oiant with two heads ; who, having heard of the death of his kinsmen, the above-named Giants, was come in search of Jack, to be revenged on him for their terrible downfall, and was within a mile of the knight's seat, the peojjle flying before him from their habitations. When they had related this. Jack said, " Let him come, I am prepared with a tool to ]:)ick his teeth, and you, gentlemen and ladies, walk forth into the garden, and you shall be the joyful s})ectators of this monstrous Giant's death." To which they consented, wishing him good fortune in that great enterprise. The situation of the knight's house was in a small island encompassed with a vast moat thirty feet deep, and twenty feet wide, over which lay a drawbridge. Wherefore Jack employed two men to cut it on both sides, and then dressing himself in his Coat of darkness, jnitting on his Shoes of swiftness, he marched against the Giant, with his Sword of sharpness ready drawn. When he came close up, the Giant could not see Jack, 226 CHILDREN'S STORIES. by reason of his invisible Coat. Nevertheless^, he was sensible of approaching danger^ which made him cry out : — " Fe, Fi, Fo, Finn, I smell the blood of an Englishman. Be he living, or be he dead, r II grind his bones to mix my bread." "■ Sayest thou so/' quoth Jack. "^ Then thou art a monstrous miller. But how if I serve thee as I did the two Giants of late^, I should spoil your practice for the future .^ " At which time the Giant spoke with a voice as loud as thunder. '^' Art thou that villain which destroyed my kinsmen ? Then I will tear thee with my teeth, and suck thy bloody I will grind thy bones to powder." " Catch me first," quoth Jack. And he threw off his Coat of darkness that the Giant might see him, and then ran from him as through fear. The Giant, with glaring eyes, followed after like a walking castle, making the earth to shake at every step. Jack led him a dance three or four times round the moat, that the ladies and gentlemen might take a full view of this huge monster who followed him, but could not overtake him by reason of his Shoes of swiftness. At length Jack took over the bridge, the Giant with full speed pursuing after him, with his iron club. But coming to the middle of the drawbridge, the weight of his bod}^ and the most dreadful steps which he took, it broke down, and he tumbled into the water, where he rolled and wallowed like a whale. Jack standing at the side of the moat laughed at the Giant, and said, " You would grind my bones to powder ; you have water, pray, where is your mill } " CHILDRKN'S STOUlllS. '^27 The Giant foaiiu-d to hear hiin scoffing- at that rate, tlioii<;li he ]>hiii!Lj;e(l from place to j)laee in tlie moat. Jack at length i>()t a cart rope, and cast it o\er the Giant's two heads, witl\ a slip knot, and hy the help of horses he dra<j:<j,ed liim out ajrain, nearly stran<i,led, before he would let him loose. He cut off" both liis heads with his Sword of shar})ness, in the view of all the assembly of knights and ladies, who gave a shout when they saw the (jiant dis])atched. Then before he would either eat or drink, he sent these heads also to the court of King Arthur. After some mirth and ])astime, Jack, taking leave of the noble knights and ladies, set off in searcli of new adventures. Through many woods and groves he passed, till coming to the foot of a high mountain late at night, he knocked at the door of a lonesome house, at which a man, with a head as white as snow, arose and let him in. " Father," said Jack, '• have you any entertainment for a benighted traveller that has lost his way ? " '' Yes," said the old man, " if thou wilt accejit of such as my poor cottage affords, thou shalt be welcome." Jack returned him thanks ; they sat together, and the old man began to discourse as follows. " Son, I am sensible thou art the great conqueror of Giants, and it is in thy power to free this place ; for, there is an enchanted castle, kept by a monstrous Giant, named Galligantus, who, by the help of a conjuror, betrays knights and ladies into this strong castle, where, by magic art, they are transformed into sundry sha})es ; but above all, I lament the misfortune of a Duke's daughter, whom they fetched from her father's garden, carrying her through the air in a cliariot drawn by fiery dragons. She was immediately transformed into 228 CHILDREN'S STORIES. the shape of a White Hind. Many knights have en- deavoured to break the enchantment for her dehver- anee, vet none could accomplish it, by reason of two (jriffins, who are at the entrance of the castle gate, who destroys them as they see them ; but you, being furnished with an invisible Coat, may pass them un- discovered ; where, on the gates of the castle, you will find engraven in characters, the means by which the enchantment may be broken." Jack gave him his hand, with a promise that in the morning he would break the enchantment, and free the lady. Having refreshed themselves with a morsel of meat, they lay down to rest. In the morning Jack arose, and put on his invisible Coat, his Cap of knowledge, and Shoes of swiftness, and so prepared himself for the dangerous enterprise. Now, when he had ascended the mountain, he dis- covered the two fiery Griffins. He passed between them, for they could not see him by reason of his invisible Coat. When he had got beyond them, he found upon the gate a golden trumpet, hung in a chain of fine silver, under which were engraven : — Whoever shall this trumpet blow, Shall soon the Giant overthrow. And break the blaek enchantment straight, So all shall be in happy state. Jack had no sooner read this inscription than he blew the trumpet, at which the foundation of the castle trembled, and the Giant, with the Conjuror, were tearing their hair, knowing their wicked reign was at an end. At which time the Giant was stooping to take up his club. Jack, by one blow with his Sword of CHILDRKN'S SrORII'-S. t>t>() sharpness, cut off liis licul. 'I'lu- Conjuror mounted into the air, and was carried away by a wliirlwind. Thus was the encliantnient broken, and vvvry kiii«ilil and lady, who had been transformed into birds and beasts, returned to tlieir ])roj)er shapes, and the castle, thou(]fh it seemed to be of vast strength and bigness, vanished away like a cloud ; whereu])on universal joy appeared among the released knights and ladies. This being done, the head of Cialligantus was conveyed to the court of King Arthur. The next day, having refreshed the knights and ladies at the old man's habitation. Jack set forward to the court of King Arthur, with those kniglits and ladies whom he delivered. Coming to His Majesty, his fame rang through tlie court ; and, as a reward for his service, the Duke bestowed his daughter in marriage to Jack. The w^hole kingdom was filled with joy at the wedding. After which the King bestowed upon him a noble house, with a large estate, where he and his lady passed their davs in great joy and happiness. LITTLE RED RIDING HOOD. Once upon a time there was a little girl who lived in a village. She was such a nice little girl that her grandmother was very fond of her, and made her a little red cloak with a hood. So everybody called her Little Red Riding Hood. One day when her mother was baking, she said : " I hear your poor grandmother is ill in bed. You shall go across the forest and see how she is, and take her this cake and a pot of butter." 280 CHILDREN'S STORIES. Little Red Riding Hood was delighted to go, though it was rather a long walk. So she took the basket with the cakes and butter on her arm, and set off. No sooner had she got well into the forest, than a wolf came by that road. " Good morning, Red Riding Hood," said the wolf; ''where are you going ? " Now, Red Riding Hood did not know that it is dangerous to stop and speak to wolves, and she only thought him a nice respectable wolf who knew manners. So she made a curtsey, and said : " I'm going to see grandmother, because she's ill ; and I am taking her a cake and a pot of butter." ''Where does your grandmother live?" asked the wolf. "In a cottage quite by itself, across the forest," said Red Riding Hood. " Well, good morning," said the wolf. " If I were you, I would stop for a while, and pick some wild flowers to make a posy for your grandmother." Red Riding Hood thought this would please her granny very much, and the wolf trotted away. As soon as he was out of her sight, he galloped away to the old woman's cottage, and knocked. "Who's there .^^ " asked the old woman, in a feeble voice. " Little Red Riding Hood," said the wolf, imitating a little girl's voice. " Mother has sent you a cake and a pot of butter." " Lift up the latch and walk in," said the grand- mother ; " I'm ill in bed, and can't come to the door." So the wolf lifted the latch and sprang in, and gobbled up the poor old grandmother in a moment. Then he put on her nightgown and nightcap, got into bed, and pulled up the bedclothes. CHILDRKX'S STORIKS. ii.SI Presently Red Ridiiio- H,„,(l cainc and kncckcd at tlie door. "Who's there?'' asked llu wolf, iniitatiiiii,- llie grandmother's voiee. " Little Red Riding- Hood. Mother has sent yon a cake and a pot of butter." '^'^ Lift u}) the lateh and walk in," said the wolf, and Red Riding Hood entered. The wolf had got down so far under the bedelothes that nothing of him could be seen but the to}) of his nightcap. " How hoarse you are, Ciranny ! " said Red Riding Hood. "^That's because Lve got such a bad cold, u\\ dear," said the wolf. "^ It's getting late, so you must undress and come to bed." When Red Riding Hood got into bed, she saw the wolf's ears sticking out from under the nightcap. " What great ears you've got, Granny ! " she said. " All the better to hear with, my dear ! " said the wolf. "' And what great arms you've got, Granny ! " '^ All the better to hug with, my dear ! " " But, Granny, what great eyes you've got ! " " All the better to see with, my dear ! " " But, Granny, what great teeth you've got ! " said Red Riding Hood," who began to feel frightened. "^AU the better to eat you, my dear ! " shouted the Avolf. And the wicked beast jumped up, and ate her all up at a mouthful. As it got dusk, Red Riding Hood's mother began to get very anxious because she had not come back, for as she had never thought Red Riding Hood would sto]) and pick flowers in the forest, she had expected her -i.S!2 CHILDREN'S STORIES. liome bv sunset, and had said nothing about her stopi^ing at her grandmother's for the night. So when lier husband came home, she said : '' I'm afraid something has happened to Red Riding Hood. I sent her to her grandmother s this morning, and she has never come back. You must go and look for her ; and take your lantern and your axe, for fear of wolves." So Red Riding Hood's father took his lantern and axe, and asked a friend to go with him across the forest. When thev got to the grandmother's cottage, it was quite dark. They knocked, and the wolf called out : " Lift up the latch and walk in," for he thought he would make another meal off whoever it was. But w^hen he saw the two men enter, one with the axe and the other with the lantern, he began to feel horribly uncomfortable, especially as he could not run away quickly, because he was so fat from eating the grand- mother and Red Riding Hood. Red Riding Hood's father saw in a minute what had happened, and he flung his axe at the wolf and cut him open. Immedi- ately the grandmother and Red Riding Hood jumped out of the wolf's inside, and the wolf made straight up the chimney. " I think we've got him now," said Red Riding Hood's father ; " make up the fire. Granny, and we'll ])ut on the big porridge-pot full of hot water, and some savoury soup in it to smell nice." So they made up the fire, and put on the great pot, full of hot water, and then they poured some soup into it ; and when it boiled, the savoury smell went up the chimney. "Aughrr!" said the wolf; ''how nice that smells; I feel quite hungry again." CHIIJ)RK\'S STOUIKS. ^2:',:i So he })ut his head and forele^fs into the cliinnuy as he stood on the roof, and, as he bent further in to catch the smell, all of a sudden he lost his balance, and tell headlono- down tlie chimney, and into the ^reat pot, and was killed. So they all went home safely, and wjien Red Ridin<;- Hood's mother })ut her to bed, she said, " Never you stop when you're out to talk to stranjre ereatures ever any more." And Red Riding Hood, who was only too glad to have got safely out of the wolf's inside, promised faithfully that she never would. CINDERELLA ; OR, THE LITTLE GLASS SLIPPER. There was once a very rich gentleman who lost his wife ; and having loved her exceedingly, he was very sorry wdien she died. Finding himself quite unhappy for her loss, he resolved to marry a second time, think- ing by this means he should be as happy as before. Unfortunately, however, the lady he chanced to fix upon was the proudest and most haughty woman ever known ; she was always out of humour with every one ; nobody could please her, and she returned the civilities of those about her with the most affronting disdain. She had two daughters by a former husband, whom she brought up to be proud and idle : indeed, in temj^er and behaviour they perfectly resembled their mother ; they did not love their books, and would not learn to work ; in short, they were disliked by everybody. i6 234 CHILDREN'S STORIES. The gentleman on his side^ too^ had a daughter^ who, in sweetness of temper and carriage^, was the exact Hkeness of her own mother, whose death he had so much lamented, and whose tender care of the little girl he was in hopes to see replaced by that of his new bride. But scarcely was the marriage ceremony over, before his wife began to show her real temper ; she could not bear the pretty little girl, because her sweet obliging manners made those of her ow^i daughters appear a thousand times the more odious and disagreeable. She therefore ordered her to live in the kitchen ; and, if ever she brought anything into the parlour, always scolded her till she was out of sight. She made her work with the servants, in washing the dishes, and rubbing the tables and chairs : it was her place to clean madam's chamber, and that of the misses, her daughters, which was all inlaid, had beds of the newest fashion, and looking-glasses so long and broad, that they saw themselves from head to foot in them ; while the little creature herself was forced to sleep up in a sorry garret, upon a wretched straw bed, without curtains, or anything to make her comfortable. The poor child bore all this with the greatest patience, not daring to complain to her father, who, she feared, would only reprove her, for she saw that his wife governed him entirely. When she had done all her work she used to sit in the chimney corner among the cinders ; so that in the house she went by the name of Cinderbreech : the youngest of the two sisters, however, being rather more civil than the eldest, called her Cinderella. And Cinderella, dirty and ragged as she was, as often happens in such cases, was a thousand times prettier than her sisters, drest out in all their splendour. CHILDREN'S STORIES. 285 It happened that tlie kind's son ^ave a hall, to which he invited all the persons of fashion in tlie country : our two misses were of the niunher ; for the king's son did not know how disagreeable they were ; hut suj)- posed, as they were so much indulged, that they were extremely amiable. He did not invite Cinderella, for he had never seen or heard of her. The two sisters began immediately to be very busy in preparing for the happy day : nothing could exceed their joy ; every moment of their time was spent in fancying such gowns, shoes, and head-dresses as would set them off to the greatest advantage. All this was new vexation to poor Cinderella, for it was she who ironed and plaited her sisters' muslins. They talked of nothing but how they should be dressed, " I," said the eldest, " will m ear my scarlet velvet with French trimming." "And I," said the youngest, "^ shall wear the same petticoat I had made for the last ball ; but then, to make amends for that, I shall put on my gold muslin train, and wear my diamonds in my hair ; with these I must certainly look well." They sent several miles for the best hairdresser that was to he had, and all their ornaments were bought at the most fashionable shops. On the morning of the ball they called up Cinderella to consult with her about their dress, for they knew she had a great deal of taste. Cinderella gave them the best advice she could, and even offered to assist them in adjusting their head-dresses ; which was exactly w^hat they wanted, and they accordingly accepted her proposals. While Cinderella was busily engaged in dressing her sisters, they said to her, " Should you not like, Cinder- ella, to go to the ball } " os6 CHILDREN'S STORIES. "Ah/' replied Cinderella, "you are only laughing at me ; it is not for such as I am to think of going to balls." "You are in the right/' said they; "folks might laugh indeed to see a Cinderbreech dancing in a ball- room." Any other than Cinderella would have tried to make the haughty creatures look as ugly as she could ; but the sweet-tempered girl, on the contrary, did every thing she could think of to make them look well. The sisters had scarcely eaten anything for two days, so great was their joy as the happy day drew near. More than a dozen laces were broken in endeavouring to give them a fine slender shape, and they were always before the looking-glass. At length the much-wished-for moment arrived ; the proud misses stepped into a beautiful carriage, and, followed by servants in rich liveries, drove towards the palace. Cinderella followed them with her eyes as far as she could ; and when they were out of sight, she sat down in a corner and began to cry. Her godmother, who saw her in tears, asked what ailed her. " I wish — I w-i-s-h," sobbed poor Cinderella, without being able to say another word. The godmother, who was a fairy, said to her, " You wish to go to the ball, Cinderella ; is not this the truth ? " " Alas ! yes/' replied the poor child, sobbing still more than before. " Well, well, be a good girl/' said the godmother, ■"^ and you shall go." She then led Cinderella to her bed-chamber, and said to her, " Run into the garden and bring me a pumpion." CHILDREN'S STORIKS. ti'A7 Cinderella flew like liohtnino-, and l)n)ii<2,lit the finest she could lay hold of. Her godmother scooped out the inside, leavin<>- nothing but the rind ; she then struck it with her wand, and the pumpion instantly became a fine coach gilded all over with gold. She next lo(»ked into her mouse-trap, where she found six mice all ali\e and brisk. She told Cinderella to lift uj) the door of the trap very gently ; and as the mice j)assed out, she touched them one by one with her wand, and each immediately became a beautiful horse of a fine da])])le grey mouse-colour. " Here, my child," said the godmother, " is a coach and horse, too, as handsome as your sisters ; but what shall we do for a })ostilion ? " '^ I will run," re])lied Cinderella, "and see if there be not a rat in the rat-traj). If I find one, he will do very w^ell for a j)ostilion." ^'^ Well thought of, my child ! " said her godmother; "make what haste you can." Cinderella brought the rat-trap, which to her great joy, contained three of the largest rats ever seen. The fairy chose the one which had the longest beard, and touching him with her wand, he w^as instantly turned into a smart, handsome })ostilion, with the finest pair of whiskers imaginable. She next said to Cinderella, " Go again into the garden, and you will find six lizards behind the watering-pot ; bring them hither." This was no sooner done, than, with a stroke from the fairy's wand, they were changed into six footmen, who all immediately jumped up behind the coach in gold-laced liveries, and stood side by side as cleverly as if they had been used to nothing else the whole of their lives. 238 CHILDREN'S STORIES. The fairy then said to Cinderella, " Well, my dear, is not this such an equipage as you could wish for to take you to the ball ? Are you not delighted with it ? " " Y-e-s/' replied Cinderella, with hesitation ; " but must I go thither in these filthy rags ? " Her godmother touched her with the wand, and her rags instantly became the most magnificent apparel, ornamented with the most costly jewels in the whole world. To these she added a beautiful pair of glass slippers, and bade her set out for the palace. The fairy, how^ever, before she took leave of Cinder- ella, strictly charged her on no account whatever to stay at the ball after the clock had struck twelve ; telling her that, should she stay but a single moment after that time, her coach would again become a pum- pion, her horses mice, her footmen lizards, and her fine clothes be changed to filthy rags. Cinderella did not fail to promise all her godmother desired of her ; and, almost wild with joy, drove away to the palace. As soon as she arrived, the king's son, who had been informed that a great princess whom nobody knew^ was come to the ball, presented himself at the door of the carriage, helped her out, and conducted her to the ball-room. Cinderella no sooner apjjeared than every one was silent ; both the dancing and the music stopped, and everybody was employed in gazing at the uncommon beauty of this unknown stranger : nothing was heard but whispers of " How handsome she is ! " The king himself, old as he was, could not keep his eyes from her, and continually repeated to the queen, that it was a long time since he had seen so lovely a creature. The ladies endeavoured to find out how her clothes CHILDREN'S STORIES. 2.S9 were made, tliat tlu-y iniolit <;et some of the same pattern for themselves by tlie next day, slioiild they l)e lueky enough to meet with sueh handsome materials, and such good workjieople to make them. The king's son conducted her to the most honourabk- seat, and soon after took her out to dance with him. She both moved and danced so gracefully, that every one admired her still more than before, and she was thought the most beautiful and accomplished lady ever beheld. After some time a delicious collation was served uj) ; but the young prince was so busily employed in looking at her, that he did not eat a morsel. Cinderella seated herself near her sisters, paid them a thousand attentions, and offered them a part of the oranges and sweetmeats with which the prince had presented her ; while they on their part were quite astonished at these civilities from a lady whom they did not know. As they were conversing together, Cinderella heard the clock strike eleven and three quarters : she rose from her seat, curtsied to the company, and hastened away as fast as she could. As soon as she got home she flew to her godmother, and, after thanking her a thousand times, told her she would give the world to be able to go again to the ball the next day, for the king's son had entreated her to be there. While she was telling her godmother everything that had happened to her at the ball, the two sisters knocked a loud rat-tat-tat at the door, which Cinderella opened. " How late you have stayed I " said she, yawning, rubbing her eyes, and stretching herself as if just 240 CHILDREN'S STORIES. awaked out of her sleep, though she had in truth felt no desire to sleep since they left her. " If you had been at the ball/' said one of the sisters, " let me tell you, you would not have been sleepy : there came thither the handsomest, yes, the very handsomest princess ever beheld ! She paid us a thousand attentions, and made us take a part of the oranges and sweetmeats the prince had given her." Cinderella could scarcely contain herself for joy : she asked her sisters the name of the princess : to which they replied, that nobody had been able to dis- cover who she w^as ; that the king's son was extremely grieved on that account, and had offered a large reward to any person who could find out where she came from. Cinderella smiled, and said, "^ How very beautiful she must be ! How fortunate you are ! Ah, could I but see her for a single moment ! Dear Miss Charlotte, lend me only the yellow gown you wear every day, and let me go and see her." " Oh, yes, I w^arrant you ; lend my clothes to a Cinderbreech ! Do you really suppose me such a fool } No, no ; pray, Miss Forward, mind your proj^er busi- ness, and leave dress and balls to your betters." Cinderella expected some such answer, and was by no means sorry, for she would have been sadly at a loss what to do if her sister had lent her the clothes that she asked of her. The next day the two sisters again appeared at the ball, and so did Cinderella, but dressed much more magnificently than the night before. The king s son was continually by her side, and said the most obliging things to her imaginable. The charming young creature was far from being tired of all the agreeable things she met with : on the CHILDREN'S STOIUKS. i>il contrary, slie was so (k-li^htcd with tlitui, that slic entirely foro-ot tlie cliaroe lu-r <'()(hn()tht"r liad <;iven her. Cinderella at last heard the striking),- of a clock, and counted one, two, three, on till she came to twelve, though she had thought that it could be but eleven at most. She i>;ot uj) and Hew as nimbly as a deer out of the ball-room. The prince tried to overtake her ; but Cinderella's fright made her run the faster. However, in her great liurry, she dro})})ed one of the little glass slip})ers from her foot, which the })rince stooped down and ])icked uj), and took the greatest care of it possible. Cinderella got home tired and out of breath, in her dirty old clothes, without either coach or footman, and having nothing left of her magnificence but the fellow^ of the glass slipper w^hich she had dropped. In the meanwhile, the prince had enquired of all his guards at the palace gates, if they had not seen a magnificent princess pass out, and which way she went } The guards replied that no })rincess had ])assed the gates ; and that they had not seen a creature but a little ragged girl, who looked more like a beggar than a princess. When the two sisters returned from the ball, Cinder- ella asked them if they had been as much amused as the night before, and if the beautiful princess had been there r They told her that she had ; but that as soon as the clock struck twelve she hurried away from the ball-room, and in the great haste she made, had dropped one of her glass sli})})ers, which was the prettiest shape that could be ; that the king's son had picked it up, and had done nothing but looked at it all the rest of 242 CHILDREN'S STORIES. the evening; and that everybody believed he was violently in love with the handsome lady to whom it belonged. This was very true ; for a few days after, the prince had it proclaimed by sound of trumpet, that he would marry the lady whose foot should exactly fit the slipper he had found. Accordingly the prince's messengers took the slipper, and carried it first to all the princesses ; then to the duchesses : in short, to all the ladies of the court — but without success. They then brought it to the two sisters, who each tried all she could to squeeze her foot into the slipper, but saw at last that this was quite impossible. Cinderella, who was looking at them all the while, and knew her slipper, could not help smiling, and ventured to say, " Pray, sir, let me try to get on the slipper." Her sisters burst out a-laughing in the rudest manner possible: — "Very likely, truly," said one of them, '^'^that such a clumsy foot as your's should fit the slipper of a beautiful princess." The gentleman, however, who brought the slipper, turned round, looked at Cinderella, and observing that she was very handsome, said, that as he was ordered by the prince to try it on every one till it fitted, it Avas just that Cinderella should have her turn. Saying this, he made her sit down : and putting the slipper to her foot, it instanth' slipped in, and he saw that it fitted her like wax. The two sisters were amazed to see that the slipper fitted Cinderella : but how much greater was their astonishment, when she drew out of her pocket the other slipper and put it on ! CHILDREN'S STORIKS. ti43 Just at this moim-nt the fairy entcrrd the room, and touching- Cinderella's clothes with her wand, made iier all at once a])})ear more nia<i;nificently dressed than they had seen her before. The two sisters immediately perceived that she was the beautiful princess they had seen at the ball. They threw themselves at her feet^ and asked her for- giveness for the ill treatment she had received from them. Cinderella helped them to rise, and, tenderly embracino- them, said that she forgave them with all her heart, and begged them to bestow upon her their affection. Cinderella was then conducted, drest as she was, to the young prince, w^ho finding her more beautiful than ever, instantly desired her to accept of his hand. The marriage ceremony took {)lace in a few days ; and Cinderella, wiio was as amiable as she w^as hand- some, gave her sisters magnificent apartments in the palace, and a short time after married them to tw^o great lords of the court. PUSS IN BOOTS. There was a miller who had three sons, and when he died he divided what he possessed among them in the following manner : — He gave his mill to the eldest, his ass to the second, and his cat to the youngest. Each of the brothers accordingly took w^hat belonged to him without the help of an attorney, who would soon have brought their little fortune to nothing in law expenses. The poor young fellow who had nothing but the cat complained that he was hardly used : — 244 CHILDREN'S STORIES. " My brothers," said he, " by joining their stocks to- gether, may do very well in the world ; as for me, when I have eaten my cat, and made a fur-cap of his skin, I may soon die of hunger ! " The cat, w^hich all this time sat listening just inside the door of a cupboard, now ventured to oome out, and addressed him as follows : — '' Do not thus afflict yourself, my good master ; you have only to give me a bag, and get a pair of boots made for me, so that I may scamper through the dirt and the brambles, and you shall see that you are not so ill provided for as you imagine." Though the cat's master did not much depend upon these promises, yet as he had often observed the cunning tricks Puss used to catch rats and mice, such as hanging by the hindlegs, and hiding in the meal to make them believe that he was dead, he did not entirely despair of his being of some use to him in his unhappy condition. When the cat had obtained what he asked for, he gaily began to equip himself ; he drew on the boots — and putting the bag about his neck, he took hold of the strings with his forepaws, and, bidding his master take courage, immediately sallied forth. The fir«t attempt Puss made was to go into a w^arren, in which there was a great number of rabbits. He put some bran and some parsley into his bag ; and then, stretching himself out at full length as if he was dead, he waited for some young rabbits (which as yet knew nothing of the cunning tricks of the w^orld) to come and get into the bag, the better to feast upon the dainties he had put into it. Scarcely had he laid down before he succeeded as well as could be wished. A giddy young rabbit crept CHILDREN'S STOUIKS. 245 into tlie ba;-, and the cat innncdiatclv drew the striii<rs, and killed him witiioiit mercy. Puss, proud of his ])rey, hastened directly to the ])alace, where he asked to sj)eak to the kin^-. On l)ein<r shown into the apartment of his majesty, he made a low how, and said — "^ I have brought you, sire, this rabbit from the warren of my lord the Marquis of Carabas, who connnanded me to present it to your majesty with the assurance of his respect." This was the title the cat thou<i:;ht })ro])er to bestow ujion his master. " Tell my lord Marquis of Carabas," replied the king, " that I accept of his present with pleasure, and that I am greatly obliged to him." Soon after the cat laid himself down in the same manner in a field of corn, and had as much good fortune as before ; for two fine partridges got into his bag, which he immediately killed and carried to the palace. The king received them as he had done the rabbit, and ordered his servants to give the messenger something to drink. In this manner he continued to carry presents of game to the king from my lord Marquis of Carabas, once at least every week. One day, the cat having heard that the king intended to take a ride that morning by the river side with his daughter, wdio was the most beautiful j)rincess in the w orld, he said to his master, " If you will but follow my advice your fortune is made. Take off your clothes, and bathe yourself in the river, just in the place I shall show you, and leave the rest to me." The Marquis of Carabas did exactly as he was desired, without being able to guess what the cat intended. While he was bathing, the king passed by, and Puss directly called out as loud as he could bawl 246 CHILDREN'S STORIES. " Help ! help ! my lord Marquis of Carabas is in danger of being drowned ! " The king hearing the cries, put his head out at the window of his carriage to see what was the matter ; when, perceiving the very cat which had brought him so many presents, he ordered his attendants to go directly to the assistance of my lord Marquis of Carabas. While they were employed in taking the Marquis out of the river, the cat ran to the king's carriage and told his majesty, that while his master was bathing, some thieves had run off with his clothes as they lay bv the river side, the cunning cat all the time having hid them under a large stone. The king hearing this, commanded the officers of his wardrobe to fetch one of the handsomest suits it con- tained, and present it to my lord Marquis of Carabas, at the same time loading him with a thousand atten- tions. As the fine clothes they brought him made him look like a gentleman, and set off his person, which was very comely, to the greatest advantage, the king's daughter w^as mightily taken with his appearance, and the Marquis of Carabas had no sooner cast upon her two or three respectful glances, than she became violently in love with him. The king insisted on his getting into the carriage, and taking a ride with them. The cat, enchanted to see how well his scheme was likely to succeed, ran before to a meadow that was reaping, and said to the reapers, " Good people, if you do not tell the king, who will soon pass this way, that the meadow you are reaping belongs to my lord Marquis of Carabas, you .shall be chopped as small as minced meat." The king did not fail to ask the reapers to whom the meadow belonged, " To my lord Marquis of Carabas," CHlLDRIvX'S STORIKS. ii47 said they all at once; tor the tlircats of the cit had terribly fri<;htened them. " Voii have liere a vc-ry fine j)ieee of land, my lord Marquis/' said the king-. "Truly, sire," replied he, "it does not fail to l)rin<>- me every year a ])leiitiful harvest." The eat, whieh still went on before, now eame to a field where some other labourers were makin<^ sheaves of the eorn they had reaped, to whom he said as before, " Good people, if you do not tell the king, who will })resently pass this way, that the corn you have reaped in this field belongs to my lord Marquis of Carabas, you shall be chopped as small as minced meat." The king accordingly passed a moment after, and incjuired to whom the corn he saw belonged, " To my lord Marquis of Carabas," answered they very glibly ; upon whieh the king again complimented the Marquis on his noble possessions. The cat still continued to go before, and gave the same charge to all the people he met with ; so that the king was greatly astonished at the splendid fortune of my lord Marquis of Carabas. Puss at length arrived at a stately castle, whieh be- longed to an Ogre, the richest ever known ; for all the lands the king had passed through and admired were his. The cat took care to learn every particular about the Ogre, and what he could do, and then asked to sj)eak with him, saying, as he entered the room in which he was, that he could not pass so near his castle without doing himself the honour to enquire for his health. The Ogre received him as civilly as an Ogre could do, and desired him to be seated. " I have been informed," said the cat, " that you 248 CHILDREN'S STORIES. have the gift of changing yourself into all sorts of animals, into a lion, or an elephant, for example." " It is very true," replied the Ogre somewhat sternly; '^and to convince you, I will directly take the form of a lion." The cat was so much terrified at finding himself so near a lion, that he sprang from him, and climbed to the roof of the house ; but not without much difficulty, as his boots were not very fit to walk upon the tiles. Some minutes after, the cat perceiving that the Ogre had quitted the form of a lion, ventured to come down from the tiles, and owned that he had been a good deal frightened. " I have been further informed," continued the cat, ^' but I know not how to believe it, that you have the power of taking the form of the smallest animals also ; for example, of changing yourself to a rat or a mouse ; I confess I should think this must be impossible." " Impossible ! you shall see ; " and at the same instant he changed himself into a mouse, and began to frisk about the room. The cat no sooner set his eyes upon the Ogre in this form, than he sprang upon him, and devoured him in an instant. In the meantime the king, admiring, as he came near it, the magnificent castle of the Ogre, ordered his attendant to drive up to the gates, as he wished to take a nearer view of it. The cat, hearing the noise of the carriage on the drawbridge, immediately came out, saying, " Your majesty is welcome to the castle of my lord Marquis of Carabas." "And is this splendid castle your's also, my lord Marquis of Carabas } I never saw anything more stately than the building, or more beautiful than the CHILDHI'A'S STOHIKS. ^M) park and pleasuro-grouiuls around it ; no douht, tlic castle is no less ma<»;nificent within than without; pray, my lord Marquis, indulge me with a sight of it. " The Marquis gave his hand to the young princess as she alighted, and followed the king, who went before ; they entered a s])acious hall, where they found a s))lcn- did collation which the Ogre had ))re])ared for some friends he had expected that day to visit liim ; l)ut who, hearing that the king with the ])rincess and a great gentleman of the court were within had not dared to enter. The king was so much charmed with the amiable qualities and noble fortune of the Marquis of Carabas, and the young princess too had fallen so violently in love with him, that when the king had partaken of the collation, and drank a few glasses of wine, he said to the Marquis, " It will be your own fault, my lord Marquis of Carabas, if you do not soon become my son-in-law." The Marquis received the intelligence with a thousand respectful acknowledgments, accepted the honour con- ferred upon him, and married the princess that very day. The cat became a great lord, and never again ran after rats and mice but for his amusement. WHITTINGTON AND HIS CAT. In the reign of the famous King Edward the Third, there was a little boy called Dick Whittington, whose father and mother died when he was very young, so that he remembered nothing at all about them, and was left a dirty little fellow running about a country 17 250 CHILDREN'S STORIES. village. As poor Dick was not old enough to work, he was in a sorry plight ; he got but little for his dinner, and sometimes nothing at all for his breakfast ; for the people who lived in the village were very poor them- selves, and could spare him little more than the parings of potatoes, and now and then a hard crust. For all this, Dick Whittington was a very sharp boy, and was always listening to what every one talked about. On Sundays he never failed to get near the farmers, as they sat talking on the tombstones in the church- yard, before the parson was come : and once a week you might be sure to see little Dick leaning against the sign-post of the village ale-house, where people stopped to drink as they came from the next market-town ; and whenever the barber's shop-door was open, Dick listened to all the news he told his customers. In this manner, Dick heard of the great city called London ; how the people who lived there were all fine gentlemen and ladies ; that there were singing and music in it all day long ; and that the streets were paved all over with gold. One day a waggoner, with a large waggon and eight horses, all with bells at their heads, drove through the village while Dick was lounging near his favourite sign- post. The thought immediately struck him that it must be going to the fine town of London ; and taking courage, he asked the waggoner to let him walk by the side of the waggon. The man, hearing fi'om poor Dick that he had no parents, and seeing by his ragged condi- tion that he could not be worse off, told him he might go if he would ; so they set off together. Dick got safe to London ; and so eager was he to see the fine streets paved all over with gold, that he ran as CHILDRKX'S SrOini'.S. 251 fast as his legs would carry him througli s(\ ( ral streets, expecting every moment to come to those that were all paved witli gold ; for Dick had three times seen a guinea in his own village, and observed what a great deal of money it brought in change ; so he imagined he had only to take up some little bits of the pavement to have as much money as he desired. Poor Dick ran till he was tired, and at last, finding it grow dark, and that whichever way he turned he saw nothing but dirt instead of gold, he sat down in a dark corner, and cried himself asleep. Little Dick remained all night in the streets ; and next morning, finding himself very hungry, he got up and walked about, asking those he met to give him a halfpenny to keep him from starving ; but nobody stayed to answer him, and only two or three gave him anything ; so that the poor boy was soon in the most miserable condition. Being almost starved to death, he laid himself down at the door of one Mr. Fitzwarren, a great rich merchant. Here he was soon perceived by the cook-maid, who was an ill-tempered creature, and happened just then to be very busy dressing dinner for her master and mistress : so, seeing poor Dick, she called out, " What business have you here, you lazy rogue ? There is nothing else but beggars ; if you do not take yourself away, we will see how you will like a sousing of some dish-water, I have here that is hot enough to make you caper ! " Just at this time Mr. Fitzwarren himself came home from the city to dinner, and seeing a dirty ragged boy lying at the door, said to him, " Why do you lie there, my lad ? You seem old enough to work. I fear you must be somewhat idle." i>oi2 CHILDREN'S STORIES. " No, indeed, sir," says Whittington, " that is not true, for I would work with all my hearty but I know nobody, and I believe I am very sick for want of food." " Poor fellow I " answered Mr. Fitzwarren. Dick now tried to rise, but was obliged to lie down again, being too weak to stand ; for he had not eaten anything for three days^ and was no longer able to run about and beg a halfpenny of people in the streets : so the kind merchant ordered that he should be taken into his house, and have a good dinner immediately, and that he should be kept to do M'hat dirty work he was able for the cook. Little Dick w^ould have lived very happily in this worthy family, had it not been for the crabbed cook, who was finding fault and scolding at him from morn- ing till night ; and was withal so fond of roasting and basting, that, when the spit was out of her hands, she would be at basting poor Dick's head and shoulders with a broom, or anything else that happened to fall in her way ; till at last her ill usage of him was told to Miss Alice, Mr. Fi zwarren's daughter, w^ho asked the ill-tempered creature if she was not ashamed to use a little friendless boy so cruelly ; and added, she would certainly be turned away if she did not treat him with more kindness. But though the cook was so ill-tempered, Mr. Fitz- warren's footman was quite the contrary ; he had lived in the family many years, was rather elderly, and had once a little boy of his own, who died when about the age of Whittington ; so he could not but feel compassion for the poor boy. As the footman was very fond of reading, he used generally in the evening to entertain his fellow-servants, when they had done their w^ork, Avith some amusing chim)Ri-:n's sroRii'.s. ii5s book. The pleasure our little hero took in hcariii^i; him made him very much desire to learn to read too; so the next time the good-natured footman gave hiiu a lialfpenny, he bought a horn-book witli it ; and, \\ itii a little of his help, Dick soon learned his letters, and afterwards to read. About this time Miss Alice was going out one morning for a walk ; and the footman ha{)})ening to be out of the way, little Dick, who had received from Mr. Fitzwarren a neat suit of clothes, to go to church on Sundays, was ordered to })ut them on, and walk behind her. As they walked along. Miss Alice, seeing a j)oor woman with a child in her arms, and another at her back, pulled out her purse, and gave her some money ; and as she was putting it again into her pocket, she dropped it on the ground, and walked on. Luckily Dick, who was behind, saw what she had done, picked it up, and immediately presented it to her. Besides the ill-humour of the cook, which now, how- ever, was somewhat mended, Whittington had another hardship to get over. This was, that his bed, which was of flock, "was placed in a garret, where there were so many holes in the floor and walls, that he never went to bed without being awakened in his sleep by great numbers of rats and mice, which generalh' ran over his face, and made such a noise, that he sometimes thought the walls were tumbling down about him. One day a gentleman who paid a visit to Mr. Fitz- warren, happened to have dirtied his shoes, and begged they might be cleaned. Dick took great })ains to make them shine, and the gentleman gave him a penny. This he resolved to lay out in buying a cat, if })ossible ; and the next day, seeing a little girl with a cat under her arm, he went up to her, and asked if she would let 254 CHILDREN'S STORIES. him have it for a penny ; to which the girl repUed, she would with all her heart, for her mother had more cats than she could maintain ; adding, that the one she had was an excellent mouser. This cat Whittington hid in the garret, always taking care to carry her a })art of his dinner : and in a short time he had no further disturbance from the rats and mice, but slept as sound as a top. Soon after this, the merchant, who had a ship ready to sail, richly laden, and thinking it but just that all his servants should have some chance for good luck as well as himself, called them into the parlour, and asked them what commodity they chose to send. All mentioned something they were willing to venture but poor Whittington, who, having no money nor goods, could send nothing at all, for which reason he did not come in with the rest ; but Miss Alice, guessing what was the matter, ordered him to be called, and offered to lay down some money for him from her own purse ; but this, the merchant observed, would not do, for it must be something of his own. Upon this, poor Dick said he had nothing but a cat, which he bought for a penny that was given him. "Fetch thy cat, boy," says Mr. Fitzwarren, '^and let her go." Whittington brought poor puss, and delivered her to the captain with tears in his eyes, for he said "He should now again be kept awake all night by the rats and mice." All the company laughed at the oddity of Whitting- ton's adventure, and Miss Alice, who felt the greatest pity for the poor boy, gave him some halfpence to buy another cat. CHILDRFA'S STOHilvS. ^25r, This, and several other marks of kindness shown hini by Miss AHce^ made the ill-tempered cook so jealous oi' the favours the poor boy reeeived, that she be<;an to use liim more eruelly than ever, and eonstantly madr oamc of him for sendin<^ his eat to sea, askin<;- him if lie thought it would sell for as nuieh money as would hiiv a halter. At last, the unhappy Httle feUow, l)ein<;- unable to bear this treatment any longer, determined to run away from his plaee. He aeeordingly })aeked uj) the few things that belonged to him. and set out very early in the morning on Allhallow Day, which is the first of November. He travelled as far as HoUoway, and there sat down on a stone, which to this day is called Whit- tington's Stone, and began to consider what course he should take. While he was thus thinking what he could do, Bow- Bells, of which there were then only six, began to ring: and it seemed to him that their sounds addressed him in this manner : " Turn again Whittingtoii, Lord Mayor of London." " Lord Mayor of London ! " says he to himself. " Why, to be sure, I would bear anything to be Lord Mayor of London, and ride in a fine coach I Well, I will go back, and think nothing of all the cuffing and scolding of old Cicely, if I am at last to be Lord Mayor of London." So back went Dick, and got into the house, and set about his business before Cicely came down stairs. The ship, with the cat on board, was long beaten about at sea, and was at last driven by contrary winds on a part of the coast of Barbary, inhabited by Moors that were unknown to the English. or,6 childri:n's stories^. The natives in this country came in great numbers, out of curiosity, to see the people on board, who were all of so different a colour from themselves, and treated them with great civility ; and, as they became better acquainted, showed marks of eagerness to purchase the fine things with which the ship was laden. The captain, seeing this, sent patterns of the choicest articles he had to the king of the country, who was so nuich pleased with them, that he sent for the captain and his chief mate to the palace. Here they were ])laced, as is the custom of the country, on rich carpets flowered with gold and silver : and the king and queen being seated at the upper end of the room, dinner was brought in, which consisted of the greatest rarities. No sooner, however, were the dishes set before the company, than an amazing number of rats and mice rushed in, and helped themselves plentifully from every dish, scattering pieces of flesh and gravy all about the room. The captain, extremely astonished, asked if these vermin were not very offensive. " Oh, yes," said they, " very offensive ; and the king would give half his treasure to be free of them : for they not only destroy his dinner, but they disturb him even in his chamber, so that he is obliged to be watched while he sleeps." The captain, who was ready to jump for joy, re- membering poor Whittington's hard case, and the cat he had intrusted to his care, told him he had a creature on board his ship that would kill them all. The king was still more overjoyed than the captain. '' Bring this creature to me," says he, '' and if she can really perform what you say, I will load your ship with wedges of gold in exchange for her." CHILDRKN'S STORIlvS. 2.57 Away i\c\v the ca})taiii, wliilc aiiotlu-r (liiiiui- was providing, to the ship, and taking j)ii.s.s under liis arm, returned to the j)alaee in time to see the table (•()\c'red witli rats and mice, and the seeond dinner in a fair way to meet with the same fate as the first. The cat, at sight of them, did not Mait for hichhng, but sprang from the ea])tain's arms, and in a few moments laid the greater ])art of the rats and mice dead at her feet, while the rest, in the greatest fright imaginable, scampered awav to their holes. The king having seen and considered of the wonder- ful ex})loits of Mrs, Puss, and being informed she would soon have young ones, which might in time destroy all the rats and mice in the country, bargained with the captain for his whole ship's cargo, and afterwards agreed to give a ])rodigious quantity of wedges of gold, of still greater value, for the cat ; with which, after taking leave of their majesties, and other great personages belonging to the court, he, with all his ship's company, set sail, w^ith a fair wind for England, and, after a happy voyage, arrived safely in the port of London. One morning, Mr. Fitzwarren had just entered his counting-house, and w'as going to seat himself at the desk, wdien w^ho should arrive but the captain and the mate of the merchant-ship, the Unicorn, just arrived from the coast of Barbary, and followed by several men, bringing with them a prodigious quantity of wedges of gold that had been paid by the King of Barbary in exchange for the merchandise, and also in exchange for Mrs. Puss. Mr. Fitzwarren, the instant he heard the news, ordered W hittington to be called, and having desired him to be seated, said, " Mr. Whittington. most heartily do I rejoice in the news these gentlemen have brought you ; for the captain has sold your cat to the t>58 CHILDREN'S STORIES. King- t)f Barbary, and brought you in return more riches than I possess in the whole world ; and may you long enjoy them." Mr. Fitzwarren then desired the men to open the innnense treasures they had brought, and added that Mr. Whittington had now nothing to do but to put it in some place of safety. Poor Dick could scarce contain himself for joy. He begged his master to take what part of it he pleased, since to his kindness he was indebted for the whole. " No, no ; this wealth is all your own, and justly so," answered Mr. Fitzwarren ; '' and I have no doubt you will use it generously." Whittington, however, was too kind-hearted to keej) all for himself; and, accordingly, made a handsome present to the captain, the mate, and every one of the ship's company, and afterwards to his excellent friend the footman, and the rest of Mr. Fitzwarren's servants, not even excepting crabbed old Cicely. After this, Mr. Fitzwarren advised him to send for tradespeople, and get himself dressed as became a gentleman ; and made him the offer of his house to live in, till he could provide himself with a better. When Mr. Whittington 's face was washed, his hair curled, his hat cocked, and he was dressed in a fashion- able suit of clothes, he appeared as handsome and genteel as any young man who visited at Mr. Fitz- warren's ; so that Miss Alice, who had formerly thought of him with compassion, now considered him as fit to be her lover ; and the more so, no doubt, because Mr. Whittington was constantly thinking what he could do to oblige her, and making her the prettiest presents imaginable. CHILDHKN'S ST()Hli:S. ii.",y Mr. FitzwaiTon, privtivino- tlieir aff'oction for eacli other, ])roposed to imitc tliein in marriaoe, to which, without difficulty, they each consented ; and accordin^ily a day for tlie weddini>- was soon fixed, and they were attended to churcli by the lord mayor, the com-t of aldermen, the sheriffs, and a _<;reat number of the w ealthiest merchants in London ; and the ceremony was succeeded by a most ele<ijant entertainment and s])lendid ball. History tells us that the said Mr. Whittin<rton and his lady lived in great splendour, and were very happy ; that they had several children ; that he was sheriff of London in the year 1 340, and several times afterwards Lord Mayor ; that in the last year of his mayoralty he entertained King- Henry the Fifth, on his return from the battle of Agincourt. And some time afterwards, going with an address from tlie city on one of His Majesty's victories, he received the honour of knight- hood. Sir Richard Whittington constantly fed great num- bers of the poor ; he built a church and college to it, with a yearly allowance to poor scholars_, and near it erected an hospital. The effigy of Sir Richard Whittington was to be seen, with his cat in his arms, carved in stone, over the archway of the late prison of Newgate, that went across Newgate Street. BEAUTY AND THE BEAST. A few centuries ago lived a very wealthy merchant, who had three sons and three daughters. The educa- tion he gave them was of the most superior kind. The 260 CHILDREN'S STORIES. "•iris were all handsome ; but the youngest was styled the Little Beauty, and hence she was, when grown up, called by the name of Beauti/, which made her sisters jealous,— who were proud of their riches, kept only the grandest company, and laughed at their youngest sister, whose study was to improve her mind. They would only marry to a duke or an earl, while Beauty declined every offer, thinking herself too young to be removed from her father's house. All at once the merchant lost his whole fortune^ excepting a small country house at a great distance from town, and told his children, with tears in his eyes, they must go there and work for their living. The two eldest answered that they had lovers, who, they were sure, would be glad to have them, though they had no fortune ; but in this they were mistaken, for their lovers slighted and forsook them in their- poverty. As they were not beloved, on account of their pride, everybody said, " They do not deserve to be ]Htied ; we are glad to see their pride humbled ; let them go and give themselves quality airs in milking the cows and minding the dairy. But," added they, " we are extremely concerned for Beauty ; she was such a charming, sweet-tempered creature, spoke so kindly to poor people, and was of such an affable, obliging dis- position." Nay, several gentlemen would have married her, though they knew she had not a penny, but she told them she could not think of leaving her poor father in his misfortunes, but was determined to go along with him into the country to comfort and attend him. Poor Beauty at first was sadly grieved at the loss of her fortune ; " But," said she to herself, " were I to cry ever so much, as that would not make things better, I must try to make myself happy without a fortune." CHIM)HI-;\'S S'I'ORII.S. '■261 When they came to their eountry house, tlic iiuicli.int and his three sons aj)phe(l themselves to luishandn and tillage, and Beauty rose at four in the moi-ninii', and made haste to have the house clean, and l)reakl"ast ready for the family. In the l)e<j;innin<>; she found it very diffieult, for she had not heen used to work as a serv^ant, but in less than two montlis she <>rew stron<>(r and healthier than ever. After she had done her work, she read, ])]ayed on the harpsie[iord, or else san<;- whilst she spun. On the contrary, her two sisters did not know how to s])end their time ; they got u]) at ten, and did nothing but saunter about the whole time, lament- ing the loss of their tine clothes and acquaintance. '■' Do but see our younger sister," said one to the other, '' what a })oor, stu}nd, mean-spirited creature she is, to be contented with such an unhappy situation." The good merchant w^as of quite a different opinion ; he knew very well that Beauty outshone her sisters in her })erson as well as her mind, and admired her humility, industry, and patience, for her sisters not only left her all the work of the house to do, but insulted her every moment. The family had lived about a year in this retirement, when the merchant received a letter with an account that a vessel, on board of which he had effects, had safely arrived. This news had liked to have turned the heads of the tw^o eldest daughters, who immediately flattered themselves with the hope of returning to town, for they were quite weary of a coinitrv life, and when they saw their father ready to set out, they begged of him to buy them new gowns, caps, rings, and all manner of trifles ; but Beauty asked for nothing, for she thought to herself that all the money her father was 262 CHILDREN'S STORIES. going to receive would scarce be sufficient to purchase everything her sisters wanted. " What will you have, Beauty ? " said her father. " Since you are so good as to think of me/' answered Beauty, " be so kind as to bring me a rose ; for as none grow hereabouts, they are a kind of rarity." Not that Beauty cared for a rose, but she asked for something lest she should seem by her example to con- demn her sisters' conduct, who would have said she did it only to look particular. The good man went on his journey ; but when he arrived there they went to law with him about the merchandise, and after a great deal of trouble and pains to no purpose, he came back as poor as before. He was within thirty miles of his own house, think- ing of the pleasure he should have in seeing his children again, when, going through a large forest, he lost himself It rained and snowed terribly ; besides, the wind was so high that it threw him twice off his horse ; and night coming on, he began to apprehend being either starved to death with cold and hunger, or else devoured by the wolves, whom he heard howling all around him, when, on a sudden, looking through a long walk of trees, he saw a light at some distance, and going on a little farther, perceived it came from a palace illuminated from top to bottom. The merchant returned God thanks for this happy discovery, and hastened to the palace, but was greatly surprised at not meeting with any one in the out-courts. His horse followed him, and seeing a large stable open went in, and finding both hay and oats, the poor beast, who was almost famished, fell to eating very heartily. The merchant tied him up to the manger and walked towards the house, where he saw no one ; but entering CHILDRKXS STOIUKS. 2f).S into a larof hall he toimd a ^ood fire, and a table plentifully set out, but with one cover laid. As he was (juite wet through with the rain and the snow, he drew near the fire to dry himself. " I hoj)e," said he, " the master of the house, or his servants, will excuse the liberty I take. I suppose it will not be long before some of them api)ear." He waited a considerable time, till it struck eleven o'clock^ and still nobody came; at last he was so hungry that he could stay no longer, but took a chicken and ate it in two mouthfuls, trembling all the while. After this he drank a few glasses of wine, and growing more courageous, he went out of the hall, and crossed through several grand apartments, with magni- ficent furniture, till he came into a chamber, which had an exceeding good bed in it, and, as he was very nuich fatigued, and it w^as past midnight, he concluded it was best to shut the door and go to bed. It was ten the next morning before the merchant w^aked, and as he was going to rise, he was astonished to see a good suit of clothes in the room of his own, which were quite spoiled. " Certainly," said he, " this i)alace belongs to some kind fairy, who has seen and pitied my distresses." He looked through a window, but instead of snow, saw the most delightful arbours, interwoven with the most beautiful flowers that ever w^ere beheld. He then re- turned to the great hall, where he had supped the night before, and found some chocolate ready made on a little table. " Thank you, good Madam Fairy," said he aloud, " for being so careful as to provide me a breakfast. I am extremely obliged to you for all your favours." The good man drank his chocolate, and then went to look for his horse ; but passing through an arbour of roses, he remembered Beauty's request to him, and t>64 CHILDREN'S STORIES. gathered a branch on wliicli were several ; mimediately lie heard a great noise, and saw such a frightful beast coming towards him that he was ready to faint away. " You are very ungrateful," said the Beast to him in a terrible voice. " I have saved your life by receiving vou into my castle, and in return you steal my roses, which I value beyond anything in the universe ; but 3'ou shall die for it. I give you but a quarter of an hour to prepare yourself, and to say your prayers." The merchant fell on his knees, and lifted up both his hands. " My Lord," said he, " I beseech you to forgive me; indeed, I had no intention to offend in gathering a rose for one of my daughters, who desired me to bring her one." "My name is not My Lord," replied the monster, '' but Beast. I don't like compliments, not I ; I like people to speak as they think ; and so do not imagine I am to be moved by any of your flattering speeches. But you say you have got daughters. I will forgive you, on condition that one of them come willingly and suffer for you. Let me have no words, but go about vour business, and swear that, if your daughters refuse to die in your stead, you will return within three months." The merchant had no mind to sacrifice his daughters to the ugly monster, but he thought, in obtaining this respite, he should have the satisfaction of seeing them once more ; so he promised upon oath he would return, and the Beast told him he might set out when he pleased. " But," added he, " you shall not depart empty handed. Go back to the room where you lay, and you will see a great empty chest ; fill it with what- ever you like best, and I will send it to your home," iind at the same time the Beast withdrew. CHILDHFA'S STORIKS. 26.5 "Well/' said the i^ood man to hiinsclt', • it' I must die I shall have the comfort, at least, of leaviii"- sometiiiiii;- to my poor children. " He returned to the bed-chamber, and finding a quantity of broad ])ieces of gold, he filled the <;reat chest the Beast had mentioned, locked it, and after- wards took his horse out of the stable, leavino- the palace with as much grief as he had entered it with jov. The horse, of his own accord, took one of the roads of the forest, and in a few hours the good man was at home. His children came around him, but instead of receiving their embraces with ])leasure, he looked on them, and holding uj) the branch he had in his hands, he burst into tears. "Here, Beauty/' said he, "take those roses; but little do you think how dear they are likely to cost your unhappy father." He then related his fatal adventure. Immediately the two eldest set up lamentable outcries, and in a reproachful and malignant tone said all manner of ill- natured tilings to Beauty, who did not cry at all. " Do but see the })ride of the little wretch," said they. " She would not ask for fine clothes, as we did ; but no, truly. Miss wanted to distinguish herself; so now she will be the death of our })oor father, and yet she does not so much as shed a tear." "Why should I f " answered Beauty ; "it would be very needless, for my father shall not suffer upon my account. Since the monster will accept of one of his daughters, I will deliver myself up to all his fury, and I am very hajipy in thinking that my death will sa\ e my father's life, and be a proof of my tender love for him." t8 266 CHILDREN'S STORIES. '^''No^ sister," said her three brothers, "that shall not be ; we will go and find the monster, and either kill him or perish in the attempt." '^'^Do not imagine any such thing, my sons," said the merchant ; " Beast's ])ower is so great that I have no hopes of your overcoming him. I am charmed with Beauty's kind and generous offer, but I cannot yield to it. I am old, and have not long to live, so can only lose a few years, which I regret for your sakes, my poor children." "Indeed, father," said Beauty, "you shall not go to the palace without me ; you camiot hinder me from following you." It was to no purpose all they could say, Beauty still insisted on setting out for the fine palace ; and her sisters were delighted at it, for her virtue and amiable qualities made them envious and jealous. The merchant was so afflicted at the thought of losing his daughter, that he had quite forgot the chest full of gold ; but at night, when he retired to rest, no sooner had he shut his chamber door, than to his great astonishment, he found it by his bedside. He was determined, however, not to tell his children that he was grown rich, because they would have wanted to return to town, and he w^as resolved not to leave the country ; but he trusted Beauty with the secret, who informed him that two gentleman came in his absence and courted her sisters. She begged her father to consent to their marriage, and give them fortunes : for she was so good that she loved them, and forgave them heartily for all their ill-usage. These wicked creatures rubbed their eyes with an onion to force some tears when they parted with their sister, but her brothers were really concerned. Beauty was the only one who CHILDREN'S STOKIKS. t>()7 did not shed tears at partino-, l)eeaiise she would not increase tlieir uneasiness. The horse took the direct road to the palace, and towards evening they perceived it, illuminated as at first. The horse went of himself into the stable, and the good man and his daughter came into the great hall, where they found a table splendidly served up, and two covers. The merchant had no heart to eat, but Beauty endeavoured to a})})ear cheerful, sat down to table, and helped him. Afterwards, thought she to herself, " Beast surely has a mind to fatten me before he eats me, since he provides such a plentiful entertain- ment." When they had supped, they heard a great noise, and the merchant, in tears, bid his poor child farewell, for he thought Beast was coming. Beauty was sadly terrified at his horrid form, but she took courage as well as she could, and the monster having asked her if she came willingly, " Y-e-s," said she, tremblingly. " You are very good, and I am greatly obliged to you. Honest man, go your ways to-morrow morning, but never think of returning here again. Farewell, Beauty." " Fare w ell. Beast," answ^ered she sighing, and im- mediately the monster withdrew. " O, daughter," said the merchant, embracing Beauty, '^ I am almost frightened to death ; believe me, you had better go back, and let me stay here." "No, father," said Beauty, in a resolute tone ; '^you shall set out to-morrow morning, and leave me to the care and protection of Providence." They went to bed, and thought they should not close their eyes all night ; but scarce had they laid down than they fell fast asleep ; and Beauty dreamed a fine lady came and said to her, " I am content, Beautv, 268 CHILDREN'S STORIES. with your good will ; this good action of yours in giving up your own life to save your father's shall not o-o unrewarded." Beauty waked and told her father her dream, and though it helped to comfort him a little, yet he could not help crying bitterly when he took leave of his dear child from the uncertainty of again beholding her. As soon as he was gone, Beauty sat down in the great hall, and fell a-crying likewise ; but as she was mistress of a great deal of resolution, she recommended herself to God, and resolved not to be uneasy the little time she had to live, for she firmly believed Beast would eat her uj) that night. However, she thought she might as well walk about till then, and view this fine castle, which she could not help admiring. It was a delightful, pleasant place, and she was extremely surprised at seeing a door, over which was WTitten "Beauty's Apartment." She opened it hastily, and was quite dazzled with the magnificence that reigned throughout ; but what chiefly took up her attention w-as a large library, a harpsichord, and several music books. " Well," said she to herself, " I see they will not let my time hang heavily on my hands for want of amusement." Then she reflected, " Were I but to stay here a day, there would not have been all these preparations." This consideration in- spired her with fresh courage, and opening the library, she took a book and read these words in letters of gold :— " Welcome, Beauty ; banish fear, You are queen and mistress here ; Speak your wishes, speak your will, Swift obedience meets them still." "Alas," said she, Avith a sigh, "there is nothing I desire so much as to see my poor father, and to know CHILDREN'S STORIKS. 269 wliat hv is doin^." Slie had 110 sooner said this than, to her great amazement, she saw lier own home, where her father liad arrived with a very dejected counten- ance ; her sisters went to meet him, and, notwithstand- ing their endeavours to ajjpear sorrowful, their joy, felt for having got rid of their sister, was visible in every feature. A moment after, everything disappeared, with Beauty's a})prehensions at this j)roof of Beast's com- plaisance. At noon she found dinner ready, and while at table was entertained with an excellent concert of music, though without seeing anybody ; but at night, as she Avas going to sit down to supper, she heard the noise Beast made, and could not help being sadly terrified. '•^ Beauty," said the monster, "will you give me leave to see you sup ? " " That is as you please," answered Beauty, trembling. '•'No," replied the Beast; "you alone are mistress here ; you need only bid me begone, if my presence is troublesome, and I will immediately withdraw. Every- thing here is yours, and I should be very uneasy if you were not happy My heart is good, though I am a monster." "^•^ Among mankind," said Beauty, "there are many that deserve that name more than you, and I prefer you, just as you are, to those who, under a human form, hide a treacherous, corrupt, and ungrateful heart." Beauty ate a hearty supper, and had almost con- quered her dread of the monster ; but she had like to have fainted away when he said to her, " Beauty, will you be my wife ? '' It was some time before she durst answer, for she was afraid of making him angry if she re- O70 CHILDREN'S STORIES. fused. At last, however, she said, trembling, " No, Beast." Immediately the poor monster began to sigh, and howl so frightfully, that the whole palace echoed. But Beauty soon recovered her fright, for Beast, having said in a mournful voice, " Then farewell. Beauty," left the room, and only turned back now and then to look at her as he went out. When Beauty was alone, she felt a great deal of compassion for poor Beast. " Alas ! " said she, " 'tis a thousand pities anything so good-natured should be so ugly ! " Beauty spent three months very contentedly in the place. Every evening Beast paid her a visit, and talked to her during supper very rationally, with plain, good common-sense, but never with what the world calls wit ; and Beauty daily discovered some valuable qualifications in the monster, till seeing him often had so accustomed her to his deformity, that, far from dreading the time of his visit, she would often look on her watch to see when it would be nine, for the Beast never missed coming at that hour, There was but one thing that gave Beauty any concern, which was that every night, before she went to bed, the monster always asked her if she would be his wife. One day, she said to him, " Beast, you make me very unhappy. I wish I could consent to marry you ; but I am too sincere to make you believe that will ever happen. I shall always esteem you as a friend ; endeavour to be satisfied with this." " I must," said the Beast, " for alas ! I know too well my own misfortune ; but then I love you with the tenderest affection. However, I ought to think myself CHILDREN'S STORIES. 271 lia})])y that you will stay iu'iv. Promise nu- iicvi r to leave nie ? " Beauty blushed at these words. Slu' had seen in her glass that her father had pined himself sick for the loss of her^ and she longed to see him again. " I could/' answered she, " indeed })romise never to leave you entirely, but I have so great a desire to see my fether, that I shall fret to death if you refuse me that satisfaction . ' ' "I had rather die myself," said the monster, "than give you the least uneasiness. I will send you to your father ; you will remain with him, and poor Beast shall die of grief." " Xo," said Beauty, wee})ing, '' I love you too well to be the cause of your death. I give you my promise to return in a week, for I indeed feel a kind of liking for you. You have shown me that my sisters are married, and my brothers gone to the army ; only let me stay a week with my father, as he is alone." " You shall be there to-morrow morning," said the Beast ; " but remember your promise. You need only lay 3'our ring on the table before you go to bed, when you have a mind to come back. Farewell, Beauty.'' Beast sighed as usual, bidding her good-night ; and Beauty went to bed very sad at seeing him so afflicted. When she waked the next morning, she found herself at her father's, and having rung a little bell that was by her bed-side, she saw the maid come, who, the moment she saw her, gave a loud shriek, at which the good man ran upstairs, and thought he should have died with joy to see his dear daughter again. He held her fast locked in his arms above a quarter of an hour. As soon as the first transports were over, Beauty began to think of rising, and was afraid she had no clothes to j)ut on ; 272 CHILDREN'S STORIES. but the maid told her that she had just found, in the next room, a large trunk full of gowns, covered with gold and diamonds. Beauty thanked good Beast for his kind care, and taking one of the plainest of them, she intended to make a present of the others to her sisters. She scarcely had said so, when the trunk dis- appeared. Her father told her that Beast insisted on her keeping them herself, and immediately both gowns and trunk came back again. Beauty dressed herself ; and in the meantime they sent to her sisters, who hastened thither wdth their husbands. They were both of them very unhappy. The eldest had married a gentleman, extremely hand- some, indeed, but so fond of his own person that he neglected his wife. The second had married a man of wit, but he only made use of it to plague and torment every one. Beauty's sisters sickened with envy when they saw her dressed like a Princess, and look more beautiful than ever. They went down into the garden to vent their spleen, and agreed to persuade her to stay a week longer with them, which probably might so enrage the Beast as to make him devour her. After they had taken this resolution, they went up and behaved so affectionately to their sister that poor Beauty wept for joy, and, at their request, promised to stay seven nights longer. In the meantime, Beauty was unhappy. The tenth night she dreamed she was in the palace garden, and that she saw- Beast extended on the grass plot, who seemed just expiring, and, in a dying voice, reproached her with her ingratitude. Beauty started out of her sleep, and bursting into tears, reproached herself for her ingratitude, and her insensibility of his many kind and agreeable qualifications. Having said much on this, she CHILDRKN'S STOIUKS. 273 rose, })ut her riii"- on the tabh-, and lav down a<;ain. Seareely was she in bed before slie fell asleep ; and when she wakened next niornin<»-, she was overjoyed to find iierself in the Beast's \|)alaee. She put on one of her riehest suits to ])lease him, and waited for evening with the utmost impatienee ; at last the wished for hour came^ the eloek struek nine, yet no Beast appeared. After having- sought for him everywhere, she recollected her dream, and flew to the canal in the garden. There she found jwor Beast stretched out quite senseless, and, as she imagined, dead. She threw herself u})on him without any dread, and finding his heart beat still, she fetched some water from the canal, and poured it on his head. Beast opened his eyes, and said to Beauty, " You forgot your promise, and I was so afflicted at having lost you that I resolved to starve myself. But since I have the haj)})iness of seeing you once more, I die satisfied." "^ No, dear Beast," said Beauty, '^you must not die ; live to be my husband. From this moment I give you my hand, and swear to be none but yours." Beauty scarcely had j)ronounced these words, when the palace sparkled with lights and fireworks, instru- ments of music — everything seemed to portend some great event ; but nothing could fix her attention. She turned to her dear Beast, for whom she trembled with fear ; but how great was her surprise ! Beast had disappeared, and she saw at her feet one of the loveliest Princes that ever eye beheld, who returned her thanks for having put an end to the charm under which he had so long resembled a beast. Though this Prince was worthy of all her attention, she could not forbear asking where Beast was. 274 CHILDREN'S STORIES. " You see him at your feet," said the Prince ; " a wicked fairv had condemned me to remain under that shape till a beautiful virgin should consent to marry me. In offering you my crown, I can't discharge the obligations I have to you." Beauty, agreeably surprised, gave the charming Prince her hand to rise ; they went together into the castle, and Beauty was overjoyed to find, in the great hall, her father and his whole family, whom the beauti- ful lady, that appeared to her in her dream, had con- veyed thither. " Beauty," said this lady, " come and receive the reward of your judicious choice ; you are going to be a great Queen. I hope the throne will not lessen your virtue, nor make you forget yourself As for you, ladies," said the fairy to Beauty's two sisters, " I know your hearts and all the malice they contain. Become two statues : but under this transformation, still retain your reason. You shall stand before your sister's palace gate, and be it your punishment to behold her happiness." Immediately the fairy gave a stroke with her wand, and, in a moment, all that were in the hall were transported into the Prince's palace. His subjects re- ceived him with joy. He married Beauty, and lived with her many years ; and their happiness, as it was founded on virtue, was complete. THE SLEEPING BEAUTY. There was formerly, in a distant country, a king and (jueen, the most . beautiful and happy in the w^orld : having nothing but the want of children to participate in the pleasures they enjoyed. This was their w^hole CHILDRKN'S STOUIKS. 27.5 concern ; ])hy.siciHns, waters, xows, and offerings were tried, but all to no purpose. At last, however, the ([ueen proved with child, and in due time she was brought to bed of a dau>hter. At the christenin<^, the princess had seven fairies for her o:()d-ni()thers, who were all they could find in the whole kin<2;(loiu, that every one might give her a gift. The christening being over, a grand feast was })re- pared to entertain and thank the fairies. Before each of them was placed a magnificent cover, with a spoon, a knife, and a fork, of pure gold and excellent workman- ship, set with divers precious stones ; ])ut, as they were all sitting down at the table, they saw come into the hall a very old fairy, whom they had not invited, because it was near fifty ^ears since she had been out of a certain tower, and was thought to have been either dead or enchanted. The king ordered her a cover, but could not furnish her with a case of gold as the others had, because he had only seven made for the seven fairies. The old fairy, thinking she was slighted b}' not being treated in the same manner as the rest, murmured out some threats between her teeth. One of the young fairies who sat by her, overheard how she grumbled, and judging that she might give the little princess some unlucky gift, she went, as soon as she rose from the table, and hid herself behind the hangings, that she might speak last, and rejiair, as much as possibly she could, the evil which the old fairy might intend. In the meantime, all the fairies began to give their gifts to the princess in the following manner : — The youngest gave her a gift that she should be the most beautiful person in the world. 076 CHILDREN'S STORIES. Tlu' third, that she would have a wonderful grace in everything that she did. The fourth, that she would sing perfectly well. And the sixth, that she would play on all kinds of musical instruments to the utmost degree of per- fection. The old fairy's turn coming next, she advanced forward, and, with a shaking head which seemed to show more spite than age, she said, " That the princess would have her hands pierced with a spindle, and die of the wound." Tliis terrible gift made the whole company tremble, and every one of them fell a-crying. At this very instant, the young fairy came out from behind the curtains, and spoke these words aloud : — " Assure yourselves, O king and queen, that your daughter shall not die of this disaster. It is true I have not power to undo what my elder has done. The princess shall indeed pierce her hand with a spindle ; but instead of dying, she shall only fall into a profound sleep, which shall last a hundred years, at the expira- tion of which a king's son shall come, and awake her from it." The king, to avoid this misfortune told by the old splenetic and malicious fairy, caused immediately his royal ])roclamation to be issued forth, whereby every person was forbidden, upon pain of death, to spin with a distaff or spindle ; nay, even so much as to have a spindle in any of their houses. About fifteen or sixteen years after, the king and queen being gone to one of their houses of pleasure, the young princess hap})ened to divert herselt by going u]) and down the palace, when, going up from one aj)artment to another, she at length came into a little CHILDRFA'S STORIKS. 277 room at the top of tlu- tower, wlu-rc an old woinaii was sittino- all alone, and spiiniing with her spindle. This good woman had not heard of the king's pro- clamation against s])indles. " What are you doing there, (ioody ? " said the princess. " I am spinning, my ])retty child/' said the old woman, who did not know who she was. " Ha I " said the princess, " that is very j)retty ; how- do yon do it ? (iive it to me, that I may see if I can do so." The old woman, to satisfy the child's curiosity, granted her request. She had no sooner taken it into her hand, than, Avhether being very hasty at it and somewhat unhandy, or that the decree of the s})iteful fany had ordained it, is not to be certainly ascertained, but, however, it immediately ran into her hand, and she directly fell down upon the ground in a swoon. The good old woman, not knowing what to do in this affair, cried out for help. Peo})le came in from every quarter in great numbers. Some threw^ water upon the princess's face, unlaced her, struck her on the palms of her hands, and rubbed her temples with Hungary water ; but all they could do did not bring her to herself. The good fairy wdio had saved her life, by con- demning her to sleej) one hundred years, was in the. kingdom of Matakin, twelve thousand leagues off, w^ien this accident befel the princess ; but she was instantly informed of it by a little dwarf, who had boots of seven leagues : that is, boots with which he could tread over seven leagues of ground at one stride. The fairy left the kingdom immediately, and arrived at the palace in about an hour after, in a fiery chariot drawn by dragons. c,7S CHILDREN'S STORIES. The king- handed her out of the chariot, and she ajiproved of everything he had done : but, as she had a very great foresight, she thought that when the ])rincess should awake, she might not know what to do witli herself, being all alone in this old palace ; there- fore, she touched with her wand everything in the ])alace, except the king and queen, governesses, maids of honour, ladies of the bed-chamber, gentlemen, officers, stewards, cooks, under-cooks, scullions, guards, with their beef-eaters, pages, and footmen. She likewise touched all the horses that were in the stables, as well ])ads as others, the great dog in the outer court, and the little spaniel bitch which lay by her on the bed. Immediately on her touching them they all fell asleep, that they might not wake before their mistress, and that they might be ready to wait ujion her when she wanted them. The very spits at the fire, as full as they could be of partridges and pheasants, and every- thing in the place, whether animate or inanimate, fell asleep also. All this was done in a moment, for fairies are not long in doing their business. And now the king and queen, having kissed their child without waking her, went out of the palace, and })ut forth a proclamation that nobody should come near it. This, however, was unnecessary, for in less than a quarter of an hour there got up all around the park such a vast number of trees, great and small bushes, and brambles, twined one within the other, that neither man nor beast could pass through, so that nothing could be seen but the very tops of the towers of the })alace, and not that even, unless it w^as a good way off. Nobody doubted but the fairy gave therein a very extraordinary sample of her art, that the princess. CHILDREN'S ST()ini:S. 279 while she remained slet'j)iii<;-, ini<;hl lia\c ii()lhin«^- to fear from any eurious \|)e()j)U'. Wlien a liundred years had oont- and \|)ast, the son of a king then reigning, and who was of another faniilv from tliat of the slee])ing j)rineess, being out a-hunting on that side of the eountry, asked wliat these towers were whieh lie saw in tlie midst of a great thick wood. Every one answered according as they had lieard ; some said it was an okl ruinous castle, haunted by spirits ; others, that all the sorcerers and witches kept their Sabbath, or weekly meeting, in that place. The most common opinion was that an ogre lived there^ and that he carried thither all the little children he could catch, that he might eat them up at his leisure, without anybody being able to follow him, as having himself only power to pass through the wood. The prince was at a stand, not knowing what to believe, when an aged man spoke to him thus : — " May it please your highness, it is about fifty years since I heard from my father, who heard my grand- father say that there was then in this castle a princess, the most beautiful that was ever seen, that she must sleep there for a hundred years^ and would be wakened by a king's son, for whom she was reserved." The young prince was all on fire at these words, believing, without considering the matter, that he could put an end to this rare adventure, and, })ushed on by love and honour, resolved that moment to look into it. Scarce had he advanced towards the wood, when all the great trees, the bushes, and brambles, gave way of their own accord^ and let him pass through. He Avent up to the castle, which he saw at the end of a large oso CHILDREN'S STORIES. avenue, wliich he went into ; and what not a Uttle surprised him was he saw none of his people could follow him, because the trees closed again as soon as he passed through them. However, he did not cease from valiantly continuing his wav. He came into a spacious outward court, where everything he saw might have frozen up the most hardy person with horror. There reigned all over a most frightful silence ; the image of death everywhere showed itself, and there was nothing to be seen but stretch ed-out bodies of men and animals, all seeming to be dead. He, however, very well knew, by the rosy faces and the pimpled noses of the beef-eaters, that they were only asleep ; and their goblets, wherein still remained some few drops of wine, plainly showing that they all liad fallen asleep in their cups. He then, crossing a court paved with marble, went u])stairs, and came into the guard-chamber, where the guards were standing in their ranks, with their muskets upon their shoulders, and snoring as loud as they could. After that, he went through several rooms full of gentlemen and ladies all asleep, some standing, and others sitting. At last he came into a chamber all gilt with gold ; liere he saw upon a bed, the curtains of which were all open, the finest sight that ever he beheld — a princess, who a})peared to be about fifteen or sixteen years of age, and whose resplendent beauty had in it something divine. He approached w^ith trembling and admiration, and fell down before her on his knees. And now the enchantment was at an end ; the princess awaked, and looked on him with eyes more tender than the first view might seem to admit of. CHILDRKN'S STOIUKS. 'JSI "Is it vt)U, inv ))riiK-c' ? " she said to liini ; ' \<)ii lia\ :^" waited a Ion"" time." The ])riiu-e, cliarnu'd with these words, and iiiiieh more with the manner in which the\ NNcre spoken, assured her that he loved her better tlian himself". Their discourse was so well conducted that they did wee]) more than talk : there was very little ehxjuence, but a great deal of love. He was more at a loss than she was, and no wonder, as she had time to think on w^hat to say to him ; for it is very probable, though the history mentions nothing of it, that the good fairy, during so long a slee}), had given her agreeable dreams. In short, they talked four hours together, and yet said not half of w hat they had got to say. In the meantime, all in the palace awaked, every one thinking on his particular business ; and as all of them were not in love, they were ready to die with hunger. The chief lady of honour, being as sharp set as the others, grew very impatient, and told the ])rincess aloud that the su])per was served up. The prince helped the ])rincess to rise, she being entirely dressed, and very magnificent, though his royal highness did not forget to tell her that she was dressed like his grandmother, and had a ]K)int-band })eeping over a high collar ; but, however, she looked no less beautiful and charming for all that. They went into the great hall of looking glasses, where they supped, and were served by the officers of the princess ; the violins and hautboys played all old tunes, but very excellent, though it was now about a hundred years since they had lived. And after su})per without any loss of time, the lord almoner married them in the chapel of the castle, and the chief lady of honour drew the curtains. 19 282 CHILDREN'S STORIES. They liad but very little sleep that night, the princess had no occasion ; and the prince left her the next morning to return into the city^ where his father had been in great pain anxious for his return. The prince told him he had lost his way in the forest as he was hunting, and had lain at the cottage of a collier, who had given him some brown bread and cheese. % The king, his father, who was a very good man, readily believed him ; but his mother, the queen, could not be persuaded that this was altogether true ; and seeing that he went almost every day a-hunting, and that he had always found some excuse for so doing, though he had lain out three or four nights together, she began to suspect (and very justly too) his having some little private amour, which he then endeavoured that she should remain ignorant of. Now these frequent excursions, which he then made from the palace, were the times that he retired to the princess, with whom he lived in this manner for about two years, and by whom he had two fine children, the eldest of whom was a girl, whom they named Morning, and the youngest a boy, whom they named Day, because he was a great deal handsomer and much more beautiful and comely than the sister. The queen's jealousy increasing, she several times spoke to her son, desiring him to inform her after what manner he spent his time, alleging that, as he saw her so very uneasy, he ought in duty to satisfy her. But he never dared to trust her with his secret, for she was of the race of ogres, and the kins^ would certainly not have married her had it not been for her vast riches. CHILDRKX'S STORIKS. 2H'A It was whispered anumo- tin- court that shi- liad an ogrish inclination, and that whenever she saw any little children goino- by, she had all the difficulty in the world to retrain from falling uj)()n them ; so the j)rinee would never tell her one word. But when the king was dead, whieli haj)\|)eiR'd about two years afterwards, and he saw himself lord and ni^ttar, he then openly declared his marriage, and went in great ceremony to conduct his queen to the palace. They made a very magnificent entry into the city, with their two children beside them. Some time after, the king went to make war witli the Kmperor Cantalabute, his neighbour. He left the government of the kingdom to the queen, his mother, and earnestly recommended to her the care of his wife and children . As soon as he was departed, the queen sent for her daughter-in-law to come to her, and then sent her to a country house among the woods, that she might with more ease and secrecy gratify her inclinations. Some days after she went to this country house herself, and calling for the clerk of the kitchen, she said to him, " I have a mind to eat little Morning for my dinner to-morrow." " Ah, madam," cried the clerk of the kitchen in a very great surprise. " No excuse," replied she, interrupting him ; "• I Mill have it so," — and this she spoke in the tone of an ogress, seeming to have a strong desire to taste fresh meat. ''' And to make the dish more delicious," added she, " I will eat her with sauce made of Robert." This poor man, knowing very well how dangerous it was to play tricks with ogresses, took his great knife and went up into little Morning's chamber. She was iicSi CHILDREN'S STORIES. then four vears old, and came up to him leaping and lauohinir, to take him about the neck, and asked him fbr'^some sugar-candy, on which he began to weep, and tlu> knife fell out of his hand ; and he went into the back yard and killed a lamb, which he dressed with such good sauce that his mistress assured him she had never eaten anything so good in all her life. He had at the same time taken up little Morning, and carried her to his wife, in order that she might be concealed in a lodging which he had at the bottom of the courtyard. The queen's lascivious appetite (according to her own ajiprehensions) being once humoured, she again began to long for another dainty bit. Accordingly, a few days after, she called for the clerk of the kitchen, and told him that she intended that night to sup out of little Day. He answered never a word, being resolved to cheat her as he had done before. He went to find little Day, and saw him with a foil in his hand, with which he was fencing with a monkey, the child being but three years old. He took him up in his arms and carried him to his wife, that she might conceal him in her chamber, along with his sister ; and, in the room of little Day, cooked up a young kid very tender, which the ogress praised as much as the former, saying it was Avonderfully good. All hitherto was mighty well ; but a few evenings after this craving, the ogress said to the clerk of the kitchen, " I will also eat the young queen with the same sauce that I had with the children." Now was the critical time, for the poor clerk de- spaired of being able to deceive her. The young queen was turned of twenty years of age^ not counting the hundred years she had been asleep. CHiLDin'A's s'i"()i{ii:s. ^2s:. Thou<>ii luT skin was souR-what t<)U«;li, vet she was fair and beautiful : and how to find a beast in tlic vard so firm that he might kill and eook to appease her eanine appetite, was what puzzled him greatly, and made him totally at a loss what to do. He then took a resolution that he must save his own life, and eut the queen's throat ; and going into lur ehamber with an intent to do it at onee, he ])ut himself into as great a fury as he eould, went into the queen's room with his dagger in his hand. However, his humanity would not allow him to surj^rise her ; but he told her, with a great deal of respect, the orders he had received from the queen her mother. " Do it," said she, stretching out her neck ; "■ execute your orders, and I shall go and see my children, whom I so dearly love." For she thought them dead ever since they had been taken from her. '' No, fair princess ! " cried the humane clerk of the kitchen, all in tears ; " you shall see your children again. But then you shall go with me to my lodgings, where I have concealed them : and I shall deceive the queen once more by giving her another young kid in your stead." Upon this he forthwith conducted her to her chamber, where he left her to embrace her children, and cry aloud with them ; and he then went and dressed a young kid, which the queen had for suj)})er, and de- voured it with the same appetite as though it had been the young queen. Now was she exceedingly delighted with this un- heard of cruelty ; and she had invented a story to tell the king at his return how the mad wolves had eaten up the queen, his wife, with her two children. OH6 CHILDREN'S STORIES. One evening some time after, as she was, according to her usual custom, rambUng about the court and yards of the palace to see if she could smell any fresh meat, she heard, in a ground room, little Day crying, for his mother was going to whip him because he had been guilty of some fault^ and she heard at the same time little Morning soliciting pardon for her brother. The ogress presently knew the voice of the queen and her children, and being quite in a rage to think she had been thus deceived, she commanded the next morn- ino-, by break of day, in a most terrible voice, whicli made every one tremble, that they should bring into the middle of the court a very large tub, which she caused to be filled with toads, vipers, snakes, and all sorts of serpents, in order to throw into it the queen and her children, the clerk of the kitchen, his wife and maid : all of whom she had given orders to have brought thither, with their hands tied behind them, to suffer the vengeance of the incensed ogress. They were brought out accordingly, and the execu- tioners were going to throw them into the tub, when the king fortunately entered the court in his carriage, and asked with the utmost astonishment, what was meant by this horrid spectacle, no one daring to tell him. When the ogress saw what had happened, she fell into a violent passion, and threw herself head fore- most into the tub, and was instantly devoured by the ugly creatures she had ordered to be thrown into it by others. The king could not but grieve, being very sorry, for she was his mother ; but he soon comforted him- self with his beautiful wife, and his two pretty children. CHILDRKNS STOKII-.S. tis? And after all tliiii<>,s wvvv scttU-d, he well rewarded the clerk of the kiteiieii for his wisdom. Iiimiaiiit\ . and compassion. THE END. PRINTED BY ALEXANDER GARDNER, PAISLEY ALEXANDER GARDNER, PublisDer and Bookseller Special ilppoitititieiit CO l>er late majesip Queen Victoria. Children's Rhymes, Games, Songs, and Stories. By Robkrt Ford. Crown 8vo. Price 3s. 6d. neit. " If there is any more entertaining book for juveniles who ' want to know ' than Mr. Robert Ford's Childteiis Rhyvus. Children's Games. ChiUrens Songs, Childr€7i's Stories, we have not yet made its acquaintance. 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ALEXANDER GARDNER, PAISLEY. Practical First Aid. By William RoBER'isoN, M.D., D.P.H., Lecturer to the St. Andrew and St. John Ambulance Associations. 40 lUu^^trations. 'I'hird Edition, is. 6d. nett. The Flywheel : and What Keeps Us Steady. By the Rev. Peter Anton, author of " Masters in History," ftc. Crown 8vo. Cloth. With Portrait. 260 pages. Price 3s. 6d. net. Thoughts for Book Lovers. By Harry S. LuMSDEN. Fcap. 8vo. Ilhi^trated. Frontispiece 176 pp. 2s. nett. Pinkerton's Lives of the Scottish Saints. Revised and Enlarged by W. M. Metcalfe, D.D. Two Vols. Demy 8vo. Price 15s. per Volume. Very limited impression. Ancient Lives of the Scottish Saints. Translated bv W. M. Metcalfe, D.D. Detny 8vo. Price 15s; on AVhatman's Paper, 25s. Very limited impression. SS. Ninian and Machor — the Legends of, in the Scottish Dialect of the Fourteenth Century. Revised Text, with Introduction, Notes, Glossarial Index, and Appendices containing Translations of S. Ailred's Life of S. Niman and O'Donell's Account of S. Machor, by W. M. Metcalfe, D.D. Fery Limited Issue. [_In the Press. A Popular History of the Highlands and Gaelic Scotland from the Earliest Times till the Close of the Forty-Five. By Dugald Mitchell, M.D., J. P. Demy 8vo. Cloth extra, gilt top. 708 pages. With 3 Maps and Frontispiece. I2S. 6d. nett. "Dr. Mitchell has undoubtedly fulfilled his own ambition, and pro- duced the best and handiest history of the Highlands that has ever seen the light. . . . He is not given to wild theories. He repre- sents the Highlands and the Highlanders as they actually seem to him, not as he would like them to ^e.^'—Spectator. Life in Scotland a Hundred Years Ago. By Rev. James Murray, M.A., author of " Kihiiacolm : a Parish History." Crown 8vo. Cloth. 290 pages. 5s. nett. ALEXANDER GARDNER, PAISLEY. Complete, in Four Volumes. Extra Crown 8vo, Cloth extra, full oilt Celtic design on side, gilt top, Price IS. 6d. each, post free. With numerous Illustrations. Popular Tales of the West Higrhlands. Orally Collected, with a Translation By the late J. F. Campbell, Tslay. The Land o' Cakes and Brither Scots; or, Scotland and Things Scottish. By Rev. T. B. Johnstone, D.D. Demy Svo. Cloth. 286 pages. 6s. IN 4 VOLUMES. 500 PAGES EACH. The Editions are — 1. The Ordinary Edition, in Demy Octavo. £6, 4s. 2. The Same Edition, in Half-crimson Calf Extra. £^ 5s. 3. The Large Paper Edition, in Royal 8vo, Roxburgh Rinding. £(> 6s. The History of Civilisation in Scotland. By John Mackintosh, LL.D. '• The book has already taken a definite place as a monument of learning and patient patriotic industry."--G/asgfOM; Herald. Curious Episodes in Scottish History, By R. Scott Fittis. Crown 8vo. 330 pages. 6s. Post Fiee. Heroines of Scotland. By Robert Scott Fittis, Author of " Ecclesiastical Annals of Perth," etc. Crown Svo, cloth, 350 pages. Price 6s. The New Testament in Braid Scots. Rendered by Rev. William Wye Smith. Demy Svo. New Edition. Price 6s. nett. " One has only praise, and that of the heariiestj for the sense of patriotism and the religious devotion that prompted the book, and for the spiritual insight ot many oi the little notes and comments that are appended at the foot of its pages." — Scotsman. The History of Old Cumnock. By the Rev. John Warrick, M.A., Free Church, Old Cumnock. With a Map and 16 Illustrations. Small 4to, Cloth Extra. 382 pages. Price 7s. 6d. nett. ALEXANDER GARDNER, PAISLEY. ^ t$\ MAY 1 1945	i don't know
Mount Botrange at 694 metres, is the highest point of which European country?	Botrange Belgium , located in the High Fens High Fens ( Hautes Fagnes in French , Hoge Venen in Dutch , Hohes Venn in German), at 694 metres (2,277 ft). It is the top of a broad plateau and a road crosses the summit, passing an adjacent café . In 1923, the 6 m Baltia tower was built on the summit to allow visitors to reach an altitude of 700 m. A stone tower built in 1934 reaches 718 m. For several decades a meteorological station was installed at signal Botrange. Since 1999, it was replaced by an automatic station of the Royal Meteorological Institute of Belgium installed on Mount Rigi (scientific station of the High Fens - University of Liege), which is between the signal and the house Botrange Michel. Signal de Botrange Signal de Botrange experiences stronger winds than the centre of Belgium. Average and extreme temperatures are usually lower than at any other place in Belgium: the minimum temperature recorded (-25.6 °C) does not, however, exceed the absolute record (-30.1 °C), observed in the valley of the Lomme, at Rochefort during a temperature inversion. In winter, for three months, on average, the average temperature remains below 0 °C. Rainfall is much greater than most of the rest of the country, at an annual average of 1450 mm compared with 800 mm in Uccle Uccle . Rainfall is also much more common: there are over 200 days of precipitation per year (against just over 170 in Uccle). Maximum temperatures in summer rarely exceed 30 °C. The number of days of frost is over 130 days per year and the number of days of snowfall exceeds 35 days. The maximum thickness of snow was measured on 9 February 1953, at 115 cm of snow. Frost and early snowfall can occur in late September, but that is exceptional. Late snow may sometimes occur until mid-May. At the height of winter the site is used as the start of a number of cross-country skiing routes. REFERENCES * ^ A B "Signal de Botrange" on Peakbagger.com Retrieved 29 September 2011 * ^ Cross-country ski map of Botrange This Liège location article is a stub . You can help Wikipedia by expanding it . * v * t * e	Belgium
What name is shared by a crustacean and a goose of the genus Branta?	Hautes Fagnes Belgium Links Welcome to Hautes Fagnes The High Fens (French: Hautes Fagnes), which were declared a nature reserve in 1957, are an upland area, a plateau region in the province of Liège, in the east of Belgium and nearby parts of Germany, lying between the Ardennes and the Eifel highlands. It is the largest nature reserve or park in Belgium, with an area of 4,501.2 hectares (45 square kilometers). It lies within the German-Belgian natural park Hohes Venn-Eifel (700 square kilometers), in the Ardennes. Its highest point, at 694 meters above sea level, is the Signal de Botrange near Eupen, which is also the highest point in Belgium. A 6 meters tower was built here on the top that rises total height to 700 meters. The reserve is an ecologically rich endowment of Belgium covered with alpine sphagnum bogs both, on the plateau and in valley basin; the bogs, which are over 10,000 years old, with their unique subalpine flora, fauna and microclimate, are the keys to the conservation work of the park. On the right, the map of the region where the High Fens are located. The National Park In 1966, the European Council awarded the "Diploma of Conservation" to the High Fens, for their ecological value. The High Fens, established as a reserve in 1957, with their high relief and unique location, consist mainly of moorland, peat bogs, and low, grass- or wood- covered hills, moorland and forest. The provincial capital of Liège is to its west, the German border is to the east and the Ardennes dark forested hills encompass the southern part. The park stretches between Eupen in the north, Monschau in the east, Spa in the west and Malmedy in the south. The famous Spa water is coming from High Fens water reserves in marshes and moorlands. On the left, famous in the region Baraque Michel. This water leaks through the soil and mineral base creating in the village of Spa famous sources. Due to the composition of High Fens moorlands and marshes the Spa water posses one of the smallest amount of minerals in the world. Several rivers have their source in the High Fens: the Vesdre, Hoëgne, Warche, Gileppe, Eau Rouge, Amblève, Our, Kyll, and Rur. In winter all the water sources freeze into snow making the High Fens one of the best ski resorts in Belgium. During winter the swamps appear as if "wrapped in white fluffy snow shawl". The park stretches north of Melmedy up as afar as Eupen and marks the end of the Ardennes proper. It is contiguous with the Eifel hills, which stretch east from the German border to form the large Deutsch–Belgischer Naturpark. Signal de Botrange located in the Haute Fagnes is marked by a Telecom Tower erected over an older artificial, earthen mound with stone steps that was built to raise a small part of the broad plateau from 694–700 meters. Large urban centers in the vicinity of the reserve are Eupen, Verviers, Spa and Malmedy. Part of the High Fens reserve remains closed during the spring because of the breeding season of the endangered Black grouse (Tetrao tetrix, see the picture on the left). During the summer season there is risk of fire in the forest area. Boardwalks cover the bogs permitting access across these areas. Paths cover many areas in the park and there are sign posts to guide visitors through the park. The nature reserve of the High Fens is coordinated under the Nature Division and Forests of the Walloon Region. The reserve's climate, unlike other Belgian regions, is one of the wettest and coldest part of Belgium. It is frequently shrouded in mist and low clouds with a high level of rainfall. It experiences subalpine climate with strong winds and a fierce winter, which could turn subarctic. The plateau Fagnes obstructs the clouds from the prevailing Atlantic winds, which results in copious precipitation, an average of 1,400 millimeters of rain per year. However, below the fragile composition of the overlying soils, the basement is formed of rocky beds and clay that prevent infiltration of water and thus create conditions for wetlands, marshes and bogs. As the habitat consists of bogs, fire is a major hazard during the drought period, when Fens is closed except for a small fen area near Poleur. Triangular signs painted in red are fixed at the fire hazard locations. In April 2011, in a fire that broke out in the High Fens, 1,000 hectares of land were destroyed. Stated to be the biggest ever fire in the Fens, 300 fire fighters supported by a helicopter were involved in dousing and controlling the fires. To the right, part of High Fens that was under fire in 2011. Some climatique data The annual maximum and minimum rainfall recorded are 2,024 millimeters and 762 millimeters respectively, with maximum daily intensity of 156 millimeters on 7 October 1982 at the Signal de Botrange. The maximum snowfall recorded at Signal de Botrange was 115 centimeters (45 in) in 1953. The maximum number of frost days (when temperate remains below 0 °C) is reported to be 158 days and the minimum is 70 days. The lowest temperature recorded was −23.6 °C in 1942 and −25.2 °C was recorded in 1952 at Baraque-Michel. Winter Sports There are winter sports activities that are allowed in the High Fens in specified area and outside conserved area of the fens. These are skiing, bicycling and trekking. Cross-country skiing in the High Fens is permitted on specified forest tracks which are located in the outskirts or even outside the nature reserve. Hiking trails have been reorganized outside the parks reserved areas. The walk routes would be limited to undergrowth adjacent to nature reserve. Bicycle routes have been specified outside the nature reserve in nearby forests. On the right, the Centre Nature de Botrange, (650 meters a.s.l. and about 2 km from Signal de Botrange) nice place to be when temperatures are very negative. Above left, the highest point in Belgium extended to 700 meters by small tower with steps. Above right, Signal de Botrange. It is in fact an antenna building with electronique equipment inside and antenna on the top, probably on 725 meters. There is also restaurant constructed on the left side. This is the highest located restaurant in Belgium, 694 meters above the see level. Because sometimes the subalpine climate may change to subarctic conditions when taking adventure walks in the night through the park, this could be hazardous unless one is properly equipped for taking such a risk. Even during the day you may lose your way home. Very often the High Fens are misty, or heavy snow starts to fall and the visibility can drop to 10-20 meters. All trees will start looking the same and the path can vanish under new snow. Thus be careful and have with you the most necessary things for survival. On the left, there are few hikers which have lost their way. Luckily there is some skier who knows the local paths. Cross country skiing is the most popular sport that you can see on High Fens. During Saturdays and Sundays you can even rent the ski material on the parking of Signal de Botrange for about 10-12 euro per day. On the edge of High Fens there is also possibility to try Alpine skiing and snowbording. This place is located few kilometers from Signal de Botrange. The best way to go there is to drive to the village Surbrood and by the first petrol station take the road to Ovifant. There can be only small problem. There is not always enough snow to do Alpine skiing when at the same time can be enough snow for country skiing. There are very few places as the one shown to right and 11 milions of Belgian may want to ski this day. Country skiing is much more certain and snow conditions are much more reliable.	i don't know
Which city is Linked to the M4 by the M32?	M32 Bristol Parkway M32 Bristol Parkway The future road pattern proposed in the Bristol City Development plan prepared in accordance with the Town and Country Planning Act envisaged a "spiders web" of radial routes linked by four ring roads bounded in the north east by the M4 Motorway, the north west by the M5 Motorway and the Southwest by the Tideway of the River Avon. The M32, the Bristol Parkway, is the principal link between the National Motorways and the City network. The first stage of M32 (initially known as the Hambrook Spur), between M4 and the Bristol Outer Ring Road, was completed at the same time as the adjacent part of the M4 in September 1966. The second stage from Hambrook to Eastville Park was constructed as joint County of Gloucestershire and City of Bristol Principal Road with a 75% grant from the Ministry of Transport. The third stage from Muller Road, Eastville to Ashley Road/ Newfoundland Road which completed the Motorway part of the Parkway was opened to traffic in May 1975 also as principal road motorway. The design of the part of stage 2 in Gloucestershire was prepared by the County Surveyor and the part in the City of Bristol by Freeman Fox and Partners. Sir Robert McAlpine were awarded the contract for the complete length of the second stage and construction commenced in June 1968. This section was opened to traffic by the Rt. Hon. John Peyton, Minister of Transport in July 1970. The first two and a half miles of stage 2 in the more rural landscape is a dual two lane rural motorway aligned for 70 miles per hour standards. On entry to the urban area near Eastville the road is elevated and the standards change to urban 50 mph standards with a reduced overall width. The final section of the Motorway which joins the Bristol Outer Circuit Road at Ashley Road which was built by Reed and Malik was through a densely built up area of housing which necessitated extensive rehousing of residents. During the construction the work was delayed by the three day week and also by a building workers national strike. This section although initiated by the City was affected by Local Government Reorganisation when responsibility was transferred to the new County of Avon in 1974. Cost information: the second stage was stated at the opening to be estimated as £3,000,000 and the third stage was reported in March 1976 to be a final cost of £10,400,000. Main Menu	Bristol
In September 2001, who had a UK number one single with Mambo number 5?	M32 motorway - Wikishire M32 motorway Jump to: navigation , search Looking north through a green corridor between junctions 1 and 2, during peak northbound (leaving city) traffic The southern end of the motorway at junction 3, where it becomes the A4032 Stoke Park, Stoke Gifford, viewed in 2011 from the south, as visible from the northbound carriageway of the M32 motorway which now cuts across the former parkland. Rebuilt in 1750 by Norborne Berkeley, 4th Baron Botetourt, it is now known as The Dower House and is split into private apartments. The M32 motorway seen from Stoke Park, with Duchess Pond in the foreground, (2014) The M32 is a short motorway in Gloucestershire providing a fast link from Bristol to the M4 and forming part of the Bristol Parkway. At about 4.6 miles, it is one of Britain's shortest motorways. Most of the road is dual two lanes, though there is a climbing lane for 440 yards north of Junction 2, and the short section between Junction 1 and the M4 has dual three lanes. Because of this, the motorway suffers daily rush hour congestion, which is worsened during school holidays and in the summer months. Contents 6 Outside links Route The northern end of the M32 starts at Junction 19 of the M4, near Winterbourne Down . This junction was originally a grade-separated roundabout junction, but was modified in such a way that made traffic joining the M4 need no longer give way at the roundabout, therefore increasing the freeflow of the junction slightly. However any M4 traffic wishing to U-turn must now do so at Junction 1 of the M32. The road then runs south between Filton in the west and Frenchay in the east. After meeting the A4174 at Junction 1, it passes to the east of Horfield, Lockleaze and Easton. Junction 2 is located next to Eastville Park, and meets the B4469 providing access to Horfield. Midway through the junction a 60 mph speed limit begins. The motorway continues further south and terminates through Junction 3 north of St Paul's. The road continues as the A4032 into the centre of Bristol with a much lower speed limit of 30 mph. History Originally called Hambrook Spur (from the M4 to Bristol), or the Bristol Parkway, [1] the motorway was constructed between 1966 and 1975 [2] and opened to traffic in stages: M4 Junction 19 to Junction 1 opened in 1966. Junctions 1 to 2 opened in 1970. Junctions 2 to 3 opened in 1975. It was originally planned to be a key radial link through to the hub of a network of radial and ring roads within a rectangle encompassing Bristol. Of this three convenient sides were the M4 (north-eastern side), the M5 (north-western side) and the tidal reaches of the River Avon (south-western side), [3] the south-eastern side not being defined by landmarks. Recent developments Bus lane A bus lane was constructed in 2008 on the southbound carriageway of the A4032, Newfoundland Way, the short road which links the end of the M32 at Junction 3 with the Cabot Circus development. The lane starts just south of Junction 3, at an offside merge, and runs for 370 yards, adjacent to the central reservation. It becomes a general running lane for its final 165 yards to a signal-controlled junction, which is part of the new road layout for Cabot Circus. The hard shoulder and the remaining width of carriageway were rebuilt as two narrowed running lanes for general traffic, and a lower 30 mph speed limit was imposed on both southbound and northbound carriageways of this section. [4] Junctions	i don't know
In which city did the 2014 Giro D’Italia cycle race begin?	Giro d'Italia Big Start 2014 Giro Big Start Stage 1 Friday May 9 17:30-20:00, Team Time Trial, Belfast-Belfast Finish at City Hall Stage 1 Hospitality Robinson & Cleaver with unique terrace overlooking Stage 1 Finish Line 16:30-21:00 £345 per person, limited availibility Spend the day with Giro Champion Stephen Roche and other cycling legends. Early admission to the "Giro Terrace" Exceptional four course Italian dinner and world class Northern Ireland cuisine Beverages including official Giro d'Italia Astoria Prosecco and fine Italian wines Flat screen televisions with live coverage of Stage 1 Watch Stage Finish live from the "Giro Terrace" overlooking the Finish Line Giro Big Start Gift Bag Robinson & Cleaver will remain open after the Teams Presentation with entertainment and Giro buzz and personalities present. Giro Big Start Stage 2 Saturday May 10 Belfast-Belfast Finish at City Hall Early start, stage scheduled to finish approximately at 16:30 Stage 2 Hospitality Robinson & Cleaver with unique terrace overlooking Stage 2 Finish Line 14:30–19:00 £345 per person, limited availibility Spend the day with Giro Champion Stephen Roche and other cycling legends. Early admission to the "Giro Terrace" Exceptional four course Italian dinner and world class Northern Ireland cuisine Beverages including official Giro d'Italia Astoria Prosecco and fine Italian wines Flat screen televisions with live coverage of Stage 2 Watch Stage Finish live from the "Giro Terrace" overlooking the Finish Line Giro Big Start Gift Bag Robinson & Cleaver will remain open after the Teams Presentation with entertainment and Giro buzz and personalities present. Giro Big Start Stage 3 Sunday May 11 Armagh-Dublin Finish on Upper Merrion Street, Dublin Stage scheduled to finish approximately at 16:30 Stage 3 Hospitality The Merrion Hotel, in the luxurious Wellesley, Fitzgerald and Pembroke rooms, with Georgian windows overlooking the Dublin Finish Line 14:30-19:00 €360 per person, limited availibility Spend the afternoon with Giro Champion Stephen Roche and other cycling legends Early admission to the "Giro Rooms" Exceptional four course dinner combining Italian and Irish cuisine Beverages including official Giro d'Italia Astoria Prosecco and fine Italian wines Flat screen televisions with live coverage of Stage 3 Watch stage finish live from the "Giro Zone" at the Finish Line Giro Big Start Gift Bag	Belfast
The Little (Tetrax Tetrax) and Great (Otis Tarda) are which birds?	Giro d'Italia 2014 NI route unveiled - BBC News BBC News Giro d'Italia 2014 NI route unveiled By Kevin Magee BBC NI News 1 October 2013 Read more about sharing. Close share panel Image caption Day one will see cyclists start at Titanic Belfast before passing Stormont and finishing at Belfast City Hall Image caption Day two will see cyclists on a tour of the north Antrim coast before returning to Belfast after cycling 218 km Image caption The third day will see the cyclists make their way to Dublin after starting in Armagh BBC News NI can reveal the route of next May's prestigious Giro d'Italia cycle race - ahead of the official launch next week. There will be three stages to the race - a 22 km time trial around Belfast, a loop around the north coast and a cross border final stage. The Giro d'Italia is one of cycling's three prestigious grand tours. It is understood Enterprise Minister Arlene Foster is travelling to Milan next week for the official launch. However, although cycle fans will be keen to try out the route, not everyone is happy. Sinn Féin has said it is disappointed that the race circuit ignores west Belfast. The stages will take place in Northern Ireland from Friday 9 May to Sunday 11 May, 2014. The Belfast route on Friday 9 May starts at Titanic Belfast and takes in the Newtownards Road, Stormont, Queen's Bridge, the Ormeau Road, Stranmillis and Belfast city centre. The Saturday leg - a 218 km cycle - starts on Belfast's Antrim Road and goes to Antrim, Ballymena, Bushmills, the Giant's Causeway taking in the coastline from Cushendall to Larne on to Whitehead and Carrickfergus and back to Belfast. On day three, Sunday, the final stage of the Ireland leg, the riders will embark on a 187km cross border section. They will leave Armagh and travel to Richhill and Newtownhamilton before heading south, crossing the border at Forkhill en route to Dublin via Dundalk, Castlebellingham and Drogheda. It is the first time the international event is beginning outside continental Europe. The Northern Ireland Executive is paying £3m from Tourist Board, EU and Department of Enterprise (Deti) funds to host the event. Media captionOne local cycling shop owner is delighted the race will pass his business All the routes are preliminary at this stage, but they are unlikely to change. Sinn Féin MP Paul Maskey said he was disappointed that the circuit did not include west Belfast. "The image of cyclists going up and down the Falls Road would send out a massive positive signal right across the world," he said. "This is about advertising the city. This is about promoting the city, and nowhere else can do it better than the Falls Road, and I think it's a shame that Deti have excluded west Belfast from this competition. "What we will see is all other parts of the city being touched and being seen world-wide, except west Belfast, and it is just not good enough. We will campaign to meet whoever we have to meet, to ensure this race comes to this part of the city." Others are happier. Former champion cyclist Dave Kane cannot believe his luck. The time trial route will pass the front door of his bike shop on the Upper Newtownards Road in Belfast. Mr Kane said: "I've been in Italy and I've seen the Giro and to get the Grand Depart here, it's unbelievable. The people here just don't know what this is going to be like. It's not to say you have a bunch of cyclists going through. "These are the top pros in the world and they'll be here for roughly a week. "They'll be out routing the stages and then you'll have the prologue which is the team time trial which goes past the door here and round Stormont and it's unbelievable for the people of Northern Ireland, for the tourism, for the economy to be able to support something like the Giro." The Giro d'Italia, the Tour de France and the Vuelta a Espana are the most well known and prestigious Grand Tours for top cyclists. The start of the 104-year-old Giro has traditionally taken place in Italy, but in recent times has been awarded to an outside country every two years. Two of cycling's Grand Tours will make visits to Britain and Ireland next year, with the 2014 Tour de France starting in Yorkshire. Media captionThere will be three stages to the race in Northern Ireland - a 22 km time trial around Belfast, a loop around the north coast and a cross border final stage.	i don't know
Devadatta repeatedly tried to kill which religious leader?	The Devadatta Story Devadatta’s Ambition A series of tragic events occurred when the Buddha was 72 years old and in the 37th year of his teaching mission. This was the year when his cousin Devadatta initiated a schism in the ranks of the Sangha, then instigated a palace coup in the city of Rajagriha, the capital of the kingdom of Magadha, and finally made four attempts to assassinate the Buddha. These events were a great test of the Buddha’s wisdom, compassion, patience, equanimity, and ability to skillfully lead the Sangha in the face of external and internal threats to its survival and integrity. It should be noted that doubts have been cast on the veracity of the legend of Devadatta as told in the canonical literature and commentaries of the various schools of Buddhism. Reginald Ray, basing himself on the work of earlier scholars, sums up the various accounts in his book Buddhist Saints in India: A Study of Buddhist Values & Orientation (see pp. 162-173). According to Reginald Ray, it is possible that Devadatta was no relation nor even a contemporary of the Buddha, but may have been a strict proponent of the life of the forest renunciant who opposed the softer life of monastic Buddhism over a century after the Buddha’s passing. This Devadatta apparently created a Sangha that considered itself a separate and purer stream of Buddhism than the Sangha founded by Shakyamuni Buddha. Devadatta’s rival order still existed in India as late as the seventh century C.E. according to the testimony of the Chinese monk Hsuan-tsang (602-664). This would mean that the monks of the mainstream schools of Indian Buddhism such as the Theravada and Sarvastivada might have created the legend of Devadatta in order to vilify the founder of this rival Sangha. From here on, however, I will simply present my synthesis of the traditional accounts. Devadatta was a cousin of the Buddha. According to the Pali accounts he was the brother of Yashodhara. Sanksrit legends, however, claim that he was actually Ananda’s older brother and that he grew up in the palace with Siddhartha, the young bodhisattva. These stories portray Devadatta as jealous and cruel. In one story he shoots down a swan that falls to earth near Siddhartha. Siddhartha takes out the arrow and nurses it back to health, but Devadatta insists that the swan belongs to him because he shot it. The two boys then went to the king’s court where the counselors argued over the merits of each case. In the end, a wise man declared that the swan should belong to one who saved its life rather than the one who tried to take it away. In another incident, Devadatta killed a white elephant that was going to be presented to Siddhartha as a gift. He was also said to have competed for Yashodhara’s hand in marriage, but again lost to his cousin Siddhartha. Another legend claims that, after Siddhartha had renounced the home life in order to live as an ascetic, Devadatta tried to seduce Yashodhara, but was rebuffed. Devadatta joined the Sangha along with Aniruddha, Bhaddiya, Ananda, Bhagu, Kimbila, and their barber Upali back when the Buddha had first returned to Kapilavastu. At that time he had been talked into leaving the home life and becoming a monk because the former king, Bhaddiya, and the other Shakyas wanted to make sure that Devadatta would not become the ruler by default when the other heirs to the throne had become monks. Soon after becoming a monk, Devadatta attained the five types of supernatural powers that can be developed through meditation. These five were: supernatural mastery of the body, the divine ear (clairaudience), mind reading, past life recall, and the divine eye (clairvoyance). For a long time, Devadatta was a respected member of the Sangha. Unfortunately, his jealousy and envy prevented him from attaining any genuine insight or liberation, and his supernatural powers only increased his arrogance. At some point, Devadatta used his supernatural powers to gain the patronage of Prince Ajatashatru, the son of King Bimbisara and Queen Vaidehi. The occasion was this. Once when Devadatta was alone in retreat this thought arose in his mind: “Who is there whose confidence I can win over and thereby acquire much gain, honor and renown?” Then he thought: “There is Prince Ajatashatru. He is young with a glorious future. Suppose I win over his confidence? Much gain, honor, and renown will accrue to me if I do so.” So, Devadatta packed his bed away, and he took his bowl and outer robe and set out for Rajagriha, where he at length arrived. There he discarded his own form and assumed the form of a youth with a girdle of snakes, and in that guise he appeared on Prince Ajatashatru’s lap. Then Prince Ajatashatru was fearful, anxious, suspicious and worried. Devadatta asked: “Are you afraid of me, prince?” “Yes, I am afraid. Who are you?” “If you are Devadatta, Lord, then please show yourself in your own form.” “Devadatta discarded the form of the youth and stood before Prince Ajatashatru, wearing his patched outer cloak, bowl and robes. Then Prince Ajatashatru felt prodigious confidence in Devadatta owing to his supernormal powers. After that he waited on him evening and morning with five hundred carriages and five hundred offerings of milk-rice as a gift of food. Devadatta became overwhelmed with gain, honor, and renown. Ambition obsessed his mind, and the wish arose in him: “I will rule the Sangha of monks.” Simultaneously with the thought his supernormal powers vanished. (Adapted from Life of the Buddha, p. 257) This part of the story seems to be a dramatization of the reason why Buddhism views supernatural powers with disdain. The Buddha expressed his feelings about the use of supernatural powers in several discourses. Once, a householder named Kevaddha made the following suggestion to the Buddha: “Lord, this Nalanda is rich, prosperous, populous, and full of people who have faith in the Lord. It would be well if the Lord were to cause some monk to perform superhuman feats and miracles. In this way Nalanda would come to have even more faith in the Lord.” The Lord replied: “Kevaddha, this is not the way I teach Dharma to the monks, by saying: ‘Go, monks, and perform superhuman feats and miracles for the white-clothed laypeople!” (Adapted, Long Discourses of the Buddha, p. 175) The Buddha points out that even if a monk were to resort to such things, skeptics would not only continue to disbelieve in the monks, but would then accuse them of trickery and fraud. The whole effort could very well backfire. The Buddha said, “And that is why, Kevaddha, seeing the danger of such miracles, I dislike, reject and despise them.” (Ibid, p. 176) He then pointed out that the true miracle is the miracle of instruction that leads to liberation. On another occasion a monk named Sunakkhatta threatened to leave the Sangha because the Buddha had not performed any miracles. The Buddha responded: “What do you think, Sunnakkhatta? Whether miracles are performed or not – is it the purpose of my teaching Dharma to lead whoever practices it to the total destruction of suffering?” “It is, Lord.” “So, Sunakkhatta, whether miracles are performed or not, the purpose of my teaching Dharma is to lead whoever practices it to the total destruction of suffering. Then what purpose would the performance of miracles serve? Consider, you foolish man, how far the fault is yours.” (Ibid, p. 372) Miracles and supernatural powers not only miss the point of Buddha Dharma, but are actually misleading and can even discredit the Buddha Dharma by associating it with the irrational and charlatanism. In the case of Devadatta, his ambition and arrogance only increased though his supernatural powers deserted him. And why did his powers desert him? Buddhism teaches that when one practices meditation and attains the states of concentration known as the dhyanas, one can then go on to develop the four roads to spiritual power: zeal, energy, purity of mind, and investigation. Devadatta, however, became complacent and hungry for worldly power, and this caused him to lose those very qualities that had enabled him to develop the powers that so impressed Prince Ajatashatru in the first place. Devadatta’s growing ambition did not go unnoticed. “A little bird told me,” is the idiomatic expression used by some people today. In the Buddha’s time, it was often a deva, or heavenly spirit, that would report things to the Buddha or his disciples. In this case, the deva was Kakudha, a former attendant of Maudgalyayana. The spirit informed Maudgalyayana about Devadatta’s ambition to rule the Sangha and the subsequent disappearance of his supernatural powers. Maudgalyayana then told the Buddha. The Buddha then questioned Maudgalyayana as to the reliability of this information. Maugalyayana vouched for Kakudha as a reliable source. The Buddha’s response was that Devadatta would only end up betraying himself. Then, apparently in reference to Devadatta and those monks who looked up to Devadatta as a teacher the Buddha spoke of those teachers who were not pure or otherwise competent in terms of morality, livelihood, the teaching of Dharma, exposition, and the knowledge and vision of emancipation from suffering but who nevertheless pretended to be and whose disciples would cover up for them. Unlike these, the Buddha asserted that he had no need to pretend and that his disciples therefore had no need to cover up any deficiencies on his part. The implication being that such would not be the situation with Devadatta. Other monks, however, were not as perceptive as Maudgalyayana. Some were very impressed by Devadatta’s success and growing prestige. Others were perhaps jealous or even resentful of him. The Buddha made it clear to them that Devadatta was sowing the seeds of his own destruction, both in a spiritual and even in a worldly sense. After the Blessed One had stayed at Kosambi as long as he chose, he set out to wander by stages to Rajagriha, where he arrived in due course. He went to live in the Bamboo Grove, the Squirrel’s Sanctuary. Then a number of monks went to him and told him: “Lord, Prince Ajatashatru goes to wait on Devadatta each morning with five hundred carriages and five hundred offerings of milk-rice as a gift of food.” “Monks, do not begrudge Devadatta his gain, honor and renown. Just as, if one were to break a gall bladder under a fierce dog’s nose, the dog would get much fiercer, so too, as long as Prince Ajatashatru keeps waiting on Devadatta as he is doing, so long may wholesome states be expected to diminish and not increase in Devadatta. Just as a plantain bears its fruit for its own destruction and its own undoing, so too, Devadatta’s gain, honor and renown have arisen for his self-destruction and his own undoing.” (Adapted from Life of the Buddha, p. 258) Denunciation of Devadatta Devadatta basked in the prestige that he had gained through the patronage of Prince Ajatashatru. In time, he came to believe that he would be a worthy successor of Shakyamuni Buddha. On one occasion he boldly offered to lead the Sangha so that the Buddha could retire. This offer was refused in no uncertain terms: The occasion was this. The Blessed One was seated teaching the Dharma and surrounded by a huge gathering, including the king. Then Devadatta got up from his seat, and arranging his upper robe on one shoulder, he raised his hands palms together towards the Blessed One: “Lord, the Blessed One is now old, aged, burdened with years, advanced in life and come to the last stage. Let the Blessed One now rest. Let him dwell in bliss in the present life. Let him hand over the Sangha of monks to me. I will govern the Sangha of monks.” “Enough, Devadatta. Do not aspire to govern the Sangha of monks.” A second time Devadatta made the same proposal and received the same answer. When he made the proposal for the third time, the Blessed One said, “I would not hand over the Sangha of monks even to Shariputra and Maudgalyayana. How should I do so to such a wastrel, a clot of spittle, as you?” Then Devadatta thought: “Before the public, including the king, the Blessed One has disgraced me with the words ‘clot of spittle’ and praised Shariputra and Maudgalyayana.” He was angry and indignant. He paid homage to the Blessed One and departed, keeping him on his right. Now this was his first grudge against the Blessed One.” (Ibid, p. 258) This strong condemnation and even insult coming from the Buddha is quite shocking. One can easily understand why Devadatta might bear a grudge after being publicly insulted in front of the Sangha and even King Bimbisara. Even if one takes the position that this incident is a story that arose after the death of the Buddha in order to vilify the schismatic Devadatta and his followers, it still seems to be so far out of character that one wonders how anyone could have attributed such words to the Buddha. And yet, there is a discourse in which the Buddha’s rivals used this and later condemnations of Devadatta against him. Prince Abhaya, another son of King Bimbisara though not an heir, was a follower of Nirgrantha Jnatiputra, the founder of the Jains. According to the Abhayarajakumara Sutta, Nirgrantha Jnatiputra made the following request to Prince Abhaya: “Come Prince, go to the recluse Gautama and say: ‘Venerable sir, would the Tathagata utter speech that would be unwelcome and disagreeable to others?’ If the recluse Gautama, on being asked thus, answers: ‘The Tathagata, prince, would utter speech that would be unwelcome and disagreeable to others,’ then say to him: ‘Then, venerable sir, what is the difference between you and an ordinary person? For an ordinary person would utter speech that would be unwelcome and disagreeable to others.’ But if the recluse Gautama, on being asked thus, answers: ‘The Tathagata, prince, would not utter speech that would be unwelcome and disagreeable to others,’ then say to him: ‘Then, venerable sir, why have you declared of Devadatta: “Devadatta is destined for the states of deprivation, Devadatta is destined for hell, Devadatta will remain [in hell] for the eon, Devadatta is incorrigible”? Devadatta was angry and dissatisfied with that speech of yours.’ When the recluse Gautama is posed this two-horned question by you, he will not be able either to gulp it down or to throw it up. If an iron spike were stuck in a man’s throat, he would not be able either to gulp it down or to throw it up; so too prince, when the recluse Gautama is posed this two-horned question by you, he will not be able to gulp it down or to throw it up.” (Middle Length Discourses, pp. 498-499) It is evident that Nirgrantha Jnatiputra is not being portrayed here as a compassionate or even dispassionate observer of events. Nor is his inquiry sincere. In order to attack and belittle the Buddha, he spitefully looked for a weak point to exploit. Again, this is perhaps not an accurate portrayal of the founder of the Jains, but is may be a depiction of the kind of rancorous debates that may have taken place between Buddhists and Jains. In any case, the Buddha easily overcomes both horns of the dilemma and in the course of doing so also provides an explanation for why he spoke so harshly in regard to Devadatta. Prince Abhaya visits the Buddha and asks: “Venerable sir, would a Tathagata utter such speech as would be unwelcome and disagreeable to others?” “There is no one-sided answer to that, prince.” “Then, venerable sir, the Nirgranthas have lost in this.” “Why do you say this, prince: ‘Then, venerable sir, the Nirgranthas have lost in this’?” Prince Abhaya then reported to the Blessed One his entire conversation with Nirgrantha Jnatiputra. Now on that occasion a young tender infant was lying prone on Prince Abhaya’s lap. Then the Blessed One said to Prince Abhaya: “What do you think, prince? If, while you or your nurse were not attending to him, this child were to put a stick or pebble in his mouth, what would you do to him?” “Venerable sir, I would take it out. If I could not take it out at once, I would take his head in my left hand, and crooking a finger of my right hand, I would take it out even if it meant drawing blood. Why is that? Because I have compassion for the child.” “So too, prince, such speech as the Tathagata knows to be untrue, incorrect, and unbeneficial, and which is also unwelcome and disagreeable to others: such speech the Tathagata does not utter. Such speech as the Tathagata knows to be true and correct but unbeneficial, and which is also unwelcome and disagreeable to others: such speech the Tathagata does not utter. Such speech as the Tathagata knows to be true, correct, and beneficial, but which is unwelcome and disagreeable to others: the Tathagata knows the time to use such speech. Such speech as the Tathagata knows to be untrue, incorrect, and unbeneficial, but which is welcome and agreeable to others: such speech the Tathagata does not utter. Such speech as the Tathagata knows to be true and correct but unbeneficial, and which is welcome and agreeable to others: such speech the Tathagata does not utter. Such speech as the Tathagata knows to be true, correct, and beneficial, and which is welcome and agreeable to others: the Tathagata knows the time to use such speech. Why is that? Because the Tathagata has compassion for beings.” (Ibid, pp. 499-500) In other words, the Buddha only speaks what is true, correct, and beneficial; and whether or not it is welcome and agreeable or unwelcome and disagreeable he will only speak such things in the right time and place motivated solely by compassion. In the case of Devadatta, he was certain based upon his knowledge of Devadatta’s character and activities and the law of cause and effect that Devadatta was heading for a fall. In some versions or translations of this event, the Buddha actually calls Devadatta a “lick-spittle” with the implication that Devadatta’s reliance on the patronage of Prince Ajatashatru is comparable to licking the spit of others. In other words, his reliance on Prince Ajatashatru seems good, but is actually a degrading dependence that is leading him further and further away from the true good of liberation. Furthermore, he had to make it clear to the Sangha and to King Bimbisara that Devadatta did not have his approval nor was he to be looked upon as qualified to lead the Sangha. In fact, once Devadatta left the assembly the Buddha made a further announcement: The Blessed One addressed the monk: “Now, monks, let the Sangha carry out an act of pubic denunciation in Rajagriha against Devadatta thus: ‘Formerly Devadatta had one nature; now he has another. Whatever Devadatta may do by body or speech neither the Blessed One nor the Dharma nor the Sangha should be held as having a part in it: only Devadatta himself is to be held responsible for it.’” Then the Blessed One addressed the venerable Shariputra: “Now Shariputra, you must denounce Devadatta in Rajagriha.” “Lord, hitherto, I have spoken in Devadatta’s favor thus: ‘The son of Godhi is mighty and powerful.’ How can I denounce him in Rajagriha?” “Were you not speaking the truth in praising Devadatta thus?” “Then likewise speaking truth you must denounce him in Rajagriha.” “Even so, Lord,” the venerable Shariputra replied. When the venerable Shariputra had been formally authorized by the Sangha, he went into Rajagriha accompanied by a number of monks and denounced Devadatta. Then people without faith and confidence, unwise and indiscreet, said: “These monks, sons of the Shakyans, are jealous of Devadatta’s gain, honor and renown.” But the faithful and confident, the wise and discreet, said: “This can be no ordinary matter for the Blessed One to have had Devadatta denounced in Rajagriha.” (Adapted from Life of the Buddha, p. 259) Later events would prove this further denunciation in Rajagriha to be a wise move. Note that Devadatta was neither banished nor excommunicated, as he had not broken any of the precepts at this point. Nevertheless, the Buddha judged that it should be made clear from then on that Devadatta was acting on his own. In having this done, the Buddha made it clear to all that the Buddha, Dharma, and Sangha should not be held accountable for anything Devadatta might do. This action was especially painful for Shariputra and perhaps some others who had formerly held Devadatta in esteem and did not want to denounce a fellow monk. It was also personally embarrassing as it made it seem as if those who had formerly praised him were being two-faced, and that perhaps they were themselves motivated by jealousy. Nevertheless, this was an occasion in which the painful truth needed to be stated plainly for the sake of everyone involved. As it turned out, there were those who interpreted the denunciation in a cynical manner, believing that it was a case of internal squabbling and jealousy within the Sangha. On the other hand, there were those who looked into the matter more deeply and realized that the denunciation was not something the Buddha had done lightly. The Schism of Devadatta Devadatta had not given up on his ambition to take over the Sangha. Now that he had been insulted and publicly denounced, he schemed to find a way to lure the monks away from the Buddha and create a rival Sangha. He proposed the following plan to his supporters: “Come, friends, let us create a schism and a breach of concord in the monk Gautama’s Sangha” Kokalika said: “The monk Gautama is mighty and powerful, friend. How can we do that?” “Come, friends, we can go to the monk Gautama and demand five points of him: ‘Lord, the Blessed One has in many ways commended one of few wishes, who is contented, devoted to effacement, scrupulous and amiable, given to diminution (of attachment), and energetic. Now here are five points that conduce to those states. (1) Lord, it would be good if monks were forest dwellers for life and any who went to live in a village were censured; (2) if they were eaters of begged-for-almsfood for life and any who accepted an invitation were censured; (3) if they were refuse-rag wearers for life and any who wore a robe were censured; (4) if they were tree-root dwellers for life and any who dwelt in buildings were censured; (5) if they were not to eat fish or meat for life and any who did were censured.’ The monk Gautama will never grant them. So we can inform the people about these five points. It will be possible with these five points to create a schism and a breach of concord in the monk Gautama’s Sangha; for people admire self-denial.” (Ibid, p. 265) This was pure hypocrisy on the part of Devadatta, for he had previously shown no inclination to asceticism but had in fact been living on the lavish offerings of Prince Ajatashatru. Devadatta and his followers would also have themselves invited as a group for meals in the homes of various householders. They would even inform their hosts beforehand of what they would like to eat. Having to host such large and particular groups of monks became quite a hardship for many families and they began to complain. When the Buddha heard about this he set forth the following rule: “Now, monks, I shall allow monks to eat among families in groups of not more than three. This is for three reasons: for the restraint of wrong-minded persons and for the comfort of reasonable persons, in order that those of evil wishes may not form a faction and cause schism in the Sangha, and out of compassion for families. But eating in groups should be treated according to the procedure already laid down.” (Ibid, p. 265) These stories show that Devadatta was no sincere ascetic, but he was certainly prepared to use asceticism as a pretext for winning adherents and admirers. So it was that Devadatta and his supporters went to the Buddha and proposed the adoption of his five points. Just as Devadatta had predicted, the Buddha refused. “Enough, Devadatta. Let him who wishes be a forest dweller; let him who wishes dwell in a village. Let him who wishes be an eater of begged-for-almsfood; let him who wishes accept invitations. Let him who wishes be a refuse-rag wearer; let him who wishes wear a robe given by householders. Living at the root of a tree is allowed by me for eight months of the year, but not during the rains. I have allowed fish and meat that is pure in the three aspects – when it is not seen or heard or suspected to have been killed for one personally.” (Ibid, p. 266) The Buddha responded here from the perspective of the Middle Way between self-indulgence and self-denial. The Buddha did allow for the ascetic practices known as the dhuta. The dhuta were various austerities that some monastics could voluntarily take up for a time or even as a permanent way of life in order to cultivate contentment, modesty, humility, simplicity and other virtues. According to the Path of Purification (Visuddhi Magga) of Buddhaghosa the dhuta that could be taken up are: 1. The practice of only wearing robes made of rags from discarded cloth. 2. The practice of keeping no more than the triple robe: the upper, lower, and outer robes. 3. The practice of eating only food begged for on alms rounds as opposed to accepting invitations to eat at a home. 4. The practice of begging door to door on alms rounds without discriminating between the homes of rich and poor. 5. The practice of eating only once a day. 6. The practice of eating only one bowl of food a day. 7. The practice of refusing any food offered later in the morning. 8. The practice of dwelling only in the forest instead of in the monasteries except during the rainy season. 9. The practice of dwelling only at the foot of a tree except during the rainy season. 10. The practice of dwelling only out in the open except during the rainy season. 11. The practice of dwelling in a charnel ground except during the rainy season. 12. The practice of accepting whatever bed in the monastery is assigned. 13. The practice of sitting instead of lying down when resting. It can be seen from this list that not all of the dhuta could be followed at once, since some of them necessarily implied or excluded the others. Several of them could not be followed during the rainy season retreat. Some of them were not allowable to the nuns. The important thing to note is that in sub-tropical India, none of these ascetic practices would have been injurious or life threatening. The dhuta were a form of pure and simple living that were in line with the ideal of Indian asceticism but at the same time they followed the Buddha’s Middle Way between the extremes of indulgence and excessive mortification. Those who could follow them were admired, but none of them were mandatory practices nor did the Buddha teach that they were necessary for attaining liberation. Devadatta was pleased that things were unfolding according to his plan. The impressionable young monks and those lay followers who admired stringent asceticism quickly rallied to his cause. Devadatta was happy and elated then: “The Blessed One does not grant these five points.” He got up together with his adherents, and after paying homage to the Blessed One, he departed, keeping him to his right. He went into Rajagriha and proceeded to inform people about the five points thus: “Friends, we have been to the monk Gautama and demanded these five points of him…” and he told them the five points concluding: “The Blessed One does not grant these five points. But we undertake to live by them.” Then unwise people lacking faith said: “These monks, sons of the Shakyans, are scrupulous in effacement; but the monk Gautama lives in luxury, thinking of luxury.” But the wise and faithful were annoyed, and they murmured and protested: “How can Devadatta aim at creating a schism and a breach of concord in the Sangha?” Monks heard them disapproving. Those monks who had few wants disapproved likewise, and they told the Blessed One. He asked Devadatta: “Devadatta, is it true, as it seems, that you are aiming at creating a schism and a breach of concord in the Sangha?” “It is true, Lord.” “Enough Devadatta. Do not try to create a schism and a breach of concord in the Sangha. He who breaks the Sangha’s concord reaps misery lasting the rest of the age; he ripens out in hell for the rest of the age. But he who reunites the Sangha already split reaps the highest reward of merit and enjoys heaven for the rest of the age. Enough, Devadatta, do not try to create a schism in the Sangha: a schism in the Sangha is a grave thing.” (Ibid, pp. 266-267) In this case, the creation of a schism was not a matter of an honest disagreement over precepts or even doctrine. In fact, in this case, it was not even a matter of two factions with different ideas about how best to follow the Buddha’s practice and teaching. Rather, Devadatta was actively trying to turn people away from the Buddha’s teaching and practice on the grounds that his own teaching and practice were superior. It was this type of schism, founded on presumption and hypocrisy, the Buddha was warning Devadatta against. The Buddha even declared that such an act would bring about a hellish state of existence, whereas healing such a schism could bring about a heavenly state of existence. Nothing, however, could dissuade Devadatta and he carried through on his plan and persuaded 500 monks to join him in establishing a rival Sangha under his direction at Mount Gayashirsha. Devadatta had now passed a karmic point of no return by initiating a schism, one of the five grave offences. The five grave offenses consist of killing one’s father, killing one’s mother, killing an arhat, causing the Buddha to bleed, and causing a schism in the Sangha. According to Buddhism, anyone who commits one of the five grave offenses will be immediately reborn in the Avichi Hell (the Hell of Incessant Suffering) after death without any chance of reprieve. These crimes are not just acts of violence, but a rejection of the very basis of morality and liberation from suffering. Those who would commit such grave offences were considered to be one of the icchantika, people of incorrigible disbelief who are wholly unrestrained and given over to the three poisons of greed, anger, and ignorance. In some Mahayana teachings, this was considered to be a class of beings who were incapable of attaining enlightenment, perhaps even altogether devoid of buddha-nature. Reconciliation of the Schismatic Monks The 500 monks who had left for Mount Gayashirsha to join Devadatta were all recently ordained. They had not yet had a chance to fully hear and reflect on the Buddha’s actual teachings for themselves so they took Devadatta’s derivative and self-serving teachings as the genuine article. They apparently were also lacking in discernment and self-confidence, qualities that would have enabled them to question what they were being told and to seek out alternative points of view in order to have a sold basis for comparison. The Buddha and his disciples were aware of this and out of compassion decided to do what they could to enable Devadatta’s followers to make a more informed choice. Shariputra and Maudgalyayana went to the Blessed One. They told him: “Lord, Devadatta has created a schism in the Sangha and has set out for Gayashirsha with five hundred monks.” “Do you not both feel pity for those new monks, Shariputra? Go, before they come to ruin.” “Even so, Lord,” they replied. And they left for Gayashirsha. After they had gone, a monk stood not far from the Blessed One, weeping. The Blessed One asked him: “Why are you weeping, monk?” “Lord, when the Blessed One’s chief disciples, Shariputra and Maudgalyayana, have gone to Devadatta, they will go over to his teaching too.” “It is impossible, monk, it cannot happen, that Shariputra and Maudgalyayana should go over to Devadatta’s teaching. On the contrary, they will convert the monks who have gone over.” Devadatta was sitting teaching the Dharma surrounded by a large assembly. He saw the venerable Shariputra and the venerable Maugalyayana coming in the distance. He told the monk: “See, monks, the Dharma is well proclaimed by me. Even the monk Gautama’s chief disciples, Shariputra and Maudgalyayana, come to me and come over to my teaching.” When this was said, Kokalika warned Devadatta: “Friend Devadatta, do not trust them. They are in the grip of evil wishes.” “Enough, friend; they are welcome since they have come over to my teaching.” (Ibid, p. 268) The Buddha’s way of handling the schism is very instructive. He did not mount a public campaign against Devadatta or his followers or label them as evil or condemned to hell (though admittedly he did warn Devadatta of this before the schism took place), he did not appeal to King Bimbisara to have them forcefully suppressed, he did not request that the laity refuse alms to them, he did not send his followers over to harangue or physically harass Devadatta or his followers, he did not resort to any kind of physical or psychological violence or coercion the way many religious leaders even today feel justified in doing to those who disagree with them. Instead, he simply sent his two best teachers over to the rival group to dialogue with them in a friendly manner about the teachings. Furthermore, the Buddha was confident that those who had a thorough knowledge and personal realization of Buddha Dharma were immune to the wiles of Devadatta and people like him. There was no need to fear for them or to protect them from confusion or bad influences. Instead, the Buddha was confident in his disciples, confident that they were themselves good teachers who could have a good influence on others simply by being themselves and presenting the Dharma in a straightforward, calm, and confident manner. Devadatta and Kokalika, on the other hand, demonstrate the qualities of arrogance on the one hand and a defensive paranoia on the other. Neither of them is concerned with the Dharma itself. Devadatta is convinced that he has won over even the Buddha’s chief disciples. He does not even question them as to their reason for coming but triumphantly assumes that they have come to support him. Kokalika is a little wiser, but he assumes that Shariputra and Maugalyayana have come to undermine their movement for the sake of sectarian rivalry. He cannot imagine that their real motivation is to share the Buddha Dharma with those who have not yet heard it clearly, and then to allow those who hear it to make up their own minds. Devadatta and Kokalika were not concerned with teaching the genuine Dharma so much as they were concerned with building up their own movement and jealously guarding their own following. Their concern was primarily with what will serve or threaten their own personal following. Their personal ambition blinded them to the true purpose of the Sangha. The Sangha was not intended to be a personality cult centered on the Buddha. The Sangha was meant to facilitate the sharing of the Dharma, so that each member could realize it for him or herself with the support and encouragement of their fellow practitioners. Devadatta then offered the venerable Shariputra one half of his seat: “Come, friend Shariputra, sit here.” “Enough, friend,” the venerable Shariputra replied, and taking a seat, he sat down at one side. The venerable Maudgalyayana did likewise. Now when Devadatta had instructed, urged, roused and encouraged the monks with talk on the Dharma for much of the night, he said to the venerable Shariputra: “Friend Shariputra, the Sangha of monks is still free from fatigue and drowsiness. Perhaps a talk on the Dharma may occur to you. My back is paining me, so I will rest it.” “Even so, friend,” the venerable Shariputra replied. Then Devadatta laid out his cloak of patches folded in four, and he lay down on his right side in the lion’s sleeping pose, one foot overlapping the other. But he was tired, and he dropped off to sleep for a while, forgetful and not fully aware. (Ibid, pp. 268-269) By asking Shariputra to teach while he himself took a rest, Devadatta was imitating the Buddha who had done the same in his later years. Unlike the Buddha, Devadatta falls asleep “forgetful and not fully aware” whereas when the Buddha takes the lion’s sleeping pose it is said that he rested “mindful and fully aware.” This is Devadatta’s undoing. While he sleeps, Shariputra takes the opportunity to teach the Dharma as he has learned it from the Buddha. Then the venerable Shariputra advised and admonished the monks with talk on the Dharma using the marvel of reading minds, and the venerable Maudgalyayana advised and admonished them with talk on the Dharma using the marvel of supernormal power, till the spotless, immaculate vision of the Dharma arose in them: All that is subject to arising is subject to cessation. Thereupon the venerable Shariputra addressed the monks: “Monks, we are going back to the Blessed One. Whoever upholds the Blessed One’s Dharma let him come with us.” And so the venerable Shariputra and the venerable Maudgalyayana took the five hundred monks with them back to the Bamboo Grove. (Ibid, p. 269) Unlike Devadatta, Shariputra and Maudgalyayana fully understood the Dharma and attained personal realization and liberation. Based on their personal experience they were able to convey that realization to the monks so that they were able to get a real sense of it as well. If one does not care to take literally the references to “mind reading” and “supernormal powers,” it might be imagined that Shariputra had an intuitive sense of the feelings, thoughts, and aspirations of the monks, while Maudgalyayana was able to appeal to their hearts and imaginations through appropriate metaphors and similes. In having a “vision of the Dharma” the monks who heard the teaching of Shariputra and Maudgalyayana became stream-enterers. They were now truly on the path of the Dharma. There is no indication that the Dharma talk that Shariputra and Maudgalyayana gave had anything to do with which Sangha to be part of. They simply taught the Dharma to those willing to hear it, even those in a rival camp. Afterwards, they simply informed the monks that they were returning to the Buddha’s Sangha and any who wished could join them. They did not argue, cajole, threaten, or harangue them. In the end, all five hundred returned with them because those five hundred were given the chance to judge for themselves which teaching and practice was genuine. As for Devadatta, his reaction to this turn of events was as follows: Kokalika roused Devadatta: “Friend Devadatta, get up! The monks have been led away by Shariputra and Maudgalyayana! Did I not tell you not to trust them because they have evil wishes and are in the grip of evil wishes?” And then and there hot blood gushed from Devadatta’s mouth. (Ibid, p. 269) Shariputra and Maudgalyayana reported back to the Buddha to discuss the situation with him. Shariputra suggested that the monks be re-ordained, but the Buddha told him that is unnecessary, the monks only needed to confess to a serious transgression. He then took the opportunity to illustrate in what ways Devadatta was bringing about his own downfall by trying to imitate the Buddha when he was not qualified to do so. Then the Blessed One addressed the monks: “Once, monks, there were some elephants living near a big pond in a forest. They would go into the pond and pull up lotus stalks with their trunks; and when they had washed them quite clean, the would chew them up and swallow them free from mud. That was good for both their looks and their health, and they incurred no death or deadly suffering because of that. But some young calves, uninstructed by those elephants, went into the pond and pulled up lotus stalks with their trunks; but instead of washing them quite clean, they chewed them up and swallowed them along with mud. That was not good for either their looks or their health, and they incurred death and deadly suffering because of that. So too, monks, Devadatta will die miserably through imitating me.” “Through aping me he will die wretchedly Just like the calf that eats the mud as well When copying the tusker eating lotus, Watchful in the river, shaking off soil. (Ibid, pp. 269-270) The Buddha then instructed them regarding eight qualities that a monastic needs in order to be entrusted with the kind of teaching mission that the Buddha had entrusted Shariputra and Maudgalyayana with. “Monks, a monk is fit to go on a mission when he has eight qualities. What are the eight? Here a monk is one who listens, who gets others to listen, who learns, who remembers, who recognizes, who gets others to recognize, who is skilled in the consistent and the inconsistent, and who does not make trouble. A monk is fit to go on a mission when he has these eight qualities. Now Shariputra has these eight qualities; consequently he is fit to go on a mission.” He does not falter when he comes Before a high assembly; He does not lose his thread of speech, Or cover up his message. Unhesitatingly, he speaks out; No questioning can ruffle him – A monk such as this is fit To go upon a mission. (Ibid, p. 270) By contrast, the Buddha speaks of first eight and then three evil things that had overcome Devadatta and warns the monks to overcome such things within themselves: “Monks, Devadatta is overcome and his mind is obsessed by eight evil things, for which he will inevitably go to the states of privation, to hell, for the duration of the age. What are the eight? They are gain, lack of gain, fame, lack of fame, honor, lack of honor, evil wishes, and evil friends. Devadatta will go to the states of privation, to hell, for the duration of the age because he is overcome and his mind is obsessed by these eight things. “Monks, it is good to constantly overcome each and all of these eight things as they arise. And with what benefit in view does a monk do so? While taints and fever of defilement might arise in him who did not constantly overcome each and all of these things as they arise, there are no taints and fever of defilement in him who constantly overcomes each and all of these things as they arise. Therefore, monks, train yourselves thus: ‘We shall constantly overcome each and all of these things as they arise.’ “Devadatta is overcome and his mind is obsessed by three evil things, for which he will inevitably go to the states of privation, to hell, for the duration of the age. What are the three? They are evil wishes, evil friends, and stopping halfway with the attainment of the mere earthly distinction of supernormal powers.” (Ibid, pp. 270-271) Palace Coup After the failure of his attempt to create a schism, Devadatta turned to Prince Ajatashatru in order to further his schemes: Then Devadatta went to Prince Ajatashatru and said to him: “Formerly men were long-lived, now they are short-lived. Maybe you will die while still only a prince, so why do you not kill your father and become king? And I shall kill the Blessed One and become the Buddha.” (Ibid, p. 259) In the account given in the Pali Canon, Prince Ajatashatru needs no more prompting than this. Other accounts portray the prince as, at first, horrified by the suggestion: The prince replied, “The debt of gratitude that I owe to my father and mother is greater than the moon and the sun. I shall never be able to repay their long years of rearing me to adulthood. Why then do you provoke me to commit such a treacherous deed?” Devadatta, however, skillfully wove his words and seduced the prince’s mind; and in the end Ajatashatru agreed to do Devadatta’s bidding. (Buddha-Dharma, p. 550) According to one account, Devadatta pointed to a broken finger that Prince Ajatashatru had since infancy and told the following story: A long time ago, King Bimbisara was anxious to have an heir. Having heard from a soothsayer that a certain hermit living in the mountains would be reborn as his son three years later, the king immediately sent him a messenger asking him to terminate his own life, but the hermit refused to do so. The angry king ordered the messenger to kill him if he still refused to commit suicide. The hermit thus died determined to take revenge. Soon Queen Vaidehi became pregnant. The king rejoiced, but was horrified to hear from the soothsayer that she would bear a boy who would do harm to the king. So he told the queen to give birth to the baby on the roof of the tower and let it drop to the ground. She did as told, but the baby miraculously survived with only damage to his little finger. (Three Pure Land Sutras, p. 7) According to another account, Devadatta explained the true meaning of the name “Ajatashatru,” which is usually taken to mean “One Whose Has No Born Enemy” or could be taken to mean “Unborn Enemy.” The manner of Ajatashatru’s birth was this. When King Bimbisara was already past his middle years, his consort Vaidehi found herself with child. She was addicted with a strange malady that made her thirst for blood from the king’s shoulders, though she did not act on her desire at first. But each day she became increasingly emaciated. The king asked her why this was occurring, and upon learning the cause he squeezed blood from his shoulder and had her drink it. A seer prophesied, “The child that is born will regard his father the king as his enemy.” Because of this dark prophecy, she attempted to abort the fetus a number of times. But the king succeeded in restraining her, and finally she gave birth to a son. Because the sage predicted that even before the child’s birth that the child would become his father’s enemy, he was named Ajatashatru, which meant Unborn Enemy. Devadatta recounted this in detail and succeeded in leading Ajatashatru astray. (Buddha-Dharma, pp. 550-551) These fantastic stories aside, it is more likely that the actual reason Prince Ajatashatru agreed to depose King Bimbisara was because he wished to further his own ambition to make Magadha the greatest of the Indian republics by conquering his neighbors, but his father was content to maintain the fragile peace that existed at that time. Among the rival princes in the royal families of the Indian republics filial piety was not nearly as important as gaining the throne and furthering one’s political ambitions. In any case, Ajatashatru decided to act on Devadatta’s promptings and attempt to kill his father and take the throne: Prince Ajatashatru thought: “The Lord Devadatta is mighty and powerful; he should know.” He fastened a dagger on his thigh, and then in broad day, fearful, anxious, suspicious and worried, he tried to slip into the inner palace. The king’s officers at the entry to the inner palace saw him as he did so, and they arrested him. On searching him, they found the dagger fastened to his thigh. They asked him: “What is it you want to do, prince?” “I want to kill my father.” “Who prompted you to do this?” “The Lord Devadatta.” Some officers were of the opinion that the prince should be killed and Devadatta and all of the monks, too. Others were of the opinion that the monks should not be killed since they had done no wrong, but that the prince and Devadatta should be killed. Still others were of the opinion that neither the prince nor Devadatta nor the monks should be killed, but that the king should be informed and his orders carried out. Then the officers brought Prince Ajatashatru before Seniya Bimbisara, King of Magadha, and they told him what had happened. “What was the officers’ opinion?” They told him. “What have the Buddha, the Dharma, and the Sangha to do with it? Has not Devadatta been denounced in Rajagriha by the Blessed One?” Then he stopped the pay of those officers whose opinion had been that Prince Ajatashatru and Devadatta and the monks should be killed. And he degraded those officers whose opinion had been that the monks, having done no wrong, should not be killed, but that the prince and Devadatta should be killed. And he promoted those officers whose opinion had been that neither the prince nor Devadatta nor the monks should be killed, but that the king should be informed and his orders carried out. Then King Bimbisara asked: “Why do you want to kill me, prince?” “I want the kingdom, sire.” “If you want the kingdom, prince, the kingdom is yours.” He therewith handed the kingdom over to him. (Life of the Buddha, pp. 259-260) This accounting of events seems highly unlikely. The prince’s unforced and straightforward admission of his intent to assassinate his own father to seize the kingdom seems odd, and King Bimbisara’s final decision to just turn over the kingdom to his murderous son seems even more unbelievable. The one thing that doesn’t seem strange is that it would be pointed out that the Buddha, Dharma, and Sangha were clear of any involvement in Devadatta’s actions because of his prior public denunciation by the Sangha in Rajagriha. In any case, King Bimbisara was not allowed to retire in peace. Soon after his abdication, Ajatashatru, now king, must have feared that Bimbisara might try to call upon his supporters to regain the throne. Perhaps prompted once again by Devadatta he imprisoned Bimbisara and ordered that he be denied food. Queen Vaidehi, however, found a way to keep him alive, and according to the Sutra of Meditation on the Buddha of Infinite Life the Buddha’s disciples were also able to visit him. The king’s consort, Vaidehi bathed and purified her body. She mixed honey with the flour of roasted barley and smeared it on her body. When she entered the room in which the great king had been imprisoned, she noticed that his face was haggard and his flesh had wasted away. He had become emaciated in a most pitiful way. His consort shed tears and said, “Truly, as expounded by the World Honored One, prosperity is an ephemeral thing; the fruits of our evil deed assault us now.” The great king said, “I have been denied food, and the long starvation is excruciatingly painful, as if several hundred insects were churning away in my stomach. Most of my blood and flesh have wasted away, and I am about to die.” The king nearly lost his consciousness and he sobbed. When his consort offered him the mixture of honey and flour of roasted barley that she had smeared on hr body, the king devoured it. After he finished, with tears in his eyes, he turned toward the place where the Buddha dwelt and prostrating himself said, “As the World-Honored One has proclaimed, the glories of this world are ephemeral and are difficult to preserve; they are like dreams and phantoms.” He then turned toward his consort and said, “When I sat on the throne, the country was vast, clothing and food were plentiful, and there was not one thing that was lacking. Now confined in this jail, I am about to die of starvation. My son has been misled by an evil teacher and he turns his back on the teaching of the World-Honored One. I do not fear death; I only regret not being able to receive the Buddha’s teaching and not being able to discuss the path with such disciples as Shariputra, Maudgalyayana, Maha-Kashyapa and others. Truly, as the World-Honored One teaches, the love of human beings is as flighty as a flock of birds that nest overnight on treetops and then go their separate ways to receive their karmically fixed fortune or misfortune. “The honored Maudgalyayana has destroyed the defilements of the mind and attained supernatural powers, and yet he was struck once by a brahmin who had grown envious of him. It is all the more fitting, then, that I, with my mind filled with defilements, should suffer such grief as this. Misfortune chases after people as closely as a shadow hunting for its body, or like an echo answering its voice. It is hard to meet the Buddha, and it is hard to hear his teaching. Again, it is hard to spread compassion and to govern sentient beings according to the teaching. I shall now end my life and travel to some faraway place. Among those who believe in the teaching of the World-Honored One, there are none who fail to serve it. You, too, my consort, must with reverence guard the teaching; you, too, must put up a barricade against the misfortunes that are sure to come.” The consort listened to the king’s exhortation and burst into tears. The king put his palms together and reverentially turned toward Vulture Peak and bowed to the Buddha. He then said, “Honored Maudgalyayana, my good friend, with compassion please show me the way that must be taken by a layman.” Then Maudgalyayana sped towards the king like a falcon on the wing, and every day he expounded the path of the layman. Moreover, the World-Honored One dispatched Purna and had him expound the Dharma for the king’s sake. In this way, the king, for a period of twenty-one days, at the mixture of roasted barley flour and honey and was able to hear the Dharma. His countenance, therefore, was serene and his complexion was flushed with joy. (Buddha-Dharma, pp. 551-552) Devadatta’s First Attempt to Kill the Buddha Now that his patron Ajatashatru was king, Devadatta approached him to begin the second part of their plan, the assassination of the Buddha so that Devadatta could become the new leader of the Sangha. Once he had been allotted a group of soldiers, Devadatta appointed one of them to go to where the Buddha was staying and kill him. Devadatta, however, was not about to take any chances that anyone would trace back this plot to him, so he set two men on the path the first man would be returning on to kill him. Then he set four men to kill the other two, and then eight men to kill those four, and finally sixteen men to kill the eight. He saw these people as nothing more than tools to be discarded once their mission was accomplished. As the saying goes, “dead men tell no tales.” Devadatta, however, had not taken into account the power of the Buddha’s dignity and compassion. Then the one man took his sword and shield and fixed his bow and quiver, and he went to where the Blessed One was. But as he drew near, he grew frightened, till he stood still, his body quite rigid. The Blessed One saw him thus and said to him: “Come friend, do not be afraid.” Then that man laid aside his sword and shield and put down his bow and quiver. He went up to the Blessed One and prostrated himself at his feet, saying: “Lord, I have transgressed, I have done wrong like a fool confused and blundering, since I came here with evil intent, with intent to do murder. Lord, may the Blessed One forgive my transgression as such for restraint in the future.” “Surely, friend, you have transgressed, you have done wrong like a fool confused and blundering, since you came here with evil intent, with intent to do murder. But since you see your transgression as such and so act in accordance with the Dharma, we forgive it; for it is growth in the Noble One’s Discipline when a man sees a transgression as such and so acts in accordance with the Dharma and enters upon restraint for the future.” (Life of the Buddha, pp. 260-261) In this instance, the unnamed assassin was overcome by the great spiritual dignity of his mark, and could not go through with Devadatta’s instruction. In being invited to approach the Buddha he made a confession, which the Buddha accepted. Here the Buddha affirmed that, as we might say, “confession is good for the soul.” Specifically, the Buddha affirmed that to recognize when one is in error and to rectify that error and resolve to act differently in the future is to be in accord with the Dharma. Even those who have not formally taken any of the precepts can do this, it is a universal human act to be able to recognize one’s faults and change one’s ways. Beyond simply forgiving him and sending him on his way, the Buddha then took the opportunity to teach the Dharma, using the same “progressive instruction” that he had begun using in the early years of his ministry with householders who were hearing the Dharma for the first time: Then the Blessed One gave the man progressive instruction, that is to say, talk on giving, on virtue, on the heavens; he explained the dangers, the vanity and the defilement in sensual pleasures and the blessings in renunciation. When he saw that his mind was ready, receptive, free from hindrance, eager and trustful, he expounded to him the teaching peculiar to the Buddhas: suffering, its origin, its cessation, and the path to its cessation. Just as a clean cloth with all marks removed would take the dye evenly, eventually the spotless, immaculate vision of the Dharma arose in him: All that is subject to arising is subject to cessation. Then he saw and reached and found and penetrated the Dharma; he left uncertainty behind him, his doubts vanished, he gained perfect confidence and became independent of others in the Teacher’s Dispensation. He said, “Magnificent, Lord, magnificent, Lord! The Dharma has been made clear in many ways by the Blessed One, as though he were righting the overthrown, revealing the hidden, showing the way to one who is lost, holding up a lamp in the dark for those with eyes to see visible forms. I go to the Blessed One for refuge and to the Dharma and to the Sangha of monks. Beginning from today, Lord, let the Blessed One receive me as his follower who has gone to him for refuge as long as breath lasts.” The Blessed One told him: “Friend do not go back by that path; go by this path.” And he dismissed him by the other path. (Compiled and adapted from Life of the Buddha, p. 49 and p. 261) The Buddha’s patience and magnanimity was such that he not only forgave his would-be killer but also taught him the Dharma as though he had actually sought the Buddha out for that purpose. The Buddha taught him the basis of sound spiritual health in terms of generosity, virtue, and aspiration for a heavenly way of life that could lead to a heavenly rebirth. He then taught him the value of being detached and to cut off longing for the impermanent things of this world. The teaching culminated in the teaching of the four noble truths whereupon the would-be assassin became established in the state of stream-enterer, thereby escaping the lower paths of rebirth in the hells, or as a hungry ghost or animal. The Buddha then literally sends him down a different path, thereby saving the man’s life from those who were lying in wait to kill the killer. After awhile, the ambushers began to wonder when their victim would be coming along. Curious, they went up the path until they also encountered the Buddha. They had not themselves been told to harm the Buddha and so they paid homage and sat down. They also received the Buddha’s instruction, and as the man before them, became stream-enterers, took refuge in the Three Treasures of Buddha, Dharma, and Sangha, and were finally sent on their way down a different path. The same thing happened to the other groups that Devadatta had set up along the path. In the traditional story, the now converted assassin reports back to Devadatta and tells him that he could not go through with killing the Buddha, as he is too mighty and powerful. Devadatta’s Second Attempt to Kill the Buddha After the failure of his assassins, Devadatta resolved to kill the Buddha himself. The following story recounts his attempt to do so. At that time the Blessed One was walking up and down in the shade of Vulture Peak. Then Devadatta climbed Vulture Peak, and he hurled down a huge stone, thinking: “I shall take the monk Gautama’s life with this.” Two spurs of the rock came together and caught the stone: but a splinter from it drew the blood on the Blessed One’s foot. Then he looked up and said to Devadatta: “Misguided man, you have made much demerit; for with evil intent, with intent to do murder, you have drawn the blood of a Perfect One.” Then the Blessed One addressed the monks thus: “Monks, this is the first deed with immediate effect on rebirth that Devadatta has stored up, in that with evil intent to do murder, he has drawn the blood of a Perfect One.” (Ibid, pp. 261-262) By injuring the Buddha, Devadatta had committed another one of the five grave offences, further confirming his status as an icchantika. The injury was no mere cut. It was severe enough that it left the Buddha bedridden for a time. On that occasion, Mara, the devil king of the sixth heaven, took the opportunity to visit the Buddha once again: Now at that time, when the Blessed One’s foot had been hurt by the splinter, he suffered severe bodily feelings that were painful, sharp, racking, harsh, disagreeable and unpleasant. Mindful and fully aware, he bore them without vexation, and spreading out his cloak of patches folded in four, he lay down on his right side in the lion’s sleeping pose with one foot overlapping the other, mindful and fully aware. Then Mare the Evil One came to him and addressed him in stanzas: “What, are you stupefied, that you lie down? Or else entranced by some poetic flight? Are there not many aims you still must serve? Why do you dream away intent on sleep Alone in your secluded dwelling?” “I am not stupefied that I lie down, Nor yet entranced by some poetic flight. My aim is reached, and sorrow left behind. I sleep out of compassion for all beings Alone in my secluded dwelling place.” Then Mara understood: “The Blessed One knows me, the Sublime One knows me.” Sad and disappointed, he vanished at once. (Ibid, p. 262) This story contains several important points. One is that the Buddha was free of sorrow and suffering, but still had to endure physical pain and infirmity. Old age, sickness, injury, and eventually death were not circumvented or avoided, but because they were now viewed in the light of the Buddha’s awakening they no longer had any power over him. The Buddha was still subject to painful circumstances, including the betrayal of his cousin Devadatta who was repeatedly attempting to kill him; but he no longer suffered because of this. This is a lesson for those who mistakenly believe that attaining enlightenment will save them from painful circumstances. Enlightenment is not leading a life without pain, but rather a life where the emotional reaction of suffering has been transcended and painful situations can be faced with equanimity, mindfulness and even compassion, as the Buddha did. Another point is that even though the Buddha had transcended suffering and self-concern, he still took care of himself. Mara, here, is the personification of the Buddha’s doubts, or perhaps of our own doubts. Why should the Buddha need time to rest, as though he were a mere human being? Was the Buddha just sleeping, daydreaming, and whiling away the time while bedridden? The Buddha’s response to Mara repudiates this, insisting that he is motivated, as ever, by compassion and not laziness or self-concern. Mara, most likely, was hoping that the Buddha would feel guilty for staying in bed (so to speak) and would overexert himself so that he would not heal, and so pass away that much more quickly. The Buddha no longer needed to strive to overcome suffering, and he was no longer afraid of death. For the sake of those who relied on his teachings he did need to take care of his health. So once again, the Buddha was able to see through Mara’s attempts to mislead him. Devadatta’s Third Attempt to Kill the Buddha That Devadatta had tried to kill the Buddha was now common knowledge among the Sangha. Understandably they were quite upset, and had the Buddha under constant guard. They were also performing paritta, which are protective recitations. In the Pali Canon, several short discourses have been designated as paritta because it is believed that their recitation will bring about blessings and ward off misfortune, particularly the ill-will of others. One of the most well known of the paritta is the Metta Sutta, the Discourse on Loving-Kindness, which expresses the cultivation of loving-kindness for all beings. In the Metta Sutta the Buddha taught the kind of attitudes and actions that exemplify one who is filled with loving-kindness. The Buddha taught his followers “...to be able and upright, straightforward and gentle in speech. Humble and not conceited, contented and easily satisfied. Unburdened with duties and frugal in their ways. Peaceful and calm, wise and skillful, not proud and demanding in nature.” Further on the Buddha provided a series of wishes that one should make for the sake of all sentient beings starting with, “In gladness and in safety, may all beings be at ease,” and later on, “Let none deceive another, or despise any being in any state. Let none through anger or ill-will wish harm upon another. Even as a mother protects with her life her child, her only child, so with boundless heart should one cherish all living beings; radiating kindness over the entire world: Spreading upward to the skies, and downward to the depths; outward and unbounded, freed from hatred and ill-will.” (Translation by Sharon Salzburg) Because the Buddha regarded all beings he met with loving-kindness, he inspired those who came into his presence to also radiate such feelings for all beings. Such was the power of the Buddha’s loving-kindness, that all but the icchantika would be unable to sustain their murderous ill-will in the Buddha’s presence. Even killers like Angulimala or the assassins sent by Devadatta to kill the Buddha experienced a tremendous change of heart in the Buddha’s presence and ended up becoming his disciples. For this reason the Buddha was confident that he would not be murdered and counseled the monks so that they would not worry. The monks heard: “It seems that Devadatta has tried to murder the Blessed One.” They walked up and down and round and round the Blessed One’s dwelling. They made a loud noise, a great clamor, performing recitations for the guarding, safeguarding and protection of the Blessed One. When he heard this, he asked the venerable Ananda: “Ananda, what is this loud noise, this great clamor, this sound of recitation?” “Lord, the monks have heard that Devadatta has tried to murder the Blessed One,” and he told what they were doing. “Then, Ananda, tell those monks in my name: ‘The Master call the venerable ones.’ “Even so, Lord,” the venerable Ananda replied. And he went to the monks and told them: “The Master calls the venerable one.” “Even so,” they replied. And they went to the Blessed One. The Blessed One said to them: “It is impossible, monks, it cannot happen, that anyone can take a Prefect One’s life by violence. When Perfect Ones attain final nirvana, it is not through violence on the part of another. Go to your dwellings, monks; Perfect Ones need no protecting.” (Adapted from Life of the Buddha, pp. 262-263) In the meantime, Devadatta was preparing one more attempt to kill the Buddha. Presumably this occurred when the Buddha was well enough to walk again on the morning alms rounds. At that time there was a savage elephant at Rajagriha called Nalagiri, a man-killer. Devadatta went into Rajagriha to the elephant stables. He said to the mahouts: “We are known to the king and influential. We can get those in low places promoted, and we can get food and wages increased. So when the monk Gautama comes down this road, let the elephant Nalagiri loose into the road.” “Even so, Lord,” they replied. Then when it was morning, the Blessed One dressed, and taking his bowl and outer robe, he went into Rajagriha for alms with a number of monks. Then the Blessed One entered that road. The mahouts saw him, and they turned the elephant loose into the road. The elephant saw the Blessed One coming in the distance. When he saw him, he raised his trunk, and with his ears and tail erect, he charged towards the Blessed One. The monks saw him coming in the distance. They said: “Lord, the savage elephant Nalagiri, the man-killer, is loose in the road. Lord, let the Blessed One turn back; Lord, let the Sublime One turn back.” “Come, monks, do not be afraid. It is impossible, it cannot happen, that anyone can take a Perfect One’s life by violence. When Perfect Ones attain final nirvana, it is not through violence on the part of another.” A second and third time the monks said the same thing and received the same answer. Now at that time people in the palaces and houses and huts were waiting in suspense. Those of them without faith or confidence, the unwise and indiscreet, said: “The Great Man who is so handsome will get hurt by the elephant.” And the faithful and confident, the wise and discreet, said: “Soon tusker will be contending with tusker.” (Ibid, pp. 263-264) I can only note that Nalagiri must either have been moving in slow motion, or else the road he was charging down was extremely long for all of this conversation between the Buddha and the monks to have occurred, and for all the people in town to have time to speculate on what would happen when Nalagiri reached the Buddha. Of course, there is more than a little dramatic license at work in this telling of the story, assuming that it was based on a literal event in the first place. Then the Blessed One encompassed the elephant Nalagiri with thoughts of loving-kindness. The elephant lowered his trunk and he went up to the Blessed One and stood before him. The Blessed One stroked the elephant’s forehead with his right hand and addressed him with these stanzas: O elephant, do not attack a tusker, For it is hurtful to attack a tusker; There is no happy destiny beyond For one who kills a tusker. Have done with vanity and recklessness; The reckless have no happy destiny. So do you act in suchwise that you go To a happy destination. The elephant Nalagiri took the dust of the Blessed One’s feet with his trunk and sprinkled it on his head, after which he retreated backwards for as long as the Blessed One was in sight. Then he went to the elephant stables and stood in his own place. It was thus that he was tamed. Now at that time people sang this stanza: Some tame by means of sticks, And some with goads and whips; But here a Sage has tamed a tusker, Using neither stick nor weapon. (Ibid, p. 264) Whether something like this actually happened or not, the whole incident seems to be a way of dramatizing the Buddha’s confidence and the power of his loving-kindness to tame even a murderously enraged animal. Assuming for a moment that this incident actually occurred, why didn’t the Buddha simply step out of the way? I don’t think it was simply a matter of self-confidence or wanting to perform a miracle. Nalagiri was not just a danger to the Buddha, but to all of the people of Rajagriha. He had to be tamed before someone was hurt or killed, and the Buddha knew that in that moment he was the only one who could do it. Furthermore, if he did not tame Nalagiri, undoubtedly the soldiers from the palace would have been sent out to kill the animal. So the Buddha was also saving Nalagiri’s life as well. In this, one can contrast the hatred and cruelty of Devadatta, who did not care who else got hurt as long as he succeeded in his ambitions, with the Buddha, whose compassion encompassed all the people of Rajagriha and even the killer-elephant. As for Devadatta, he had gone too far, and now all the people of Rajagriha knew what he was up to. Even King Ajatashatru knew that it was time to distance himself from the Buddha’s murderously ambitious cousin. Devadatta was cut-off. No longer could Devadatta rely on the king’s patronage, and no longer would he wield any influence in the palace. If Devadatta had not already left the Sangha to form a schismatic group he would undoubtedly have been expelled for his multiple attempts to murder of the Buddha. People were annoyed, they murmured and protested: “This wretch Devadatta is actually wicked enough to try to kill the monk Gautama who is so mighty and powerful!” And Devadatta’s gain and honor shrank away while the Blessed One’s gain and honor grew greater. (Ibid, p. 264) Queen Vaidehi Aspires to the Pure Land While Devadatta was pursuing his wicked schemes, King Bimbisara languished in prison, secretly fed by Queen Vaidehi. Eventually, the usurper Ajatashatru caught on to what was happening. The following account of what happened is taken from the Sutra of Meditation on the Buddha of Infinite Life: Ajatashatru asked the sentries guarding the gates, “Is my father the king still alive?” They said, “The king’s consort smears honey mixed with roasted barley flour on her body. She then fills her jeweled crown with juices and offers it to the king. The Buddha’s disciples such as Maudgalyayana and Purna and others come swooping down from the sky to expound the Dharma for the sake of the king. We have not been able to prevent this.” Ajatashatru heard this account and was angry. He said, “Even though she is my mother, if she consorts with those who violate the laws of the country, she must also be considered an enemy of the state. Moreover, how dare these evil monks with their magical powers keep this evil king alive!” The he drew his sword and attempted to kill Vaidehi the consort of the king. At that moment the minister Chandraprabha together with the physician Jivaka bowed down to the king and said, “From the Vedas we learn that since the creation of heaven and earth, there have been eighteen thousand evil kings who slew their fathers in order to usurp the throne. But there is none so vicious that he slew his own mother. If you commit this foul deed you will bring disgrace upon the kshatriya caste. We cannot bear such a deed, for anyone who performs such an act is an outcaste. We cannot stay here any longer.” The two men, with their hands on the hilts of their swords, spoke these words as they slowly inched their way backwards. Ajatashatru was stunned and terrified; he said to Jivaka, “Are you not going to help me?” Jivaka said, “Do not kill your mother.” The king repented his erroneous ways and sought their help; he threw away his sword and ordered his palace officials to confine his mother to the private palace. (Buddha-Dharma, pp. 552-553) Fortunately for Ajatashatru, the minister Chandraprabha and the physician Jiavaka had the integrity and courage to oppose him in his impulsive desire to kill Vaidehi. They could not stop him from imprisoning her and resuming the starvation of Bimbisara, but they at least stopped him from committing a crime so heinous that it would have dishonored the warrior caste and perhaps lead to more unrest and chaos within the kingdom. Their principled opposition displayed a loyalty far deeper than mere acquiescence. The Sutra of Meditation on the Buddha of Infinite Life goes on to tell how Queen Vaidehi in desperation called out to the Buddha who was staying on Vulture Peak in the hopes of receiving miraculous visits from his disciples, just as Maudgalyayana and Purna had visited Bimbisara over the previous three weeks. In response to her plea, the Buddha himself appeared accompanied by Ananda and Maudgalyana and a heavenly entourage. Vaidehi then expressed her doubts and despair to the Buddha. The king’s consort, of her own accord, tore away her necklace and threw herself onto the great earth. Bursting into tears, she said to the World Honored One, “World Honored One, what evil deeds did I commit that I must bear the fruit of giving birth to such an evil child as this, and by what conditions did the World Honored One become a relative of Devadatta? World Honored One, for my sake, please show me the path that is free of sorrow; I have grown weary of this wretched, evil world. This world is an assembly of unhappy beings such as hell beings, hungry ghosts, and animals. From now on, I do not wish to hear unhappy voices nor see unhappy beings. I now face the World Honored One and prostrate myself on the great earth. I beg for your pity as I drown in tears of contrition. I beg of you, World Honored One who dwell amidst the world’s light, please let me gaze upon a pure land.” (Ibid, p. 553) Vaidehi’s distress is representative of all those who have suffered tragedy and injustice. Her anguish is especially acute because it was her own son who has betrayed her. She also wonders why it was the Buddha’s own cousin who had betrayed him and instigated these tragic events. What did any of them do, in either their present or past lives, to deserve such suffering? Is there a better world where such things do not happen? The Buddha did not answer Vaidehi’s questions regarding Ajatashatru or Devadatta in the Sutra of Meditation on the Buddha of Infinite Life. Perhaps this is because they were taken to be rhetorical questions, an expression of Vaidehi’s suffering and confusion. They are interesting questions however, questions that are addressed in other sutras. Earlier, the story was told in which Bimbisara had a hermit killed, in order to hasten that hermit’s birth as his son Ajatashatru. Bimbisara later grew afraid of the baby and had him dropped from a tower, but Ajatashatru survived. Another account told of how Vaidehi had tried to abort him. It would seem that Ajatashatru’s parents were not so loving and innocent; Ajatashatru had grown up under a cloud of suspicion and even hostility from the moment he was born, or even before. As for Devadatta, his lifelong jealousy towards the Buddha has already been recounted. Even a Buddha cannot please everyone, or force people to react in a positive rather than a negative way. In our pain, we sometime forget the ways in which we might have caused suffering to others through our actions and attitudes. We also forget that we cannot control others. Even our good causes cannot override the free will of other people, and it is possible that other people may show ingratitude or even repay our kindness with cruelty. This does not mean that we should not do our best to make good causes or do our best for others, but it does mean that one of the good causes we might need to make is to cultivate patience and understanding when faced with the consequences of our own mistakes or with the ingratitude or even injurious actions of others, trusting that in the long run balance and harmony will be restored as the law of cause and effect unfolds. The Buddha does, however, respond to the request to see a better world. He grants to Vaidehi a vision of pure lands throughout the ten directions. These pure lands are essentially heavenly realms where all who are reborn in them can learn and practice the Dharma under the guidance of their presiding buddhas in conditions that are perfectly conducive to attaining enlightenment. Vaidehi then announces that she aspires to be reborn in Sukhavati, the pure land of Amitayus Buddha, the Buddha of Infinite Life (aka Amitabha aka Infinite Light). At that time, the Word Honored One smiled, and a light of five different hues shot forth; that light shone on the head of King Bimbisara. Although the king was imprisoned, his mind’s eye saw the World Honored One at a distance, and nothing blocked his view. He reverently bowed; the bonds of delusion of themselves came loose, and the king attained enlightenment. The World Honored One said to Vaidehi, the king’s consort, “Are you not aware that Amitayus Buddha does not dwell far from this place? You ought to think upon Amitayus Buddha’s land of Sukhavati, which was created by virtuous deeds. If you wish to be born in this country, you must perform the three kinds of virtuous deeds. First, you must dutifully attend your parents, serve your teacher faithfully, and be compassionate and refrain from committing the ten grave offences of murder, theft, sexual misconduct, false speech, slander, harsh speech, frivolous talk, covetousness, ill-will, and false views. Second, you must take refuge in the Buddha, Dharma, and the Sangha, observe all the precepts, and uphold your dignity. Third, you must aspire to seek enlightenment, profoundly believe in the principle of cause and effect, read the sutras, and expound their teachings to others. Vaidehi, these three are the virtuous deeds that lead to birth in the Pure Land. The buddhas of the past, present, and future all attained enlightenment on account of these three deeds that functioned as the true cause of their attainment.” (Ibid, pp. 553-554) The Buddha then teaches a total of 16 subjects for contemplation in order to be reborn in Sukhavati, the Land of Bliss. The first 13 deal with various aspects of Sukhavati and of Amitayus Buddha and his attendants Avalokiteshvara Bodhisattva (aka Kuan Yin aka Regarder of the Cries of the World) and Mahasthamaprapta Bodhisattva. The last 3 deal with contemplations involving those of high, middle or low spiritual capacity and their response to the saving power of Amitayus Buddha. The power of simply hearing and saying the name of Amitayus Buddha is especially stressed towards the end of this sutra for the sake of those who are unable to contemplate the Buddha, do good, or even refrain from evil. There are many different ways of understanding this sutra, but one interpretation of it could be that to envision Sukhavati, and Amitayus Buddha, and his bodhisattva attendants is to uplift one’s mind and heart and to transcend one’s preoccupation with whatever suffering one is in or whatever evil states of being one is caught up in. This breaks the cycle of negativity and allows the light of truth and compassion to come into one’s life and transform it. It is a skillful method whereby those in deep suffering who have despaired of life or of this world can envision a better world and the qualities of the buddhas and the bodhisattvas. They thereby open their eyes to the buddha qualities within their own life and in doing so realize the true nature of this world and the beings in it. The Pure Land teaching and method, can be understood to be about a literal rebirth in the Pure Land of Amitayus Buddha through accepting the salvific power of that buddha, but in essence it’s aim is to bring about the inner revolution of enlightenment in this very life that will unfold without cease into the future. When the World Honored One had finished expounding this, the consort Vaidehi and a host of ladies-in-waiting all saw the world of Sukhavati, Amitayus Buddha, and his two attendant bodhisattvas. Their minds overflowed with joy; great enlightenment unfolded spontaneously; and they were able to see the world as it was. The World Honored One then predicted the day on which they would attain enlightenment. The World Honored One said, “If a person hears the name of Amitayus Buddha, evils that lead to endless transmigration are destroyed. Should they contemplate his name, all the more so will this be true. Truly, those who contemplate the Buddha are lotuses among evil people. The two bodhisattvas Avalokiteshvara and Mahasthamaprapta become their friends; they never deviate from the path, and in the end they will be born in Sukhavati.” He then said to Ananda, “Uphold these words. To uphold these words means to uphold the name of Amitayus Buddha.” After expounding the Dharma, the World Honored One returned to the Vulture Peak; Ananda, for the sake of sentient beings, traveled everywhere expounding this teaching. Because of his efforts, those who heard this teaching placed their trust in the Dharma and rejoiced. (Ibid, p. 558) The Death of King Bimbisara Through the Buddha’s teaching, Bimbisara and Vaidehi were able to transcend their present suffering and were assured of final liberation from the rounds of birth and death. Ajatashatru, however, was still dominated by paranoia, hatred, and cruelty and was as determined as ever to make his father suffer and die. Ever since his consort was imprisoned, King Bimbisara was denied all food. Peering through his window, he gazed upon the verdant green Vulture Peak; this provided some consolation for his mind. However, when Ajatashatru heard of this, he blocked up the window and slashed the soles of the king’s feet, so that the king could not stand. Around that time, Ajatashatru’s child Udaya was suffering from a boil on the tip of his finger. Therefore, Ajatashatru, while hugging his child to his bosom, sucked away the pus. Vaidehi, the king’s consort, who was sitting nearby, observed this and said, “King, when you were small, you suffered from an identical boil. Your father, the great king, just as you did, sucked away its pus.” When Ajatashatru heard this, his anger toward his father the king suddenly changed into thoughts of love. He said to his ministers, “If there is someone who will report that my father the king is alive, I shall grant him half of this country.” People rushed to where his father the king was being held. But the king, hearing the clamorous footsteps, became terrified and thought, “They are going to inflict severe punishments on me.” In agony, he collapsed onto the bed and breathed his last. Blinded by worldly pleasures, Ajatashatru, who thus caused the death of his innocent father the king, was now best with contrition. His body suffered from high temperature; his whole body was covered with boils. The boils oozed pus and were so foul smelling that it was hard to come near him. He pondered, “Now, in this world, I receive something like the fruits of hell. Before long, I shall receive the fruits of the actual hell.” His mother Vaidehi was struck with grief and smeared various medicines on his body, but the boils would not heal. King Ajatashatru said to his mother, “These boils grow out of the mind and not from the body. They cannot be healed by human power.” (Ibid, p. 560) The death of King Bimbisara is said to have occurred in the 38th year of the Buddha’s teaching mission. According to the Pali account, Vaidehi died of grief shortly thereafter. This led to a dispute between King Ajatashatru and his uncle, King Prasenajit of Koshala, the brother of Vaidehi. In the 39th year of the Buddha’s teaching mission King Prasenajit led his Koshalan troops to reclaim a village that had been given to Magadha as part of Vaidehi’s dowry when she married King Bimbisara. King Prasenajit declared that Bimbisara’s parricidal son had no right to it. King Ajatashatru led his own Magadhan troops to take back the village and to further his own imperialistic ambitions. The following discourse recounts what happened as well as the Buddha’s comments: Thus I heard. The Blessed One was living at Shravasti. Now at that time Ajatashatru Vaidehiputra, King of Magadha, mustered a four-constituent army with elephants, cavalry, charioteers and infantry, and he marched into the Kashi country against Prasenajit, King of Koshala. King Prasenajit heard about it, and himself mustered a four-constituent army, he advanced into the Kashi country to engage King Ajatashatru in battle. The two kings fought. In that war King Ajatashatru beat King Prasenajit, who retreated to his own royal capital, Shravasti. Monks gathering alms in Shravasti heard about this, and they went and told the Blessed One. He said: “Monks, Ajatashatru Vaidehiputra, King of Magadha, has bad friends, bad allies, bad intimates; Prasenajit, King of Koshala, has good friends, good allies, good intimates. But King Prasenajit will pass this night in suffering as one who is beaten.” One vanquished has a bed of pain, A man of peace can lie in quiet – No conquest or defeat for him. Later the two kings fought as before. But in that battle King Prasenajit captured King Ajatashatru alive. Then it occurred to King Prasenajit: “Though this Ajatashatru Vaidehiputra, King of Magadha, has injured me who did him no injury, still he is my nephew. Why should I not confiscate all his elephants, his horses, his chariots and his infantry, and let him go alive?” Monks gathering alms in Shravasti heard about this, and they went and told the Blessed One. Knowing the meaning of this, the Blessed One then uttered this exclamation: A man may plunder as he will. When others plunder in return, He, plundered, plunders them again. The fool believes he is in luck As long as evil does not ripen; But when it does, the fool fares ill. The slayer gets himself a slayer, The victor finds himself a conqueror, The abuser gets himself abused, The persecutor persecuted; The wheel of deeds turns round again And makes the plundered plunderers. (Adapted from Life of the Buddha, pp. 271-272) After suffering defeat and then a merciful reprieve from his uncle, King Ajatashatru returned home and turned to philosophy for a time. His guilt over the murder of his father and the accompanying illness had not gone away. He also dreaded the consequences of his deeds if they should come to fruition in a future life. In order to ease his mind he visited the six unorthodox (from a Vedic point of view) teachers who all rejected the authority of the Vedas, the divinely revealed scriptures of the brahmins. These six included: Purana Kashyapa, who denied that moral causes will have an effect in a future life; Maskarin Goshali, who taught that everything is predestined and that liberation is a simple matter of just letting events unfold like letting a string unwind; Samjayin Vairatiputra the skeptic, who took an agnostic position on all matters; Ajita Keshakambala the materialist, who denied rebirth altogether; Kakuda Katyayana the pluralist, who taught that both the physical and spiritual elements that make up life disperse at death with no continuity; and Nigrantha Jnatiputra, the founder of Jainism, who taught that our actions bind us to suffering regardless of our intentions and that only complete inaction can lead to liberation. Four of them denied the law of cause and effect in terms of the consequences of moral and immoral actions. Samjayin Vairatiputra denied that there could be any certainty about such things. Nigrantha Jnatiputra held a very rigid view of cause and effect that demanded an ascetic life of inactivity. King Ajatashatru did not find any of these teachings satisfactory. His sickness remained, as did his guilt and dread of the future. King Ajatashatru Sees the Buddha Eventually, the physician Jivaka was able to persuade King Ajatashatru to visit the Buddha. According to the account in the Mahayana Mahaparinirvana Sutra: At that time, there was a great physician named Jivaka. This man also visited the king’s sickbed and said, “Great king, are you able to sleep soundly?” The king said, “Jivaka, I have been suffering from a grave illness. I inflicted vicious and grievous injury on my father the king, who followed the true Dharma. The grave illness that resulted from that act cannot be healed, no matter how great the physician, the incantation, or the care. The reason is that the former king ruled the country well, in accordance with the Dharma. Although he was not guilty of any offense, I inflicted on him vicious and grievous injury. It was as if I had pulled a fish out of the water and thrown it onto land. I once heard from a sage that those whose three actions of body, mouth, and mind are not pure will without fail plunge into hell. I am an example of that; how can I sleep in peace? There are no physicians who, expounding the medicine of the Dharma, can heal me of this illness and its suffering.” Jivaka said in response to this, “Now, now. Although you have committed offences, now you are experiencing profound remorse and contrition. Great king, the Buddha always teaches that there are two minds that save one. The first is the mind that strives not to commit offences. The second is the mind that strives not to cause others to commit offences. Or, the first is the mind that looks within and repents, and the second is the mind that is contrite toward others. Or, the first is to feel remorse before other people, and the second is to feel remorse before the gods. These are the meanings of contrition. He who lacks this mind of contrition is not a human being but rather an animal. Because we possess this mind of contrition, the mind that venerates parents and teachers also comes into being, and harmony between brothers and sisters is established. I am truly joyful that you have experienced this contrition. Great king, you just said that there is no physician who is able to heal you of your grave illness; that is exactly so. However, great king, please consider this well. The great Arhat, the World Honored One, is the person most worthy of the world’s veneration. He possesses a diamond-like wisdom that destroys all obstructions with ease; he destroys all offences. The Buddha, the World Honored One, will heal you of your grave illness.” (Buddha-Dharma, pp. 564-565) The same sutra states that Bimbisara even spoke from the heavens at this point so that he could advise his son to forget the false teachings of the six unorthodox teachers and to hurry and see the Buddha. The Buddha, through his supernatural powers, observes all of this and tells his disciples that it is for Ajatashatru’s sake that he remains in the world, because Ajatashatru represents all the ignorant and defiled beings that have not yet been able to perceive their buddha-nature. The Buddha then enters the Moon Loving Meditation and emits a pure and soothing light that reaches Ajatashatru and cures him of the boils. King Ajatashatru is amazed by this and asks Jivaka why the Buddha did this. Jivaka explains that the Buddha loves all people as though they were his own children, but is especially concerned for those who have committed grave offences and who do not follow the path to enlightenment. Now that King Ajatashatru’s bodily sickness has been healed, the Buddha will wish to see him personally in order to cure his mental distress. Still observing, the Buddha explains to his disciples that the most important factor that will lead people to enlightenment is a good friend, such as Jivaka is to King Ajatashatru. None of this appears in an earlier version of the first meeting of King Ajatashatru and the Buddha told in The Fruits of the Homeless Life Discourse (Samannaphala Sutta). That discourse does not mention any illness, though it does mention that while observing the full moon one night King Ajatashatru made the following pronouncement: “Delightful, friends, is this moonlight night! Auspicious is this moonlight night! Can we not today visit some ascetic or brahmin, to visit whom would bring peace to our heart?” (Long Discourses, p. 91) His ministers suggest that they visit one or the other of the six unorthodox teachers but King Ajatashatru was not interested in seeing any of them. At that point Jivaka suggests a visit to the Buddha. King Ajatashatru was agreeable to this and so Jivaka took him to the in the Mango Grove Monastery that Jivaka had earlier donated to the Sangha. When they arrived the Buddha and his disciples were sitting silently in meditation. At first, King Ajatashatru even feared that he was being led into a trap. On the night of the full moon, several hundred elephant carriages with torches at their heads quietly made their way toward the forest. When at last they entered the forest, King Ajatashatru was suddenly beset with fear; trembling, he said to Jivaka, “Jivaka, you are not planning to betray and hand me over to the enemy are you? What an eerie silence! They say there are over one thousand disciples, and yet not one sneeze or cough can be heard. I cannot help but think that there is some kind of plot afoot.” Jivaka said, “Great king, advance without fear. There is a light burning in that forest retreat. The World Honored One resides there.” The king was bolstered by Jivaka’s words, and lowering himself from the elephant he went into the forest. Approaching the World Honored One, he bowed and begged to be taught by the Buddha. (Buddha-Dharma, p. 567) In the discourse that follows, King Ajatashatru tells the Buddha about the teachings of the six unorthodox teachers and then asks the Buddha what is to be gained from leaving home to follow the Buddha’s teaching. In the end, King Ajatashatru is impressed by the Buddha’s moral vision and his explanation of the way to achieve liberation from birth and death. He takes refuge in the Three Treasures, repents of the murder of his father, and then goes his way. But in this version of their meeting the Buddha’s prognosis is not so positive. At this King Ajatashatru exclaimed: “Excellent, Lord, excellent! It is as if someone were to set up what had been knocked down, or to point out the way to one who had got lost, or to bring an oil-lamp into a dark place, so that those with eyes could see what was there. Just so the Blessed Lord has expounded the Dharma in various ways. And I, Lord, go for refuge to the Blessed Lord, to the Dharma, and to the Sangha. May the Blessed Lord accept me from this day forth as a lay-follower as long as life shall last! Transgression overcame me, Lord, foolish, erring and wicked as I was, in that I for the sake of the throne deprived my father, that good man and just king, of his life. May the Blessed Lord accept my confession of my evil deed that I may restrain myself in future.” “Indeed, Sire, transgression overcame you when you deprived your father, that good man and just king, of his life. But since you have acknowledged that transgression and confessed it as is right, we will accept it. For he who acknowledges his transgression as such and confesses it for betterment in future, will grow in the noble discipline.” At this, King Ajatashatru said, “Lord, permit me to part now. I am busy and have much to do.” “Do now, Your Majesty, as you think fit.” Then King Ajatashatru, rejoicing and delighting at these words, rose from his seat, saluted the Lord, and departed with his right side towards him. As soon as the King had gone, the Lord said: “The King is done for, his fate is sealed monks! But if the King had not deprived his father, that good man and just king, of his life, then as he sat here the pure and spotless Dharma-eye would have arisen in him.” (Long Discourses, pp. 108-109) What the Buddha meant by this is that if King Ajatashatru had not committed the grave offence of killing his father, then he would have deeply understood the Dharma and become a stream-enterer. But since he had committed such an offence, he was doomed to fall into the Avichi Hell. However, he did affirm that acknowledging his transgression and repenting of it would be to his benefit in the future. So from the Buddhist perspective, once the detrimental karma that would lead to rebirth in the Avichi Hell had been exhausted, then other more wholesome karma of would have a chance to ripen. The Mahayana Mahanirvana Sutra is more positive. In it’s version, the Buddha’s assessment of the power of repentance is much more optimistic. In addition, King Ajatashatru not only repents but also arouses bodhicitta, the aspiration for enlightenment so that he may help other beings be rid of defilement. The World Honored One bestowed a diversity of teachings on Ajatashatru. He said, “Great king, for those with a mind of contrition, offences are no longer offences. Those without a mind of contrition will be chastised forever by their offences. You are a man of contrition; your offences will be purified; there is no need to be afraid.” Having received this teaching, Ajatashatru said to the World Honored One, “As I survey the world, I observe that from the seed of the toxic tree called the castor oil tree, a castor oil tree grows. I have yet to see a sandalwood tree grow from the seed of a castor oil tree. However, now for the first time, I have witnessed a sandalwood tree grow from the fruit of a castor oil tree. I am talking about myself. The sandalwood tree refers to the rootless faith that has sprouted forth in my mind. So far I have yet to serve the Buddha with reverence or seek refuge in the Dharma or the Sangha. Nevertheless, faith has suddenly sprouted in me; therefore I call this faith rootless faith. World Honored One, if I had been unable to meet the Buddha, I should have fallen into hell for an infinite number of kalpas and addicted with endless suffering. Now I bow to the Buddha; with all of the merits that I can accumulate, my fervent wish for the future is to destroy other people’s defilement.” The World Honored One said, “Very good, very good, great king! I have foreseen that you will destroy people’s defilements with your merits, expunging the defilements in their minds.” Ajatashatru said, “World Honored One, if I am able to destroy people’s evil intentions, even though I should experience enormous suffering for an infinite number of kalpas in the Avichi hell, I shall not think of this as suffering. Hearing these words of Ajatashatru, a large number of Magadhans spontaneously aroused the aspiration for enlightenment. Because of this, Ajatashatru was able to mitigate his grave offences. (Buddha-Dharma, pp. 567-568) The Mahayana Mahanirvana Sutra account is full of fantastic elements, supernatural events, and teachings that developed long after the Buddha’s passing. It uses the original story from The Fruits of the Homeless Life Discourse to dramatize several important themes of Mahayana teaching and practice, namely the Buddha’s compassion for those who have created their own suffering and are lost and confused, the importance of a good friend, the importance of recognizing and repenting of one’s misdeeds, the way in which spiritual practice and the concern and care of others can alleviate mental and physical illness, the universality of buddha-nature, and most importantly the transformation of an icchantika into a bodhisattva. Devadatta’s End Devadatta had just lost his royal patron for good. He, of course, had not repented in the slightest but was in fact still scheming and plotting to restore his former fortunes. Ajatashatru then said to the ministers, “From this day forward, I seek my refuge in the World Honored One and his disciples. From now on, we must invite the World Honored One and his disciples to my palace, but we must not allow Devadatta and his cohorts to enter the palace. Unaware of this, one day Devadatta arrived at the palace gates. The sentries who guarded the gates repeated what the king had said and blocked Devadatta’s path. Seething inside with anger, he stood outside the gate. Just then the nun Utpalavarna, who had finished her round of begging, came walking out of the gate. When he spied the nun, instantaneously he exploded with anger. “What hatred do you harbor toward me that prompts you to bar me from passing through the gate?” Using abusive language, he clenched his fist and struck the nun’s head. The nun endured the pain and told him that this was unreasonable, but in the end Devadatta broke her head. The nun endured the pain and returned to her nunnery. She said to the nuns who were horror-struck and grieving, “Sisters, one’s life span cannot be calculated; all things are impermanent. A quiescent place free of defilement is nirvana. All of you, exert yourselves with diligence and cultivate the virtuous path.” After speaking these words, she entered nirvana. (Ibid, pp. 568-569) The nun Utpalavarna, was in fact an arhat, someone who had attained liberation in their lifetime. By killing her, Devadatta had committed yet another of the five grave offences, for a total of three. There was no evil that he was not capable of, and he still hoped to kill the Buddha. Finally Devadatta smeared poison onto the nails of his ten fingers and plotted to draw near the World Honored One, who was staying at the Jeta Grove Monastery. The disciples spied Devadatta’s figure, and because they were concerned about the safety of the World Honored One, they felt great fear. However, the World Honored One said, “There is no need to be afraid. Today, Devadatta will not be able to see me.” Meanwhile, Devadatta approached the monastery and went to the shore of the lake where disciples washed their feet. There for some time he rested under the shade of a tree. Repeating what he had said before, the World Honored One pacified his fearful disciples. At this moment, the great earth on which Devadatta stood of itself sank down and burst into flames. It soon buried his knees, then it reached up to his navel and finally his shoulders. Burned by the fire, Devadatta repented his grave offences and sank down. Two gold levers squeezed Devadatta from the front and back, pulled him downward into the great earth, which was consumed in flames, and dragged him down into the Avichi Hell. (Ibid, p. 569) That was the end of Devadatta according to the Ekottaragama Sutra. The Pali commentaries simply say that he was ill for nine months and that when it was apparent that he was going to die he asked to be taken on a litter to see the Buddha in order to repent, but that before this could be done he was swallowed up by the earth and fell into hell as in the above version. The Pali commentaries further state that in the far future Devadatta would be released from the Avichi Hell and attain liberation as the private-buddha named Atthissara. After such a tale of incorrigible evil, it is remarkable that even the more conservative Theravadin tradition insists that the chief villain of the story will eventually expiate his evil karma and attain enlightenment. The Lotus Sutra is even more hopeful than any of the previous works. The Lotus Sutra opens with the Buddha giving a discourse on Vulture Peak outside of Rajagriha. It would seem to be set in a period after all of the above events, because Devadatta is not present but King Ajatashatru is in the assembly. Many of the Buddha’s monastic disciples receive predictions of buddhahood either by name or as part of a group in the first nine chapters of the Lotus Sutra. In chapter ten, all who are present have their buddhahood predicted providing that they rejoice upon hearing the sutra. Presumably this would extend to King Ajatashatru as well. Thereupon the World Honored One said to Medicine King Bodhisattva in the presence of the eighty thousand great men: “Medicine King! Do you see the innumerable gods, dragon-kings, yakshas, ghandharvas, asuras, garudas, kimnaras, mahoragas, men, and nonhuman beings, and [the four kinds of devotees:] monks, nuns, laymen, and laywomen, and those who are seeking to become voice-hears or private-buddhas or the enlightenment of the buddha in this great multitude? If in my presence any of them rejoices, even on a moment’s thought, at hearing even a verse or phrase of the Wonderful Dharma of the Lotus Flower Sutra, I will assure him of his future buddhahood, saying to him, ‘You will be able to attain perfect and complete enlightenment.’” (Lotus Sutra, p. 171) In chapter twelve the Buddha reveals something even more startling. He explains that in a past life, he was a king who had renounced his throne in order to attain enlightenment while Devadatta was a seer who taught him and introduced him to the Lotus Sutra. The Buddha goes so far as to attribute his attainment of buddhahood to Devdatta’s past teaching. Furthermore, in the future, Devadatta will himself attain buddhahood. The Buddha said to the monks: “The king at that time was a previous life of myself. The seer at that time was a previous life of Devadatta. Devadatta was my teacher. He caused me to complete the six perfections. He caused me to have loving-kindness, compassion, sympathetic joy, and equanimity. He caused me to have the thirty-two major marks and the eighty minor marks [of the Buddha]. He caused me to have my body purely gilt. He caused me to have the ten powers and the four kinds of fearlessness. He caused me to know the four ways to attract others. He caused me to have the eighteen properties and supernatural powers [of the Buddha]. He caused me to have the power of giving discourses. I attained perfect enlightenment and now save all living beings because Devadatta was my teacher.” He said to the four kinds of devotees: “Devadatta will become a Buddha after innumerable kalpas. He will be called Heavenly-King, the Tathagata, the Deserver of Offerings, the Perfectly Enlightened One, the Man of Wisdom and Practice, the Well-Gone, the Knower of the World, the Unsurpassed Man, the Controller of Men, the Teacher of Gods and Men, the Buddha, the World Honored One.” (Ibid, p. 197) In the Lotus Sutra, the tale of Ajatashatru and Devadatta comes to a triumphant conclusion. There is no denying that they performed heinous acts, and they do in fact have to suffer for them. In the end, however, Buddhism sees even the icchantika or incorrigible evildoer as redeemable, even if not necessarily within this lifetime. The view taught in the Lotus Sutra is that not only are they redeemable, they are in fact future buddhas, who have yet to bring out their true qualities. Sources Buddhaghosa, Bhadantacariya. The Path of Purification (Visuddhimagga). Kandy: Buddhist Publication Society. Horner, I.B., trans. The Book of the Discipline Volumes 1-6. Oxford: Pali Text Society: 1993. Inagaki, Hisao. The Three Pure Land Sutras. Kyoto: Nagata Bunshodo, 1995. Lotus Sutra. Murano, Senchu trans. Tokyo: Nichiren Shu Shimbun Co. Ltd., 1991. Nanamoli, Bhikkhu. The Life of the Buddha. Seattle: Buddhist Publication Society Pariyatti Editions: 1992. Nanamoli, Bhikkhu and Bodhi, Bhikkhu trans. The Middle Length Discourses of the Buddha: A New Translation of the Majjhima Nikaya. Boston: Wisdom Publication, 1995. Narada, Mahathera. The Buddha and His Teachings (Second Revised and Enlarged Edition). Kandy: Buddhist Publication Society, 1988. Numata Center for Buddhist Translation and Research Editorial Staff. Buddha-Dharma: The Way to Enlightenment (Revised Second Edition). Berkeley: Numata Center for Buddhist Translation and Research, 2003. Ray, Reginald A. Buddhist Saints in India: A Study in Buddhist Values & Orientations. New York: Oxford University Press, 1994. Schumann, H.W. The Historical Buddha: The Times, Life and Teachings of the Founder of Buddhism. New York: Arkana, 1989. Thomas, Edward J. The Life of Buddha: As Legend and History. Mineola: Dover Publications, Inc., 2000. Walshe, Maurice trans., The Long Discourses of the Buddha: A Translation of the Digha Nikaya. Boston: Wisdom Publications, 1995.	Gautama Buddha
Which 12th century Cistercian Abbey’s remains stand just outside Ripon?	Buddhism \| The Case for a Vegan World \| Fandom powered by Wikia In Buddhism several viewpoints can be distinguished, according to the particular school of Buddhism that is referred to: Theravada, Mahayana or Vajrayana. Theravada (The Pali Canon) Edit Many of the text cited in debates about Theravāda Buddhism and vegetarianism derive from the monastic code (Vinaya) although there are also important sources from lectures given to laypeople. In general, (1) the teachings directed at laypeople concern non-violence (including the refusal to kill insects, rodents and snakes) whereas (2) the teachings directed at monks concern the propriety of accepting donations of food (while living as a mendicant). [1] The diversity of these two categories of text in the ancient (Pali) canon results in considerable (and still ongoing) controversy about vegetarianism in the Theravāda world today, where a mix of traditions can be found (e.g., refusing to eat meat during the full moon is a common sign of piety in Southeast Asia, and the refusal to raise farm-raised animals (as opposed to wild animals) was common in Cambodia, but year-round vegetarian traditions were rare in the region). Teachings for Laypeople Edit For general people (or laypeople - not monks) Buddha just said that if they want to be good people and take up his teachings, they should follow the five precepts. The first precept calls for abstention from taking the life of living beings. Selling meat is also on the list of forbidden professions for laypeople, along with selling alcohol and armaments/weapons. In general, this distinction is insisted upon throughout the Theravada Buddhist tradition in such countries as Thailand, Burma and Sri Lanka, where monks do not teach people to abstain from eating meat, but to abstain from killing living beings, with the excuse often being offered that the butcher (or shop-keeper) from whom the meat was purchased is non-Buddhist. Although it is recognized that when one buys meat, there is a causal effect in that part of the money will often go to the people who kill for meat, this is not seen as affecting one's inherent morality. Buying is not killing, and the meat could very well come from an animal which died a natural death. Buying meat, one does not have the intention to kill a living being. The quality of one's intention is what determines one's karma, so if the intention is not to kill but to buy, one does not make the bad karma of killing a living being. One is not inflicting pain and suffering on a fellow living being, although it can be said one is acting in a way which, unintentionally, causes it. At the time of the Buddha, the meat-industry as it exists today did not exist, and so the meat would not carry all the chemicals and hormones that it does nowadays. The adverse benefit to one's health would thus be significantly lower than with the meat that is available today in the regular supermarket. Teachings for monks Edit For monks the situation is different, as monks are forbidden to use money, and are also forbidden to prepare their own food. They are dependent on laypeople for gifts of food for their daily meals, which can only be eaten in the morning-time. The one significant rule regarding the eating of meat for buddhist monks is directly linked to killing living beings. If a monks has seen, heard or suspects that the meat he is offered comes form an animal which is especially killed for the purpose of feeding monks, he is not allowed to receive that meat, and he should tell the donors why he cannot accept that meat. Otherwise, he is free to receive and eat meat for sustaining and feeding the body, and for dispelling the feelings of hunger. A practical example is that if a family does not follow the advice of Buddha not to kill, and kills a chicken to provide food for themselves, a monk is free to accept (part of) this meat since it has not been prepared with the specific purpose of feeding a monk. When Buddha was advanced in age there was a monk called Devadatta, who wanted to become the leader of the monks, and who is famous for trying to kill the Buddha several times in order that the position he coveted would become available. Before he tried to kill the Buddha, he tried to gain control of the order of monks in another way, by striving to introduce 5 rules of which he knew the Buddha would never approve of. After receiving the refusal of Buddha to introduce those rules, he tried to establish for himself a position of strictness by proclaiming that he (Devadatta) did follow those rules. One of the rules he tried to introduce is the rule forbidding the eating of meat by monks. Consequently it is very clear in Theravada Buddhism that this rule is not part of the instructions of Buddha. However, there are many monks who take up the practice of vegetarianism voluntarily, in which case it is allowed. Buddha didn't want to make his monks 'have to' abstain from eating meat, and it is easy to imagine situations where a prohibition to eating meat would make the life of a mendicant monk too difficult. A monk in Theravada Buddhism will not encounter the situation of having to kill in order to prepare his own food, and so the whole issue of killing an animal oneself for preparing one's own meals is not relevant for these Buddhist monks. To recap: in principle, according to the teachings of Buddha contained in the Pali Canon, it is always bad karma to kill, whatever reason one uses to justify the killing. Eating, however, is not killing and is allowed. Notes ↑ Eisel Mazard, 2012, Vegetarianism and Theravada Orthodoxy, blog-article at à bas le ciel, http://a-bas-le-ciel.blogspot.com/2012/06/vegetarianism-and-theravada-orthodoxy.html Mahayana Tradition Edit The Mahayana tradition in China went through various phases and developments, and sometimes had to struggle developments of adversive religious groups, aiming to take away political and societal support from (Mahayana) Buddhism. Also, they sometimes were lax in their standards of Vinaya (monastic discipline). Because of these two circumstances, the Mahayana buddhist monks started growing their own food, which is actually forbidden by Buddha. When these monks started making their own food (and not going on almsround any more), the framework for providing food for the body for living changed for these monks: they had to actively choose what dishes to make and eat, which does not occur for those living on almsfood. Since the monks could not kill, they just made vegetarian dishes. In this way they broke one precept, but still kept the other. This was later made into a monastic rule for all Mahayana buddhists (both monks and laypeople). Arguments Edit (1) Mahayana Buddhists have traditionally followed the Buddha's vegetarian preference. (2) The first of Buddhism's Five Precepts, which a Buddhist should follow, is: 'I undertake the precept to abstain from taking life' (3). A disciple of the Buddha 'should avoid the livelihood of butchering, trading in flesh and in living beings' (this is referred to as wrong livelyhood - 'miccha ajivo'). (4) The 'Buddha taught that all sentient beings...seek to obtain pleaure and avoid pain. It therefore includes all animals, including insects'. (5) Chinese Buddhists, especially the monks and nuns, regard meat eating as repellent to the Buddha'. Objections Edit (1) It is not known if Buddha himself ate meat. Some believe that the last meal he ate was probably a dish of pig meat, while the majority of scholars believe it was a plant food favored by pigs called "Pig's Delight". (Parinibbana Sutta - Pali Canon) (2) Buddha forbade the adoption of a rule forbidding the consumption of meat by monks. (Vinaya Pitaka - Pali Canon) (3) Many currently practicing Buddhists eat meat. For example most Tibetan (Vajrayana) monks and most South-east Asian (Theravada) monks. (4) Killing a living being is not the same as eating meat. 'Simply eating' meat however, is really the same as killing it, because it would not be killed if nobody ate it. This is the hypocrisy of some Buddhist teachers. (5) Chinese Buddhists monks became vegetarian because the monks started to prepare and grow their own food, and thus stopped practicing mendicancy. Not being mendicants any more, the context of the original rules on meat-eating for monks was not valid for these Mahayana monks. The adoption of vegetarianism by Mahayana Buddhist monks was thus not a wholly ideological affair, but had a basis in a fundamental change in daily living-conditions for monks. (6) Although Mahayana and Vajrayana buddhists are in principle vegatarian, they have a permission to circumvent this rule if circumstances make vegetarianism difficult. Most Tibetan (Vajrayana) Buddhists eat meat 'because the altitude of the Tibetan mountains make the growing of crops for human consumption difficult or impossible. Tibetans who move to more fertile lands, such as America, may (or may not) become vegetarian. References for the Arguments Tsuji, 'An Outline of Buddhism', p29 Mahinda, 'The Blue Print of Happiness', p10 Roger Corless, 'The Concern for Animals in Buddhism, in Shore 'Can a Buddhist Ethic Condone Animal Cruety?', p11. Ibid, p12	i don't know
Nicknamed Napoleon, Marcus Chamat has represented Europe in which sport?	This article posted by Paul on April 9, 2015 \| Share on Facebook! \| Tweet This 9th April Marcus Chamat named as Euro captain SWEDEN’S MARCUS CHAMAT, a six-time Mosconi Cup veteran, will take the helm for Team Europe when the 2015 event takes place at the Tropicana in Las Vegas in December. The 39 year-old Swede was the life and soul of the team when Europe won for only the second time in 2002 and has an overall record of 11 victories from 26 Mosconi Cup matches played . Chamat, who carries the nickname ‘Napoleon’, takes over the job from Johan Ruijsink who retired from the position undefeated through seven Mosconi Cups. “It will be tough to follow in the footsteps of Johan and all that he did with the European team, but to be the captain of the best team in the world is really a great opportunity for anyone,” said Chamat. “I’m really overwhelmed as it’s a dream for anyone to be involved in this event as a player or coach. My heart always beats hard when it’s the Mosconi Cup going back to the very first time I played in 2000.” The 2015 PartyPoker Mosconi Cup takes place from Monday December 7 to Thursday December 10, the Europe v USA showdown is hosted for the first time at the Tropicana in Las Vegas. Chamat added, “Now I get an opportunity to coach a great European team in Las Vegas and take on the Americans. I’m sure we will come prepared but I know that they will do and try anything to change the scenario of the last few years.” Chamat, who turned professional in 1999, has enjoyed a successful career that has seen him win both in Europe and the USA. He was ranked as high as No.1 in the world in 2005 and has twice won bronze medals at WPA World Championships. Chamat still competes occasionally at the top level and he recently finished ninth at the WPA World 10 Ball in the Philippines. He is also co-owner of the highly successful Interpool Club in Gavle, Sweden, where he leads a work force of some 20 people. “I know my team will go to Vegas as favourites, but I know that doesn’t mean anything. I’ve played in enough Mosconi Cups to know that it could change at any time. “This will of course be a huge challenge, especially after what Johan has achieved but I’ve known all the players for years they know me. We have to come together as a team and then it will be real hard for the Americans to beat us. “I was in Vegas as a spectator for the 2013 Mosconi, and the way our team played there was probably the best I’ve ever seen. I’m going to celebrate this great news a little and then I’m going to focus on this job and get to work!” Tickets for the PartyPoker Mosconi Cup are available exclusively through The New Tropicana Las Vegas. Visit http://trop.lv/MosconiCup2015 , call 800.829.9034 or purchase in person at the Show Tickets desk. There is a single session on each day’s play and tickets are priced at $43.45 per session plus commission. The popular season tickets covering all four sessions are available for $154 plus commission. All prices include LET. The 2015 PARTYPOKER MOSCONI CUP is sponsored by PartyPoker, the world’s leading online poker site. The Official Table of the Mosconi Cup is supplied by Diamond Billiards, the cloth is supplied by Iwan Simonis and the Official Balls are Super Aramith by Saluc. Luke Riches, Matchroom Sport: [email protected] Notes: Matchroom Sport are one of the world’s leading producers of televised sport and are responsible for over 1,000 hours of original programming across a range of sports. Based in the UK and chaired by charismatic founder Barry Hearn, the Mosconi Cup is one of a stable of pool events that include the World Cup of Pool and the World Pool Masters. Ten Facts about the Mosconi Cup 1. Played out annually each December, the MC debuted in 1994. 2. Despite recent dominance, the Europeans still trail the USA overall by 9-11. 3. Since the early 2000’s, the event is played on an annual home-and-away basis. 4. There are a maximum 21 matches during the Mosconi Cup. The first team to reach 11 carries off the famous trophy. 5. With a potential of 20 hours broadcast time, every shot of every rack is shown live. 6. The name of the game in 9 ball, whereby the player who pockets the final ball wins the rack. 7. Over the 21 years of the event, 72 different players have taken part. 38 have represented the USA and 34 have played for Europe. 8. To date the MC has taken place in ten different venues; the Tropicana will be the 11th. 9. Both sides are made up of the very best players from both continents with three from the annual rankings and two captain’s wildcards. 10. The event is named after the legendary Willie Mosconi, arguably the greatest of them all.	Pool
Who wrote the 1904 novel The Napoleon of Notting Hill?	niels feijen : definition of niels feijen and synonyms of niels feijen (English) Niels Feijen at the Mosconi Cup 2008 Niels Feijen (born 3 February 1977) is a professional pool player, from the Hague , Netherlands . His nickname is "the Terminator". [1] [2] In 2001, Feijen reached the finals of a nine-ball tournament in Tokyo, Japan. The event had a field of more than 700 players and offered the largest prize money at that time. However, he lost to Efren Reyes . [3] In 2004, he won the inaugural Skins Billiards Championship with prize money of US$ 42,500. [4] Feijen has won the European straight pool championship four times. [5] In 2005 he was the winner of the Big Apple Nine-ball Classic , held in Queens , New York , an event with 128 of the world's best players. He represented Europe in the 2001, 2004, 2005, 2007, 2008 and 2009 Mosconi Cup events. More recently, Feijen won the 2007 $50,000 winner-take-all International Challenge of Champions by defeating Lee Van Corteza . [6] In 2008, Feijen won the World Straight Pool Championship with a victory over Francisco Bustamante in the finals. [7] On October 5, 2008, he received the 3rd prize of $25,000 in the inaugural WPA World Ten-ball Championship . [8] [9] Niels Feijen has been under contract with cue manufacturer Longoni for several years. In 2010, Feijen reached the finals of the WPA World Eight-ball Championship but ended up in 2nd place as he was dominated by Karl Boyes of Great Britain. [10] He would reach the finals of that same tournament for the second consecutive time in 2011 but only to be defeated by Dennis Orcollo of the Philippines. [11] References	i don't know
What name is given to the sensitive flesh at the base of one’s fingernails?	8 Health Warnings Your Fingernails Are Sending - Be Well Buzz Be Well Buzz Stimulating your mind, upgrading your body, and elevating your soul daily.  8 Health Warnings Your Fingernails Are Sending Written By Share On Twitter Fingernails and disease don’t go together in most minds… but they should. Your fingernails can give you valuable health warnings and signal the presence of serious disease. Take a good long look at your nails. Hold a hand level with your nose about a foot out from your face and scrutinize each one. Look at the curves, dips, ridges, and grooves. Check out how thick or thin they are and if your nails are chipped or broken. Make a note of the color of the nail itself, the skin under it, and the skin around the nail. Check your memory – have your nails always looked like this? Changes to your fingernails and disease onset are linked, so note any new developments. With this fresh view, compare what you see with this list of eight potential fingernail health warnings. 1. Discolored nails A healthy fingernail should be pink with a touch of pinkish white (moons) near the base. If your nails are a dull color or streaked with other colors, you may have a serious hidden health problem. Green nails are a sign of bacterial infection Red streaks in your nail bed are a warning of a heart valve infection Blueish nails signal low oxygen levels in your blood Dull nails mean a vitamin deficiency White nails may signal liver disease, such as hepatitis Dark stripes at the top (Terry’s nails) are associated with aging and congestive heart failure Scrub those nails clean and really look at your nail color! Given the “rainbow” of potential health challenges, you want to be sure you see what your fingers are saying. 2. Thick nails Thick nails are not natural. You want your nails to be strong, but if they resemble talons or claws more than traditional nails watch out! Thickened nails that are otherwise normal can signal lung disease Thick and rough-textured nails can signal a fungal infection Thick and separated nails may mean thyroid disease or psoriasis Unusual thickness may also be a symptom of a circulation problem Thickening nails are a change that should tune you in to other health symptoms you may be ignoring. Also watch out for allergic reactions to new medications which can show up as suddenly thick nails! 3. Split nails Split nails aren’t just occasionally chipped or shut in doors. Instead, these nails seem to flake away in layers. Don’t blame frequent hand washing or nail polish for everything, especially since: Split nails result from folic acid, Vitamin C, and protein deficiencies Split nails combined with a pitted nail bed (base) can signal psoriasis, which begins in nails 10% of the time according to WebMD Split nails may result from chronic malnutrition Watch what you eat and check the psoriasis connection to fight back and pay more attention to your health overall. 4.Concave (Spoon) nails Spoon fingernails signal a number of internal issues. To be considered full spoons, nails will be soft and curve up, forming a dip that is often big enough to hold water. Spoon nails signal: Iron deficiency (usually from anemia) Hemachromatosis, a liver disorder where your body absorbs too much iron Heart disease Hypothyroidism Your fingernail and health challenges go hand in hand – for many people, clearing up their health issue results in their spoon nails returning back to normal. 5. Pitted nails Small dips or holes in your nails can be a result of banging up your hands – or they could be a sign that you need to look more closely at your health. Nail pitting can signal: Psoriasis Connective tissue disorder Alopecia areata, an autoimmune disorder that causes hair loss Zinc deficiency (when the pit seems to form a line across the middle of your nail) Watch your hand to separate natural dents and dings from real, lasting pits. The first will clear up quickly, but pits linked to disease linger. 6. Ridges Nails should have smooth surfaces with almost imperceptible lines. Obvious ridge lines are a signal that something is up with your body. Some of the most common conditions associated with heavy ridge lines are: Iron deficiency Lupus (for red lines at the base of your nails) Don’t just buff away your ridges – hear their warning! 7. Dry, brittle nails You don’t need lotion or cuticle oil. If your nails are dry and brittle, you should check your hormone levels and bacterial health. Thyroid disease leads to brittle, dry fingernails that crack and split easily Fungus can make nails dry or even crumbly, affecting 12% of all Americans according to the American Academy of Dermatology Both thyroid and fungal issues take time to treat, so you won’t see a difference in the look of your fingernails for a full growth cycle. 8. Clubbed nails If you have plump skin that seems to swell around the nail, or if your nails seem to have puffed around your fingers, they are said to be “clubbed”. Clubbed nails can mean: Lung disease, especially if you already have trouble breathing Inflammatory bowel disease Liver disease AIDS Your fingernails won’t be the only signs of these diseases, but they can provide confirmation or motivation to seek medical care. Don’t ignore your hands or the health warnings they send. Fingernails and disease are more closely related than you think – check your nails often to protect your health! Source	Quick
Latin for ‘put away the flesh’, what name is given to ‘a feast’ or ‘fair’?	guitar - How not to touch neighbouring strings? - Music: Practice & Theory Stack Exchange How not to touch neighbouring strings? up vote 29 down vote favorite 3 When playing guitar, my fingers often touch other strings on the guitar. I found that my fingertips are too broad for the strings. When I press one string by my middle finger, the meat of the fingertip usually touches the next string. How can I avoid this? Also, my fingernails are very special ( inherited from my mom, the shape of the fingernails are curve, unlike some other people's fingernails which are flat. ). The fingernail of my index and middle finger is having the same length to my meat of the fingertip. When I tried to press the string perpendicular to the board, my fingernail is limited my press become it hit the board. Your may think I am crazy, but if you have any suggestion, please tell me and I am willing to listen. I've already cut my fingernail, any deeper my finger hurts. To illustrate: When I place my finger perpendicular to the board, my fingernail meet my flesh of my finger in the same horizontal line. If I press the string like this, I can't press the string firmly. If I can play like this, there would be no problem but the flesh of my finger will touch the later string. Here is the C chord I am having problem with: When my middle finger is pressing the 4th string, it often touches the 3rd string. As I've said in the above, if I press it perpendicular to the board, I can't press it firmly. Here are the demos(I already cut the fingernails): Perpendicular, I put the string inbetween my fingernail and the flesh of my finger -> The string is not pressed firmly and sound weird. Same, but I place the string right below the flesh of my finger -> just can't press it because my fingernail hit the board. This time I make my finger a little slant so I can press the string firmly. But the 4th string was block by my finger when it was bouncing. This time I made a weird position to tackle this problem....this is actually not a solution. I tried to make my finger slant and press the string with the edge of my fingernail so the string was locked between my fingernail and the flesh. The problem is the weird angle of my finger and extra force to make this position. 6 I know you say that you've cut your nail as short as it will go. But the photos seem to show that it could go shorter. – slim Nov 20 '11 at 18:18 You need to cut the fingernails in to the point where the nail touch the flesh. – awe Mar 6 '12 at 12:18 1 Cutting your nails straight across will help. It also helps prevent ingrown nails. – Matthew Read♦ May 28 '12 at 5:04 I have the same issue. My fingernails are just like yours. How I solved this for playing chords is fretting each note separately, and not all at once. I also created a bad habit of playing flat fingered which probably stumbled my chances of ever being a lead guitarist. – user6474 Jun 16 '13 at 22:46 "my fingernails are very special (...the shape of the fingernails are curve, unlike some other people's fingernails which are flat)" - That's not unusual. My nails are curved similar to what you show in your pictures, but I have no trouble cutting them more than short enough to play guitar. I agree with the others that in those pictures it looks like you could cut and file your nails shorter. – nnnnnn Jan 3 '15 at 3:47 up vote 27 down vote Shorten your nails as much by possible, but not by cutting. The problem with cutting them very short is that the tool compresses the fingernail and pulls it away from the skin. That causes the separation and pain. You should cut your nails only to a comfortable point, and then from there continue to shorten them by filing with a diamond file. The nails on your fretting hand will get shorter over years as you cut and file them back regularly. That is to say, the line where your nail departs from the skin will recede somewhat. Look at a side by side comparison of my left and right pinky, which I assure you started life being identical twins. You can see that the left pinky (shown on the right) has more padding at the tip, and the nail is shorter. The changes are from playing guitar and only took a few years. Another thing: get a guitar with a scalloped fingerboard. Or perform scalloping (or have someone do it) on an inexpensive instrument: get a $50 guitar from Craigslist, some half-round files in a couple of sizes and whittle away the fretboard. Scalloping refers to valleys that are filed in the fingerboard between the frets. The extra clearance might do the trick of allowing your nails to clear the fingerboard. Nail clearance isn't what scalloping is specifically for, but for some people, it can be one of the benefits. The purpose is so that no part of the finger comes into contact with the fingerboard. This means that all the pressure is on the string, which improves fingering, and there is no fingerboard friction, which improves bending and vibrato. Also, scalloping lets you achieve a more ideal angle against the string during a bend or vibrato. This is a picture of what a bend looks like on a scalloped fingerboard: This shows how a nail can clear the fingerboard. For this shot, I used my right hand, of course, whose nails are long for classical playing. up vote 25 down vote Try putting your thumb in the middle of the back of the neck. This will bring your wrist out forwards and your finger ends can then come down almost perpendicular to the fretboard. Sure this isn't as comfortable as wrapping your thumb around the neck but it's a good starting position to practice, and you can slacken off when you've got the hang of it. 5 Yes, your fingers should be coming down perpendicular to the fretboard. This can involve holding the guitar higher than some people expect to. Lots of rock guitarists hold their guitar too low. – slim Oct 31 '11 at 15:26 up vote 7 down vote What you are experiencing now is exactly what happened to me when I first learned acoustic guitar 9 years ago. I was unable to progress because I couldn't fret the strings at all. I accepted the fact that it was impossible for me to learn guitar and gave up after a few weeks. I stopped for about 2 months before deciding to do another last attempt. I haven't looked back since then! What did I do? After I softened the nails through bathing, I cut my lefty nails to the shortest they could be. I filed them twice everyday, always 1% or 2% lower than before, together with doing some callus-building exercises. In no time I noticed the pink flesh getting shorter and tip flesh slowly taking over. The first week might be painful but it's worthwhile. So now my left fingernail's pink flesh is only half the length of my right fingernails. up vote 5 down vote Gunbuster, My suggestion is actually to try and not be concerned about your finger touching other strings other than the one you're sounding. Instead use this as an advantage as a string dampener when you play. This at least helps you focus on accurate picking or finger picking. In terms of moving away from the string and causing accidental pull-off noises, the secret is to use more of your picking / rhythm hand. You know where I'm going with this! The palm of the picking hand should stop extraneous string sounds. It's about control. I know this, because I suffer from the same plight - but not because my hands are too big - it's the way I fret the strings. I ALWAYS catch other strings But you won't hear other strings in my playing because of the way I control the sound with my right hand, and muffle surrounding strings with my left. In lead work, you will often see players bend up with their middle finger, and use an index finger behind to mute the surrounding strings. If your fretting hand is already doing this, I would use your perceived weakness and turn it to an advantage to muffle surrounding strings. In rhythm work, perhaps adapt this to your style. Perhaps even expand on it and freet two strings with one finger! (if that is at all possible you would be unique!) There is no rule that says your fingers cant touch other strings when aiming for one string one note. Edit: Hi Gunbuster, thanks for the extra edit and photos. I suspected that this was your problem. Because you have extra flesh under your nail and it is also a more elongated shape, you cannot use a perpendicular pressing stance on your finger - it is impossible for you. You will have to try an approach other guitarists will find unconventional - mainly because they don't have your physiology. You will have to try and place your fingers at an angle not at a perpendicular. Your problem on the C chord is that you are trying to go for a T shape perpendicular against the fretboard when you have nothing to press the string with thus muting the G string. I think you should be attempting to press the E note with as much of your flesh but at the same time so that you clear the G string. That is, the fleshiest part of your finger is not under your nails but at at position as if you are playing piano. This will mean that the tip of your 2nd finger would probably overlaps the E note (D string ) and the next string above - the A string... but this doesn't matter since you will be playing the C note in front of your problem finger with your ring or 3rd finger. I know this problem as I have tried to coach women with fingernails who don't want them cut.... not exactly the same thing as yours but I've managed to get them sounding the C chord by tweaking their hand position. For everyone else reading this, the points made previously by everyone about being perpendicular to the fretboard is correct - but you must all take into account everyone else's unique physiology and adapt it. up vote 3 down vote I have a few ideas: Try using a nail-file instead of clippers (or after clippers). You should be able to file away some of the excess flesh along with the nail (surface layers of skin are dead cells) without the pain that comes with clipping. Prosthetic tips? Rock God Toni Iommi from Black Sabbath lost his middle- and ring- fingertips in an industrial accident and eventually used artificial tips. Until then, he had to play with only the index and pinky. Edit: Looking at the pictures again much later. I think it may help if you try pressing more with the face of the finger rather than the tip. Your fingers appear very bent, when they should appear to curve more gracefully. If you're not elevating your knee, you should consider a small cushion or rolled-up towel to raise the neck higher, giving your left hand easier access generally to the fretboard. up vote 2 down vote I know this thread is a bit old, but it was showing up in my list as recently updated. Playing more also helps, because the calluses on your fretting hand can make you finger a bit "pointier", bit that will only go so far. I've been in the same situation for years: I've got thick, blunt fingers -- Not wide across the nail, but thick through the finger. I've tried thinner strings (to give more space between the strings), but I didn't like the looser strings tone-wise or playing-wise (it also didn't work too well). I also tried thicker strings, down-tunning a full step and then placing a capo at the 2nd fret. Out of curiosity, I measured the width of the neck at the 3rd fret of the steel-string I had at the time. It was right about 1-7/8" So, after a lot of frustration over "it's not the equipment, it's the player", and down-tuning and using a capo, and re-arranging songs that use double-stops in the first two positions, I looked into wider necked guitars. Most Classicals are ~2" at the nut, and they make Finger-Style Steel-string Acoustics which are 1-15/16" - 1-13/16" at the nut. The former can be found "cheap", while the latter are expensive. Either way, they won't work if you really want to play electric guitar. A fairly cheap experiment would be to get a cheap 7-strting Electric guitar and replace the nut with a 1-7/8" 6-String Nut (GraphTech has them). The strings won't line-up super well over the pick-ups, but if that works, then you can invest a bit more and replace the bridge and (maybe) the pick-ups. I've gone this route an I'm pretty happy. You could do something similar with a 12-String Acoustic. I haven't gone this route yet, because of the work to re-shape the headstock and replace the bridge. Another option would be to buy a replacement "Super Wide" neck from Warmoth. They're drop-in replacements for "Fender" neck pockets. USA Custom Guitars also makes standard 1-7/8" wide necks, but they scale-up the heel also, so an existing guitar would likely need some modification to fit. There's also one production builder (that I know of) that sells electric guitars with 1-7/8" necks: Big Lou Guitars. I haven't seen one of these in the flesh, but they seem pretty nice and sell pretty quickly when I see them on eBay. For anybody else in a similar situation, first make sure it truly isn't poor technique, and then go with equipment that fits your physiology. Don't give-up. up vote 0 down vote I notice that your fingers end up perpendicular to the neck - ie pointing virtually straight upwards, and into the string. When i'm playing, my fingers point a combination of up but with nails facing the bridge a little, meaning the pad of my finger is on the string and the nail is generally nowhere near. This helps with avoiding muting adjacent strings by accident and means the fingernails generally play no part, even if they have got quite long. Like this : Fingers from this page : Guitar posture This hints at some difference in how you're holding your hand to mine. I won't claim to have excellent technique but it has worked for me for many years. I tend to hold the bridge of skin between my forefinger and thumb fairly close to, but not against, the neck, meaning my fingers end up pointing a little towards the bridge. Given your fingernail situation, perhaps the problem you're having is made more by the vertical-ness of your fingers ?	i don't know
As in the name of the Spanish clothing retailer, for what do the initials H & M stand?	What those company initials stand for - CNN.com What those company initials stand for By Ethan Tex, Mental Floss "H" comes from a women's store called Hers and "M" comes from a hunting supplier called Mauritz Widforss. STORY HIGHLIGHTS Ever wonder about the stories behind names like CVS or H&M or IKEA? Pharmacy chain CVS started out as "Consumer Value Stores" IKEA takes first 2 letters from founder's name, second 2 letters from locations H&M comes from first letters of women's store and hunting supplier RELATED TOPICS ( Mental Floss ) -- Dozens of companies use acronyms or initials in their names, but how well do you know what the abbreviated letters mean? Let's take a look at the etymologies behind a few abbreviated company names. 1. CVS Sorry, drugstore fans, there aren't three fat cat pharmacists with these initials running around out there. When the pharmacy chain was founded in Lowell, Massachusetts, in 1963, it was known as "Consumer Value Stores." Over time the name became abbreviated to simply CVS. 2. K-Mart Longtime five-and-dime mogul Sebastian S. Kresge opened his first larger store in Garden City, Michigan, in 1962. The store was named K-Mart after him. (Kresge had earned the right to have a store named for him; he opened up his new venture at the tender age of 94.) 3. IKEA The Swedish furniture giant and noted charity takes its name from founder Ingvar Kamprad's initials conjoined with a the first initial of the farm where Kamprad grew up, Elmtaryd, and the parish he calls home, Agunnaryd. 4. DHL In the late 1960s, Larry Hillblom was a broke student at the University of California, Berkeley's law school, so to pick up a bit of extra cash, he would make courier runs from San Francisco. After he finished law school, he decided the courier business was the real racket for him, so he recruited his pals Adrian Dalsey and Robert Lynn to help him with the runs. Although they started out making their delivery trips in a single Plymouth Duster, the company quickly took off, and they named it after their respective last initials. Mental Floss: Mojave Desert's airplane graveyard 5. AT&T No surprises here. The telecom giant sprang to life in 1885 as American Telephone and Telegraph, although it's now legally known as just AT&T. 6. JBL The speaker company is named after its founder, James Bullough Lansing. But if Lansing had kept his original name, the company might have been called Martini Speakers. Lansing was born James Martini in 1902, but when he was 25, he changed his name to James Lansing at the suggestion of the woman who would become his wife. (The martini was already a popular cocktail at the time, and several of Lansing's brothers had also changed their name by shortening it to Martin.) 7. 3M The conglomerate behind Post-It Notes gets its name from its roots as a company that mined stone to make grinding wheels. Since it was located in Two Harbors, Minnesota, the company was known as Minnesota Mining and Manufacturing, which was later shortened to 3M. 8. BVD The stalwart men's underwear maker was originally founded by a group of New Yorkers named Bradley, Voorhees, and Day to make women's bustles. Eventually the trio branched out into knitted union suits for men, and their wares became so popular that "BVDs" has become a generic term for any underwear. 9. H&M The beloved clothing store began in Sweden in 1947. Founder Erling Persson was only selling women's duds, so he called the store Hennes -- Swedish for "hers." Twenty-one years later, he bought up a hunting supplier called Mauritz Widforss. After the acquisition, Persson branched out into men's clothing and began calling the store Hennes and Mauritz, which eventually became shortened to H&M. 10. A&W Root Beer Roy Allen opened his first root beer stand in Lodi, California, in the summer of 1919, and quickly began expanding to the surrounding areas. Within a year he had partnered with Frank Wright, and the pair christened their flagship product "A&W Root Beer." 11. GEICO The adorable gecko's employer is more formally known as the Government Employees Insurance Company. Although GEICO has always been a private, standalone company, its name reflects its original purpose: Leo Goodwin founded the company in 1936 to sell insurance directly to employees of the federal government. Mental Floss: 15 companies that originally sold something else 12. YKK The initials you see on darn near every zipper you own stand for Yoshida Kogyo Kabushikigaisha, which translates into "Yoshida Manufacturing Corporation." The company is named after Tadao Yoshida, who started the zipper concern in Tokyo in 1934. 13. P.F. Chang's If you go looking for Mr. P.F. Chang, you'll be in for a long search. The Asian dining chain's name is actually a composite of the founding restaurateur Paul Fleming's initials and a simplification of founding chef Philip Chiang's last name. 14. BJ's Wholesale Club The bulk retailer is named after Beverly Jean Weich, whose father, Mervyn, helped found the chain as a spinoff from discount retailer Zayre in 1983. Mental Floss: 10 snack foods originally sold as medicines 15. ING Group The banking giant's name is an abbreviation of Internationale Nederlanden Groep, or "International Netherlands Group," a nod to the company's dutch origins and headquarters. The company's heavy use of the color orange in its buildings and promotion is also a shoutout to the Netherlands; orange is the color of the Dutch royal family dating all the way back to William of Orange. 16. H&R Block Brothers Henry and Richard Bloch founding the tax preparation firm in Kansas City in 1955. Their only problem was their last name. The brothers worried that people would mispronounce their surname as "blotch," hardly a term you want associated with your tax return. They decided to sidestep this problem by spelling the company's name "Block" instead, so that nobody would miss the solid hard "k" sound. Share this on:	H&M
Which US fashion retailers have the forenames David and Ezra?	My H&M Sign in / Join Sign In Hi, To provide a more secure and pleasant fashion experience at hm.com you will login by using your email. Just enter your current password to continue. If you need help, feel free to get in touch with us at 0344 736 9000. Make sure to be the first to know what’s going on in the world of fashion, sign up to our newsletter. Hi, To provide a more secure and pleasant fashion experience at hm.com we ask you to use an email address as your Username. If you need help, feel free to get in touch with us at 0344 736 9000. Email:	i don't know
The Peasants Revolt took place during the reign of which English King?	Peasants Revolt - History Learning Site History Learning Site historylearningsite.co.uk . The History Learning Site , 5 Mar 2015. 20 Oct 2016. Medieval England experienced few revolts but the most serious was the Peasants’ Revolt which took place in June 1381. A violent system of punishments for offenders was usually enough to put off peasants from causing trouble. Most areas in England also had castles in which soldiers were garrisoned, and these were usually enough to guarantee reasonable behaviour among medieval peasants. An army of peasants from Kent and Essex marched on London. They did something no-one had done before or since – they captured the Tower of London. The Archbishop of Canterbury and the King’s Treasurer were killed. The king, Richard II, was only 14 at the time but despite his youth, he agreed to meet the peasants at a place called Mile End. What were the peasants angry about and why had they come to London ? 1. After the Black Death , many manors were left short of workers. To encourage those who had survived to stay on their manor, many lords had given the peasants on their estates their freedom and paid them to work on their land. Now, nearly 35 years after the Black Death, many peasants feared that the lords would take back these privileges and they were prepared to fight for them. 2. Many peasants had to work for free on church land, sometimes up to two days in the week. This meant that they could not work on their own land which made it difficult to grow enough food for their families. Peasants wanted to be free of this burden that made the church rich but them poor. They were supported in what they wanted by a priest called John Ball from Kent. 3. There had been a long war with France. Wars cost money and that money usually came from the peasants through the taxes that they paid. In 1380, Richard II introduced a new tax called the Poll Tax. This made everyone who was on the tax register pay 5p. It was the third time in four years that such a tax had been used. By 1381, the peasants had had enough. 5p to them was a great deal of money. If they could not pay in cash, they could pay in kind, such as seeds, tools etc., anything that could be vital to survival in the coming year. In May 1381, a tax collector arrived at the Essex village of Fobbing to find out why the people there had not paid their poll tax. He was thrown out by the villagers. In June, soldiers arrived to establish law and order. They too were thrown out as the villagers of Fobbing had now organised themselves and many other local villages in Essex had joined them. After doing this, the villagers marched on London to plead with the young king to hear their complaints. One man had emerged as the leader of the peasants – Wat Tyler from Kent. As the peasants from Kent had marched to London, they had destroyed tax records and tax registers. The buildings which housed government records were burned down. They got into the city of London because the people there had opened the gates to them. By mid-June the discipline of the peasants was starting to go. Many got drunk in London and looting took place. It is known that foreigners were murdered by the peasants. Wat Tyler had asked for discipline amongst those who looked up to him as their leader. He did not get it. On June 14th, the king met the rebels at Mile End. At this meeting, Richard II gave the peasants all that they asked for and asked that they go home in peace. Some did. Others returned to the city and murdered the archbishop and Treasurer – their heads were cut off on Tower Hill by the Tower of London. Richard II spent the night in hiding in fear of his life. On June 15th, he met the rebels again at Smithfield outside of the city’s walls. It is said that this was the idea of the Lord Mayor (Sir William Walworthe) who wanted to get the rebels out of the city. Medieval London was wooden and the streets were cramped. Any attempt to put down the rebels in the city could have ended in a fire or the rebels would have found it easy to vanish into the city once they knew that soldiers were after them. At this meeting, the Lord Mayor killed Wat Tyler. We are not sure what happened at this meeting as the only people who could write about it were on the side of the king and their evidence might not be accurate. The death of Tyler and another promise by Richard to give the peasants what they asked for, was enough to send them home. Walworth, bottom left hand corner, killing Tyler. Richard II is just behind Tyler and also addressing the peasants after Tyler’s death By the summer of 1381, the revolt was over. John Ball was hanged. Richard did not keep any of his promises claiming that they were made under threat and were therefore not valid in law. Other leaders from both Kent and Essex were hanged. The poll tax was withdrawn but the peasants were forced back into their old way of life – under the control of the lord of the manor. However, the lords did not have it their own way. The Black Death had caused a shortage of labour and over the next 100 years many peasants found that they could earn more (by their standards) as the lords needed a harvest in and the only people who could do it were the peasants. They asked for more money and the lords had to give it.	Richard II of England
Who was the only canonised King of France? (name and number)	Literature of Richard II's Reign and the Peasants' Revolt: Introduction \| Robbins Library Digital Projects Search Search this site: Robbins Library Digital Projects › TEAMS Middle English Texts › Medieval English Political Writings › Literature of Richard II's Reign and the Peasants' Revolt: Introduction › Literature of Richard II's Reign and the Peasants' Revolt: Introduction LITERATURE OF RICHARD II'S REIGN AND THE PEASANTS' REVOLT: INTRODUCTION, FOOTNOTES 1 On these issues, see most recently Paul Strohm, Hochon's Arrow (Princeton: Princeton University Press, 1992), pp. 33-56. 2 D. W. Robertson, Jr., Chaucer's London (New York: Wiley, 1968), p. 148. 3 R. B. Dobson, The Peasants' Revolt of 1381, 2nd ed. (London: Macmillan, 1983), pp. 365-66. The secondary literature on the Rising is extensive. For a good start, see Dobson's Bibliography, pp. 405-19. 4 Ruth Bird, The Turbulent London of Richard II (London: Longmans, 1949), p. 110. Richard also enraged Londoners by restoring the privileges of the free fishmongers (9 May 1399), with the result that the prices of fish rose (pp. 112-13). 5 This name (and the other names or pseudonyms) should be compared with the nickname for the French peasants in the rising of 1358: Jacques Bonhomme ("James Goodman" = peasant, friend, Hodge). The French peasants collectively were called the "Jacquerie." See Justice, pp. 222-24. 6 John Wrawe, leader of a rising at Bury St. Edmunds on Friday, June 14, who administered a mock trial to the prior, John of Cambridge. At Bury St. Edmunds the rebels also killed chief justice Sir John Cavendish and John Lakenheath, the monk who collected the manorial dues and fines. 7 See Wr PPS 1: 230. For another accounting of names, see Nomina ductorum communium in Walsingham's Historia Anglicana, ed. H. T. Riley, Rolls Series 28.1, 2 (London: Longman, Green, 1864): 11. 8 As printed in M. V. Clarke and V. H. Galbraith, "The Deposition of Richard II," Bulletin of the John Rylands Library, 14 (1930), 125-81 at 164. Clarke and Galbraith transcribe the Dieulacres Abbey Chronicle from Gray's Inn MS No. 9 on pp. 164-81. For a brief discussion of "Per Plowman" in this chronicle, see Anne Hudson, "Epilogue: The Legacy of Piers Plowman," in Companion to Piers Plowman, ed. John A. Alford (Berkeley: University of California Press, 1988), p. 252. Hudson, citing Kane, mentions that a scribe includes a line in a manuscript of the A version of PP: "Preyit for pers þe plowmans soule." See also Susan Crane, "The Writing Lesson of 1381," in Chaucer's England, ed. B. Hanawalt (Minneapolis: University of Minnesota Press, 1992), p. 211. 9 Kane, "Some Fourteenth-Century 'Political' Poems," in Medieval English Religious and Ethical Literature: Essays in Honour of G. H. Russell, ed. Gregory Kratzmann and James Simpson (Cambridge: Cambridge University Press, 1986), pp. 82-91; Wenzel, Preachers, Poets, and the Early English Lyric (Princeton: Princeton University Press, 1986), pp. 197-98 (in the larger context of Type B complaint lyrics); Green, "John Ball's Letters: Literary History and Historical Literature," in Chaucer's England, ed. Hanawalt, pp. 176-200. 10 Green, citing Dobson, suggests that the Addresses are not speeches of commons but additional letters by Ball under his various pseudonyms ("John Ball's Letters," p. 182). He also documents the common phrasing between and among the letters: "Now is time" (pp. 186-87), the grinding small, mention of Piers Plowman, Hobbe the Robber, and the pseudonyms of the commons (p. 181); Ball's pseudonym, the guile motif, and the beware theme (p. 196, note 29). Also see Justice on insurgent literacy, pp. 13-66. 11 For example, Kane has argued that the theme attacks "the parasitism of what Langland called wastours, drones" ("Some Fourteenth-Century 'Political' Poems," p. 83). But Ball, according to Walsingham, explicated the proverb as an argument against traditional estates concepts. 12 John Gower, in Cronica Tripertita (about 1400), uses similar animal ciphers for his political allegory: Gloucester is the swan, Warwick the bear, and Arundel the horse. Part 1 of Gower's Cronica focuses on the political events of 1387-88; part 2, on 1397; and part 3, on 1399. See John H. Fisher, John Gower: Moral Philosopher and Friend of Chaucer (New York: New York University Press, 1964), pp. 109-11. from: Medieval English Political Writings 1996 The Peasants' Revolt of June and July 1381 was a milestone of medieval English politics and of Richard II's young reign. Polemical chroniclers -- Thomas Walsingham, monk of St. Albans (Historia Anglicana, Chronicon Angliae); Henry Knighton, Augustinian canon of St. Mary-of-the-Meadows, Leicester (Chronicon); the Benedictine author of Anonimalle Chronicle (from St. Mary's, York); a chronicler of Westminster (Chronicon Westmonasteriense); and Sir Jean Froissart in his Chronicles -- recount the stages of the rebellion in detail; and they represent the events as dangerously revolutionary and damaging to the body politic. These chroniclers are notoriously unreliable as reporters of fact, especially as regards the alleged "peasants" of the rising; and they often present contradictory, partisan testimony concerning the events. 1 Still, the major outlines of the revolt are clear. We know and can infer more about the 1381 rising than about similar incidents in France, in Italy, or in England later on. Some of the more important incidents in the revolt -- such as Richard's confrontation with the rebels at Mile End and the death of Wat Tyler -- were recorded in well-executed fifteenth-century illustrations. The rallying-point for the rebellion was the poll tax of 1380-81, a tax that, as an anonymous poet phrased it, "has tenet [harmed] us alle." Worse, this was the third such poll tax, and it was enforced by much-hated commissions of inquiry, which investigated whether all persons were complying with the tax. The unpopular levy of 1377 was followed by the graduated tax of 1379, the latter a failure that resulted in the replacement of the Chancellor, Richard Scrope. In 1380, Parliament allowed the king, through his new Chancellor, Simon Sudbury, Archbishop of Canterbury, to assess a tax of three groats (one shilling) on every man and woman over the age of fifteen. The early 1380s were generally a time of economic hardship, when a miller "hath ygrounde smal, smal, smal" (Ball's Letter); and many elements of society, especially the artisan class, bitterly resented the regressive poll tax, which ruthless collectors extracted and then -- so it was alleged -- diverted to their own coffers: "The kyng therof had smalle." Grievances came to a head first in Essex, where the commons attacked tax commissioners, and then in Kent. Events quickly moved beyond tax grievances to include looting, arson, and murder. The leader in Kent was Wat (or Water or Walter) Tyler, who was not a peasant; in fact, many of the commons who took part in the rising were financially comfortable but had grievances against local officials and scores to settle. The commons were urged on by three clerics: Jack Straw, about whom little is known; John Wrawe, a former vicar who led the peasants of Essex; and John Ball, a lapsed priest whom Sudbury had imprisoned three times. On 7 June Tyler and his followers took possession of Canterbury, opened Maidstone prison, and marched toward London, attracting followers along the way. The Essex peasants also converged on London; and on Thursday, 13 June, the rebels gained entrance into the city, streaming through Aldgate (where Chaucer lived in his apartments). They burned John of Gaunt's London palace, the Savoy, along with Fleet Prison and the Hospital of St. John. King Richard, who was only fourteen, rode to Mile End on Friday, 14 June, to hear the rebels' demands, which included provisions for free labor contracts (doubtless a reference to the Statute of Laborers) and the right to rent land at fourpence an acre. Richard promised them justice, with the result that many Essex commons returned home; but other peasants broke into the Tower and executed, among others, Archbishop Sudbury and Robert Hales, Royal Treasurer and Prior of the Hospital of St. John's, who provided something like a flashpoint for the mob's fury. At Smithfield on Saturday Tyler presented the king a list of six points, two of which were "That there should be no seignory except that of the King" and "That there should be no serf in England." 2 These points resemble the doctrines said to have been preached by the renegade priest John Ball, who urged on the peasants with the notion that men and women were created equal, in Eden, according to the formula "When Adam dug and Eve span, / who was then a noble man?" During this conference with the king and after heated words with William Walworth, mayor of London, Tyler was killed by the king's valet. The rising centered in London was the best-known of 1381; but similar, related revolts occurred at St. Albans (beginning 14 June), Bury St. Edmunds (14 June), Norfolk (14 June), and Cambridgeshire and Huntingdonshire (15-17 June). On 15 June the townsfolk of Cambridge rioted against the University, particularly attacking Corpus Christi College, which was under the patronage of the Dukes of Lancaster. The leader of the rebels at St. Albans was William Grindcob; at Bury, John Wrawe; at Norfolk, Geoffrey Litster, hailed as "King of the Commons." Jack Straw, Grindcob, Ball, and Wrawe were all executed. According to one account, Straw confessed before his death that the commons, if their rising had been successful, would have killed all the magnates and high churchmen 3 -- a statement which coincides with what Oldcastle acknowledged as the goals of the Lollard rebellion of 1414. Bishop Henry Despenser, who led a bloody "crusade" in Flanders, captured Litster at North Walsham, and quickly confessed and then hanged him. Richard II won widespread support among the estates in 1395 and 1396 after military successes in Ireland; but as early as 1397 his popular consensus began to unravel. The following events would contribute to Richard's deposition in 1399: his marriage to Isabella, princess of France, who was seven years old; his reluctance to resume the war with France; his elevation of certain lesser aristocracy to ministerial positions (notably Sir John Bushy, Sir Henry Green, and Sir William Bagot); his retaining of household troops bearing his badge of the white hart; the impeachments of Thomas Beauchamp, Earl of Warwick, Thomas Arundel, Archbishop of Canterbury, and Thomas of Woodstock, Duke of Gloucester, and his likely complicity in the death of Gloucester at Calais, 1397; his banishment of the Earl of Nottingham for life, and his transmutation of the sentence on Henry of Derby, Duke of Hereford, from ten years to life, confiscating much of his father's estate after Gaunt's death (3 February 1399); his attempts to force seventeen counties which had supported his enemies in 1386-88 to pay a special charge of £10,000 each to regain the plesaunce or royal favor (1398); his thinly-veiled desires to repeal checks on the crown established during the Wonderful Parliament of 1388; his increasingly lavish style of living; his growing wariness and suspiciousness together with his reliance on his household retainers to protect him when he ventured out of the royal residences; and his attempts to emulate his earlier success in Ireland with an ill-timed second expedition. Because of a quarrel between royal officers and London citizens in 1392, Richard suspended the city's liberties and replaced the mayor and sheriffs, with the result that he had lost the confidence and support of England's chief city. Seventeen of twenty-four aldermen present at Parliament in 1392 were among the welcoming committee for Henry of Lancaster. 4 The last two or three years of Richard's troubled reign, as well as the early years of Lancastrian rule, occasioned a number of poems on Richard's ministers and on statecraft generally. Of these the best known are Richard the Redeless (1399-1400), a narrative poem in passus attacking Richard's inexperienced advisors; Mum and the Sothsegger (1403-06), a poem related to Richard the Redeless, urging the king to heed truth-tellers; and John Gower's Cronica Tripertita, a poem in Latin elegiac couplets condemning Richard's arrogant "young ministers." Printed in this volume are a poem attacking Richard's ministers, especially Bushy, Bagot, and Green ("Ther Is a Busche That Is Forgrowe") and another advising King Henry V on the wisdom of listening to counsel ("For Drede Ofte My Lippes I Steke"). The first poem included here, "Man Be War and Be No Fool" (Index § 3306), in two couplets, exists in a unique manuscript: Cambridge University MS Dd. 14. 2 fol. 312r. The couplet of lines 3-4 appears in St. John's Coll. Oxford MS 209 fol. 38r, but this version locates the time, purposefully perhaps, as "the xiiij yere of kyng Richarde," or 1391, rather than the "iiij yere," or 1381. This short lyric helps establish the scene of the Peasants' Revolt, the sense of oppression in the realm. The text of the present edition is based on a paper print from microfilm of the Cambridge manuscript and is checked against the editions of RHR, Sisam, and Wright. The Letter of John Ball follows, in two versions: British Library, Royal MS 13. E. ix (Index § 1796), and another text from Stow's Chronicles of England, better known as Annales (1580; Index § 1791). A third version appears in the so-called Addresses of the Commons (see below). The Royal MS, which includes the famous letter on fol. 287r, consists of geographical and chronicle material, including the work known as Chronicon Angliae. This Chronicon forms the basis for Thomas Walsingham's Historia Anglicana, which contains a slightly different version of Ball's Letter. In his letter -- which Walsingham claims was discovered in the pocket of a man who was to be hanged -- Ball cryptically and apocalyptically encourages the commons while trying to keep order in the ranks, urging them to stand "togidre in Godes name," to permit Piers Plowman to do his work, to "chastise wel Hobbe the Robbere," and to observe one leader only rather than going their own ways. He refers to himself and his fellow conspirators in code. He is "Johon Schep"; others include "Johan Nameles," "Johan the Mullere," "Johon Cartere," and "Johan Trewman." 5 A Latin poem on the death of Archbishop Sudbury (not printed in this volume) concludes with a list of nicknames for the rebels: "Jak Chep [= John Ball; Chep = schep], Tronche, Jon Wrau, 6 Thom Myllere, Tyler [= Wat Tyler], Jak Strawe, / Erle of the Plo, Rak to, Deer, et Hob Carter, Rakstrawe [Jack Straw?]; / Isti ductores in plebe fuere priores" (these were the foremost leaders among the people). 7 Although the allusion to Piers Plowman in the Addresses of the Commons has a suspiciously literary quality to it, especially in proximity to Hobbe the Robber, Piers seems to have enjoyed an existence independent of Langland's poem. The anonymous composer of the Dieulacres Abbey Chronicle, for example, states that the rebel leaders were "Iohannis B" (presumably Ball), Iak Straw, and "Per Plowman." 8 John Ball's Letters should be compared with the political prophecies in the first section of this volume and with the Addresses of the Commons. The Letters, including those in the Addresses, combine elements from "Abuses of the Age" lyrics with proverbial sentiments and preaching material, as George Kane, Siegfried Wenzel, and Richard Green have demonstrated. 9 This could mean that Ball, a sometime priest, turned naturally to complaint topoi for his epistolary material. Or perhaps the chroniclers represented his writings as containing proverbial and sententious material. Concurring evidence from several sources militates for the former; lack of reliable, firm evidence should urge caution. The text of Ball's Letter (Royal MS) is edited from a paper print of the manuscript and is checked against the editions of Thompson and Riley for the Rolls Series, against RHR's edition, and against Green's transcription in the Appendix to his article on "John Ball's Letters," p. 195. The text of Ball's Letter (Stow version) is taken from The Chronicles of England (London: R. Newberie, 1580), p. 485 (STC 23333), and is checked against the 1611 T. Adams edition of Stow's Annales (p. 470; STC 23337); Stow's A Summarie of Englyshe Chronicles (H. Binneman, 1574; STC 23324), p. 235; and RHR's edition. RHR prints from the edition of Edmund Howe (1615). In Stow's editions the Letter appears as prose. Related documents include the Addresses of the Commons from Chronicon Henrici Knighton. Henry Knighton was an Augustinian canon of St. Mary of the Meadows, Leicester (died 1396). His Chronicon provides the most complete witness to the Great Plague of 1348-49; and Knighton also demonstrates considerable antipathy to the Lollards, perhaps because Leicester was a center of Lollard activity. His Addresses of the Commons include alleged statements by commons like those mentioned in Ball's Letter or in the Latin poem on Sudbury -- namely, Jakke Mylner (John the Miller), Jak Carter, Jakke Trewman, and John Ball (two more letters). These Addresses seem to constitute variants of John Ball's Letter dispersed among several voices, for the same themes and personalities appear here: the commons are oppressed, the nation's morals have declined; people are exhorted to work "with skile" (reason), to be careful, to adhere to the values of Piers Plowman (righteousness), and to restrain urges for vengeance and thievery ("Hobbe Robbyoure"). 10 These sentiments draw upon themes prominent in "Abuses of the Age" lyrics. The text of the present edition is based on Lumby's recension for the Rolls Series and is checked against R. F. Green's transcriptions in the Appendix to his article on John Ball's Letters. Green based his text on British Library, MS Cotton Tiberius C. VII. fols. 174r-174v, which he compared with British Library, MS Cotton Claudius E. III, fol. 269v. To help complete the story of the Great Rising, I print John Ball's sermon theme as recorded in Walsingham's Historia Anglicana. This theme interrogates the notion that class distinctions inhere in the nature of things or that God ordained class when he created Adam and Eve. The couplet could be said to uphold the dignity of work (digging, spinning); and it harmonizes not only with the moral-political elements of Ball's Letter and the Addresses of the Commons but also with an important fourteenth-century literary theme: gentilesse. Dante and Chaucer both distinguish between hereditary gentility ("old riches") and true gentility based on virtuous actions (wealth of the spirit). Ball's reported sermon theme is proverbial as well as moral; and its political content has been doubted. 11 Yet its quasi-literary content agrees with other themes associated with Ball and the Rising. An important witness to contemporary attitudes toward Richard and his court is On the Times, a 236-line rhymed macaronic complaint lyric in English and Latin beginning "Syng I wolde, butt, alas!" (Index § 3113). On the Times is preserved complete in three mid-fifteenth-century manuscripts: British Library, MS Harley 536, fols. 34r-35v (A-Text); British Library, MS Harley 941, fols. 21v-23v (B-Text); and Trinity College Dublin, MS 516, fols. 108r-110r (C-Text). The poem was first edited by Thomas Wright for Political Poems and Songs (1857). Wright gave the poem its title because of its attacks on contemporary mores and on fashions in clothing, and he dated the poem to 1388 on the basis of references to the retreat of "Jak" and "Jak nobil," whom he identified as Robert de Vere, Duke of Dublin, and Michael de la Pole, Earl of Suffolk. He believed that lines 109-12 refer to the flight of de Vere and the Earl of Suffolk to the continent, an allusion that Janet Coleman has accepted in her reading of On the Times. Wright printed the C-Text of On the Times; but Richard Firth Green has commented on the deficiencies of C and suggests that the B-Text would be preferable as a base-text, certainly to C but also to the A-Text as well. Green argues that the date of the poem is more likely ca. 1380, just prior to the Peasants' Revolt, and that "Jak" refers to Jack Philipot, while "John," he believes, alludes to John of Gaunt. The A-Text has been edited by Jeanne Krochalis and Edward Peters. Following Green's suggestions on preference of manuscript, this edition of the poem is based on B (MS Harley 941). B is written in long lines with the English line as the first half and the Latin as the second. The English half-lines rhyme with the next English half-line, and the Latin with the Latin, in couplets. Next is a reflection on Straw's rebellion that begins: "Tax has tenet us alle" (Index § 3260), a macaronic lyric (English/Latin) in eight-line stanzas and in two versions: Corpus Christi College Cambridge MS 369 fol. 46v (in 48 lines), and Oxford University MS Digby 196 fols. 20v -21r (in 64 lines). The Cambridge version was printed by Wr PPS 1: 224-26 and again by Dobson in The Peasants' Revolt of 1381, the latter including English translations of the Latin verses; the Oxford version was printed by RHR and by Krochalis and Peters. In the present text, I follow the Cambridge MS but, like Wr and Dobson, I supplement from the Oxford text in lines 41-60. The penultimate poem of this section, which begins "Ther is a busche that is forgrowe" (Index § 3529), is a political allegory on Richard II's ministers, including Sir John Bushy, speaker of the Commons in 1394 and 1397; Sir Henry Green; and Sir William Bagot. This occasional lyric addresses political events of Richard's last three years as sovereign, and specifically the struggle for power surrounding the death of Thomas of Woodstock, Duke of Gloucester, while at Calais in the custody of Thomas Mowbray, Earl of Nottingham (September, 1397). Gloucester (the swan in the poem's animal allegory), 12 Thomas Beauchamp, Earl of Warwick (the bearward), and Richard Fitzalan, Earl of Arundel (the steed), had made an oath to stand against the king, but Nottingham betrayed them to the king, who had them arrested. In the parliament near Westminster, Bushy impeached the three conspirators. Arundel was beheaded on Tower Hill, and Warwick confessed to treason, with the result that Richard banished him for life to the Isle of Man. At the Shrewsbury parliament (1398) Henry of Derby, Duke of Hereford (the heron), alleged that Mowbray (now Duke of Norfolk) informed him Richard was going to proceed against him as he had against Gloucester, Arundel, and Warwick; and he challenged Norfolk to deny it. Richard called for a judicial battle but suspended it when the time came (September, 1398), banishing Hereford for ten years and Norfolk for life. When the Duke of Lancaster died (3 February 1399) Richard confiscated much of the Lancastrian inheritance and extended Hereford's banishment from ten years to life, actions which precipitated Henry's combative return from France just as Richard was leaving England for a second campaign against the rebel Irish. Henry caught up with and executed Bushy and Green at Bristol; Bagot was executed in Cheshire. The poem, in fifteen tail-rhyme stanzas which dates to about 1400, exists in a unique manuscript formerly designated Deritend House, and printed by William Hamper (who at one time owned the manuscript) in Archaeologia and by Wr PPS 1: 363-66. The manuscript's current whereabouts is a mystery. Hamper transcribed the poem and sent it to the Society of Antiquaries in a letter dated "Deritend House, Birmingham, Dec. 5, 1823," and he provided the somewhat cumbersome title, "Sarcastic Verses, Written by an Adherent to the House of Lancaster, in the last year of the reign of Richard the Second, A.D. 1399." Hamper's letter to Henry Ellis, Secretary of the Society of Antiquaries, reads: "The attention of the Society of Antiquaries having been lately drawn to the circumstances connected with the latter days of King Richard the Second, I conceive that the enclosed Verses, from a coeval manuscript in my possession, may be acceptable to them; and shall therefore beg you to introduce them at your leisure." The text of this edition is based on Hamper's and is compared with Wright's version. I have given special consideration to the readings of Hamper's edition, since Wright clearly based his text on Hamper's and not on the manuscript, which he did not have the opportunity to consult. The final poem included here begins "For drede ofte my lippes I steke" but has been entitled Treuth, Reste, and Pes by Kail (EETS) and What Profits a Kingdom (1401) by RHR (Index § 817). The poem warns the king -- Henry IV -- against paying heed to tale-tellers ("false reportours"; "tale-tellere"); and it is couched in the language and conventions of wisdom literature. According to Kail (and repeated by RHR), the poem alludes to certain statutes proclaimed in 1401. On 25 January the Commons asked the king not to listen to those who might report on their deliberations before they had come to a definite conclusion. The Commons also urged the king not to listen to French slander against certain loyal lords. There are other parts of the poem which might be occasional as well (see Kail's Introduction, pp. xi-xii). This is a refrain poem with each stanza concluding with the word "pes." It exists in a single manuscript -- Bodleian Library Oxford MS Digby 102 fols. 100r-101v -- and is 167 lines in length (twenty-one stanzas of eight lines each, missing a line, and rhyming abab bcbc), executed as prose (but with stanzas marked with ¶), in a crowded hand. The present text is based on an (imperfect) electrostatic copy of the manuscript folios and is checked against the editions of Kail and RHR. Go To Literature of Richard II's Reign and the Peasants' Revolt Cambridge University MS Dd. 14. 2 fol. 312r (1432) British Library, Royal MS 13. E. ix fol. 287r (c. 1400) British Library, MS Harley 941 fols. 21v-23v Corpus Christi College Cambridge MS 369 fol. 46v (1385-1400) Olim Deritend House, Birmingham (c. 1400) Bodleian Library Oxford MS Digby 102 fols. 100r-101v (1400-25) Previous Editions Man Be Ware and Be No Fool (Cambridge University MS) Robbins, Rossell Hope, ed. Historical Poems of the XIVth and XVth Centuries. New York: Columbia University Press, 1959. ["On the Evil State of England (1381)," p. 54.] Sisam, Kenneth, ed. XIVth-Century Verse and Prose. Oxford: Clarendon, 1921, 1922. [Sisam prints the St. John's College Oxford MS 209 fol. 57r. See p. 161.] Wright, Thomas, ed. Political Poems and Songs Relating to English History. 2 vols. Rolls Series 14. London: Longman, Green, 1859, 1861. [Wright prints the St. John's College Oxford MS. See I, 278.] The Letter of John Ball (Royal MS) Green, Richard Firth. "John Ball's Letters: Literary History and Historical Literature." Chaucer's England: Literature in Historical Context. Ed. Barbara Hanawalt. Medieval Studies at Minnesota 4. Minneapolis: University of Minnesota Press, 1992. [Transcribes Ball's Letter in his Appendix, p. 195.] RHR, p. 55. Rickert, Edith, comp. Chaucer's World. Ed. Clair C. Olson and Martin M. Crow. New York: Columbia University Press, 1948. [Modern English translation of the letter and some of Walsingham's history of the Peasants' Revolt, pp. 360-62. Includes selected testimony from other writings on the Revolt.] Thompson, E. M., ed. Chronicon Angliae 1328-1388. Rolls Series 64. London: Longman, Green, 1874. Walsingham, Thomas. Thomae Walsingham, quondam monachi S. Albani, Historia Anglicana. Ed. H. T. Riley. Rolls Series 28. 2 vols. London: Longman, Green, 1863-64. [Version of Ball's Letter in II, 33-34.] The Letter of John Ball (Stow) RHR, p. 54. Stow, John. The Chronicles of England, from Brute unto this present yeare 1580. London: R. Newberie, 1580. [Letter appears on p. 495. STC 23333; UMI Reel S1/1010.] ------. A Summarye of the Chronicles of England. London: T. Marshe, 1570. [Ball's Letter appears on fol. 235. STC 23322; UMI Reel S1/356.] Addresses of the Commons (Knighton) Green, Richard Firth. "John Ball's Letters: Literary History and Historical Literature." [See above under The Letter of John Ball (Royal MS). Transcribes the Addresses, pp. 193-94.] Lumby, J. R., ed. Chronicon Henrici Knighton. Rolls Series 92. 2 vols. London: Eyre and Spottiswoode, 1889-95. [The Addresses appear in II, 138-40.] John Ball's Sermon Theme (Walsingham) Walsingham, Thomas. Thomae Walsingham, quondam monachi S. Albani, Historia Anglicana. Ed. H. T. Riley. Rolls Series 28. 2 vols. London: Longman, Green, 1863-64. [The sermon theme appears in II, 32.] On the Times (British Library, MS Harley 941) Wright, Thomas, ed. Political Poems and Songs Relating to English History. 2 vols. Rolls Series 14. London: Longman, Green, 1859, 1861. [Prints the C-Text in Vol. 1, pp. 270-78.] Krochalis, Jeanne, and Edward Peters, eds. The World of Piers Plowman. Philadelphia: University of Pennsylvania Press, 1975. [Prints the A-Text, pp. 87-95.] Tax Has Tenet Us Alle (Corpus Christi College MS) Dobson, R. B. The Peasants' Revolt of 1381. 2nd ed. London: Macmillan, 1983. [Pp. 358-62.] Krochalis, Jeanne, and Edward Peters, eds. The World of Piers Plowman. Philadelphia: University of Pennsylvania Press, 1975. [Pp. 95-97 but based on the Digby MS rather than the CCC MS.] RHR, pp. 55-57. [Prints Digby version.] Wright, Thomas, and J. O. Halliwell, eds. Reliquiae Antiquae. 2 vols. London: Pickering, 1841, 1843. [Tax Has Tenet in II, 283-84.] Ther Is a Busch That is Forgrowe (Deritend House MS) Hamper, William, ed. "Sarcastic Verses, Written by an Adherent to the House of Lancaster, in the last year of the reign of Richard the Second, A.D. 1399." Archaeologia 21 (1827), 88-91. Wright, Thomas, ed. Political Poems and Songs Relating to English History. Rolls Series 41.1. 2 vols. London: 1859, 1861. [Text of Ther is a busch in I, 363-66.] Truthe, Reste, and Pes (Digby MS) Kail, J., ed. Twenty-Six Political and Other Pieces. Part 1. EETS o.s. 124. London: Kegan Paul, 1904. ["Treuth, reste and pes" on pp. 9-14.] RHR, pp. 39-44. Historical Sources and Studies Bird, Ruth. The Turbulent London of Richard II. London: Longmans, 1949. [Valuable history of Richard's reign from the perspective of London. Includes helpful explanations of the primary sources, a detailed chronology of events, and a map of London.] Clarke, M. V., and V. H. Galbraith. "The Deposition of Richard II," Bulletin of the John Rylands Library 14 (1930), 125-81. [Print the Chronicle of Dieulacres Abbey, 1381-1403 on pp. 164-81. Good discussion of sources and personalities involved in the Rising.] Dobson, R. B. The Peasants' Revolt of 1381. 2nd ed. London: Macmillan, 1983. [The best source of history, with Dobson's comments, and documents in English translation. Aids for the student include "The Chronology of the Revolt" (pp. 36-44); map: "London in 1381" on p. 152; and a full Index.] Hilton, Rodney. Bond Men Made Free: Medieval Peasant Movements and the English Rising of 1381. London: Temple Smith, 1973. [Sets 1381 Rising in context of other historical movements.] Hilton, R. H., and T. H. Aston, eds. The English Rising of 1381. Cambridge: Cambridge University Press, 1984. [A valuable collection of essays.] Justice, Steven. Writing and Rebellion: England in 1381. Berkeley: University of California Press, 1994. [Views the rebellion as a contest over literacy and control of the written word. Places the "peasantry" within a larger context of public discourse.] McKisack, May. The Fourteenth Century 1307-1399. Oxford: Clarendon, 1959. [Still one of the best general histories of this period. Helpful explanations of the primary sources in the Bibliography.] Robertson, D. W., Jr. Chaucer's London. New York: Wiley, 1968. [Lively retelling of the 1381 Rising from a literary and historical perspective. See chapter 4, "A Brief Chronicle," pp. 127-78.] Taylor, John. English Historical Literature in the Fourteenth Century. Oxford: Clarendon, 1987. [A patient and valuable exposition of the chronicles and their sources, with a good bibliography. See also chapter 12, "Political Poems and Ballads," and Appendix V, "Chronicle Accounts of the Peasants' Revolt."] Thomson, John A. F. The Transformation of Medieval England, 1370-1529. London: Longman, 1983. [A helpful introduction to England in the later Middle Ages. The aids for students include a "Framework of Events" before major sections, a "Compendium of Information," maps, and a bibliography.] General Studies Baldwin, Anna P. "The Historical Context." A Companion to Piers Plowman. Ed. John A. Alford. Berkeley: University of California Press, 1988. Pp. 67-86. Bowers, John M. "Piers Plowman and the Police: Notes Toward a History of the Wycliffite Legend." Yearbook of Langland Studies 6 (1992), 1-50. [Documents the affiliations between Piers Plowman and texts identified as "Wycliffite." Bowers includes an analysis of John Ball's letters.] Cohn, Norman. The Pursuit of the Millennium: Revolutionary Millenarians and Mystical Anarchists of the Middle Ages. Rev. ed. New York: Oxford University Press, 1970. [Attempts to place John Ball and the Peasants' Rising in a context of what he terms "the egalitarian millennium." See especially pp. 198-200.] Coleman, Janet. Medieval Readers and Writers 1350-1400. New York: Columbia University Press, 1981. [Good literary and historical introduction to the later fourteenth century. See chapter 3, "The Literature of Social Unrest," pp. 58-156.] Embree, Dan. "The King's Ignorance: A Topos for Evil Times." Medium &AELIG;vum 54 (1985), 121-26. [Advances the idea that the king's ignorance and helplessness in the face of abuses and official corruption is a topos of complaint literature. His discussion includes The Simonie and Truthe, Reste, and Pes ("For drede ofte my lippes I steke").] Green, Richard Firth. "Jack Philipot, John of Gaunt, and a Poem of 1380." Speculum 66 (1991), 330-41. [Argues that the contemporary allusions in On the Times accord better with events of about 1380 than of 1388.] ------. "John Ball's Letters: Literary History and Historical Literature." Chaucer's England: Literature in Historical Context. Ed. Barbara Hanawalt. Medieval Studies at Minnesota 4. Minneapolis: University of Minnesota Press, 1992. [Sets Ball's Letters in a convincing social and literary context of preaching material, and demonstrates the conventional nature of much of Ball's rhetoric. Transcribes Ball's Letter in his Appendix, p. 195, and the Addresses of the Commons, pp. 193-95.] Kane, George. "Some Fourteenth-Century 'Political' Poems." Medieval English Religious and Ethical Literature: Essays in Honour of G. H. Russell. Ed. Gregory Kratzmann and James Simpson. Cambridge: D. S. Brewer, 1986. Pp. 82-91. [Polemical argument against reading Song of the Husbandman, The Simony, or the poems and documents concerning John Ball as poems of "protest" or "dissent." These are better seen as complaint literature in the tradition of estates satire.] Kinney, Thomas L. "The Temper of Fourteenth-Century Verse of Complaint." Annuale Mediaevale 7 (1966), 74-89. [Brief discussion of "Ther Is a Busch," p. 85.] Maddicott, J. R. "Poems of Social Protest in Early Fourteenth-Century England." England in the Fourteenth Century: Proceedings of the 1985 Harlaxton Symposium. Ed. W. M. Ormrod. Woodbridge, Suffolk: Boydell Press, 1986. Pp. 130-44. [Contrasts the specificity of later verses of complaint -- specifically, the literature of 1381 -- with earlier fourteenth-century complaints and satires, which Maddicott regards as closer to traditional laments and venality satire. Includes discussion of The Simonie and The Song of the Husbandman.] Pearsall, Derek. "Interpretative Models for the Peasants' Revolt." Hermeneutics and Medieval Culture. Ed. Patrick J. Gallacher and Helen Damico. Albany: State University of New York Press, 1989. Pp. 63-70. [Illustrates differences between contemporary interpretations of the 1381 Rising and later understandings of it.] Peck, Russell. A. "Social Conscience and the Poets." In Social Unrest in the Late Middle Ages. Ed. Francis X. Newman. Binghamton: Medieval and Renaissance Texts and Studies, 1986. Pp. 113-48. [Discusses John Ball's Letters and the blending of Piers Plowman conventions with Chaucerian in protest literature of the early fifteenth century.] Robbins, Rossell Hope. "Dissent in Middle English Literature: The Spirit of (Thirteen) Seventy-Six." Medievalia et Humanistica, 9 (1979), 25-51. Scattergood, V. J. Politics and Poetry in the Fifteenth Century. London: Blandford, 1971. [See chapter 10, "English Society III: Verses of Protest and Revolt." Discusses John Ball on pp. 354-56; "Ther Is a Busch" on pp. 110-12.] Strohm, Paul. Hochon's Arrow: The Social Imagination of Fourteenth-Century Texts. Princeton: Princeton University Press, 1992. [Interrogates archival records, chronicles, and literary texts for their truth claims; reads the 1381 rising as an aspect of the carnivalesque. See especially Introduction: "False Fables and Historical Truth" (pp. 3-10), and chapter 2, "'A Revelle': Chronicle Evidence and the Rebel Voice" (pp. 33-56).] Bibliography Robbins, Rossell Hope. "XIII. Poems Dealing with Contemporary Conditions." A Manual of the Writings in Middle English 1050-1500. Vol. 5. Gen. ed. Albert E. Hartung. New Haven: The Connecticut Academy of Arts and Sciences, 1975. Pp. 1385-1536, 1631-1725. [Discusses Man Be Ware (§ 253) on pp. 1510-11, bibliography pp. 1709-10; The Letters of John Ball and Addresses of the Commons (§ 256) on pp. 1511-12, bibliography pp. 1710-11; John Ball's Sermon Theme (§ 255) on p. 1511, bibliography pp. 1710; Tax Has Tenet Us Alle (§ 257) on pp. 1512-13, bibliography p. 1712; There Is a Busch That Is Forgrowe (§ 87) on p. 1440, bibliography p. 1670; Truthe, Reste, and Pes (§ 58) on p. 1419, bibliography p. 1661.] Footnotes LITERATURE OF RICHARD II'S REIGN AND THE PEASANTS' REVOLT: INTRODUCTION, FOOTNOTES 1 On these issues, see most recently Paul Strohm, Hochon's Arrow (Princeton: Princeton University Press, 1992), pp. 33-56. 2 D. W. Robertson, Jr., Chaucer's London (New York: Wiley, 1968), p. 148. 3 R. B. Dobson, The Peasants' Revolt of 1381, 2nd ed. (London: Macmillan, 1983), pp. 365-66. The secondary literature on the Rising is extensive. For a good start, see Dobson's Bibliography, pp. 405-19. 4 Ruth Bird, The Turbulent London of Richard II (London: Longmans, 1949), p. 110. Richard also enraged Londoners by restoring the privileges of the free fishmongers (9 May 1399), with the result that the prices of fish rose (pp. 112-13). 5 This name (and the other names or pseudonyms) should be compared with the nickname for the French peasants in the rising of 1358: Jacques Bonhomme ("James Goodman" = peasant, friend, Hodge). The French peasants collectively were called the "Jacquerie." See Justice, pp. 222-24. 6 John Wrawe, leader of a rising at Bury St. Edmunds on Friday, June 14, who administered a mock trial to the prior, John of Cambridge. At Bury St. Edmunds the rebels also killed chief justice Sir John Cavendish and John Lakenheath, the monk who collected the manorial dues and fines. 7 See Wr PPS 1: 230. For another accounting of names, see Nomina ductorum communium in Walsingham's Historia Anglicana, ed. H. T. Riley, Rolls Series 28.1, 2 (London: Longman, Green, 1864): 11. 8 As printed in M. V. Clarke and V. H. Galbraith, "The Deposition of Richard II," Bulletin of the John Rylands Library, 14 (1930), 125-81 at 164. Clarke and Galbraith transcribe the Dieulacres Abbey Chronicle from Gray's Inn MS No. 9 on pp. 164-81. For a brief discussion of "Per Plowman" in this chronicle, see Anne Hudson, "Epilogue: The Legacy of Piers Plowman," in Companion to Piers Plowman, ed. John A. Alford (Berkeley: University of California Press, 1988), p. 252. Hudson, citing Kane, mentions that a scribe includes a line in a manuscript of the A version of PP: "Preyit for pers þe plowmans soule." See also Susan Crane, "The Writing Lesson of 1381," in Chaucer's England, ed. B. Hanawalt (Minneapolis: University of Minnesota Press, 1992), p. 211. 9 Kane, "Some Fourteenth-Century 'Political' Poems," in Medieval English Religious and Ethical Literature: Essays in Honour of G. H. Russell, ed. Gregory Kratzmann and James Simpson (Cambridge: Cambridge University Press, 1986), pp. 82-91; Wenzel, Preachers, Poets, and the Early English Lyric (Princeton: Princeton University Press, 1986), pp. 197-98 (in the larger context of Type B complaint lyrics); Green, "John Ball's Letters: Literary History and Historical Literature," in Chaucer's England, ed. Hanawalt, pp. 176-200. 10 Green, citing Dobson, suggests that the Addresses are not speeches of commons but additional letters by Ball under his various pseudonyms ("John Ball's Letters," p. 182). He also documents the common phrasing between and among the letters: "Now is time" (pp. 186-87), the grinding small, mention of Piers Plowman, Hobbe the Robber, and the pseudonyms of the commons (p. 181); Ball's pseudonym, the guile motif, and the beware theme (p. 196, note 29). Also see Justice on insurgent literacy, pp. 13-66. 11 For example, Kane has argued that the theme attacks "the parasitism of what Langland called wastours, drones" ("Some Fourteenth-Century 'Political' Poems," p. 83). But Ball, according to Walsingham, explicated the proverb as an argument against traditional estates concepts. 12 John Gower, in Cronica Tripertita (about 1400), uses similar animal ciphers for his political allegory: Gloucester is the swan, Warwick the bear, and Arundel the horse. Part 1 of Gower's Cronica focuses on the political events of 1387-88; part 2, on 1397; and part 3, on 1399. See John H. Fisher, John Gower: Moral Philosopher and Friend of Chaucer (New York: New York University Press, 1964), pp. 109-11. share this page	i don't know

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